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CAMPAIGN BOOKLET “NEW MASCULINITY”

BY NICOPANDA

CHARLIE BUTTERS 18039285 LEVEL 6

CONTENTS 1. BRAND RESEARCH

3. THE CAMPAIGN

1.1 BRAND IDENTITY.............................................1

3.1 SOCIAL ISSUE..............................................12

1.2 THE CONSUMER..............................................2

3.2 EXISTING CAMPAIGNS...............................13-14

1.3 BRAND MOODBOARD.....................................3

3.3 CAMPAIGN RATIONALE.............................15

1.4 CREATIVE DIRECTOR.......................................4

3.4 CAMPAIGN NARRATIVE.............................16

1.5 MARKET PERCEPTIONS...................................5

3.5 CAMPAIGN SUCCESS.................................17

1.6 CURRENT MARKET...........................................6 1.7 BRAND MISSION..............................................7 1.8 SWOT ANALYSIS...............................................8 1.9 PEST ANALYSIS................................................9

4.7 CASTING...........................................................24 5. PHOTOSHOOT PLANNING 5.1 PHOTO PLANNING.........................................25 5.2 PHOTOGRAPHY INSPIRATION.......................26 5.3 PHOTOGRAPHY DIRECTION..........................27 5.4 PHOTOGRAPHY TECHNIQUES......................28

4. DESIGN DEVELOPMENT

5.5 PHOTOGRAPHY MOODBOARD....................29

4.1 STYLING............................................ .........18

5.6 CALL SHEET....................................................30

4.2 STYLING MOODBOARD.............................19 4.3 COLOUR PALETTE......................................20

2. CUSTOMER RESEARCH

4.4 GARMENT PLANNING...............................21

2.1 CUSTOMER SEGMENTATION......................10

4.5 MAKEUP.....................................................22

2.2 CUSTOMER PROFILE...................................11

4.6 HAIR............................................................23

6. FINAL SHOOT/ LOOKBOOK 6.1 CONTACT SHEET............................................31 6.2 EDITING..........................................................32 6.3 WIREFRAME..................................................33- 34 6.5 THE LOOKBOOK............................................35

FEEDBACK.........................................................36 IMAGE REFERENCES........................................37- 40 REFERENCES.....................................................41-42

NICOPANDA Nicopanda is a relatively recent brand, launching in New York 2015. It describes itself in 3 words on entering the website; “Inclusivity, Diversity, Creativity”. The brand prides itself with its genderfluid streetwear vibe, best known for it’s playful, edgy approach to ready-towear (Nicopanda). The brand statement is ‘designed for all, and available for all’, referring to its success in streetwear and celebrity culture alike; but also for its agender status. Their idea of genderless clothing is not to create clothing that hides gender, but rather creating garments that anyone can wear no matter their gender.

Figure 1

BRAND IDENTITY

The consumer therefore is younger liberal individuals with a keen interest in streetwear. The brand has a focus on inclusivity, therefore caters to people of all genders, races, and sexualities and walks of life. The target market of the brand according to Nicopanda’s LinkedIn is Millennials, although the fun youthful tones of the brand relate to Gen Z equally. (Nicopanda, 2021) Innovation and contemporary interpretations of gender identity within the brands previous campaigns further align with this audience.

THE CONSUMER

Figure 2

CREATIVE DIRECTOR Nicopanda is the ‘love child’ of known stylist, fashion designer and director Nicola Formichetti. The Italian-Japanese super-stylist began his fashion journey in London, immersing himself in the London club scene, identifying with the club kids of the 90s. Working at The Pinneal Eye in Soho for 3 years, Formichetti was soon snapped up by magazine ‘Dazed & Confused’ with his own article every issue. As his work gained recognition, he was offered the role of fashion editor for Dazed in 2005. Shortly after in 2008, he was offered the role of fashion director for Vogue Hommes Japan, where he stayed for the magazine’s duration. (BoF) His career took another milestone when a photo shoot for V magazine with Lady Gaga in 2009 led to him becoming her personal design director. (BoF)

Since this point he has been appointed creative director at Thierry Mugler, Uniqlo, and Diesel, affirming his experience within the fashion industry. As a result, in 2015 Nicopanda was born. The brand is modelled after his own image, with strong influences from ‘his Japanese-Italian upbringing and early adulthood as a fixture in London’s club culture.’ Utilising social media platforms, he uses storytelling to inspire a new generation of free thinkers, ‘bridging the gaps between “innovation, commercialism, and art”. (nicolaformichetti.com) “[Nicola Formichetti] Has positioned himself at the centre of the industry by engaging effortlessly with millennial consumers, through his use of social media and his engagement with global aesthetics and demographics.” (BoF)

Figure 3

All Imagery, Nicopanda.

MARKET PERCEPTIONS & POTENTIAL IMPROVEMENTS

CURRENT MARKET

With this engrained into the brand’s mission, and with social change being at the forefront of Formachetti’s agendayoung, creative, expressive individuals The brand is therefore perceived by resonate with the brand. This forms it’s consumers as forward-thinking; the brand following. pushing it’s gender and identity social messages throughout it’s collections. The prime improvement for One magazine commented “Gender Nicopanda would be to continue boundaries and social perceptions with their ready-to-wear collections of masculinity are destroyed in this annually. With the previous range dating back to SS19, they run the show” (GlamCandy, 2019). risk of becoming obsolete within Nicola Formachetti himself claims the industry. With it’s views on the brand is heavily influenced by current social issues, and a strong club kid culture; a predominantly relationship with social mediaqueer expressive scene ‘where Nicopanda could create real change with the correct exposure. identity was enough’ (Rosen, 2019). Nicopanda’s brand identity can easily be recognised through it’s inclusive casting, influence from club-kid culture, and genderless styling.

“

With social media and the impact of fashion we can really tackle some of the negative problems around the world -Nicola Formichetti

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PRODUCTS

UNIQUE SELLING POINT

BRAND VALUES

BRAND STRATEGY

The products take inspiration from Harajuku fashion, merging it with streetwear. The clothing has been described as ‘Kawaii-meetspunk’ (Zerbo, 2015). The price point lies in low to mid luxury, with “retail prices ranging between $50 and $400. (Nicopanda Fashion is also accessibly priced, with items hovering around $500.)” (Sherman, 2016).

The unique selling point of the brand is it’s fun refreshing approach to genderless clothing. ”It’s meant to move fluidly between the traditionally “male” and “female”” (Komar, 2016). No other agender brand is creating collections with hyper-feminine, hyper-masculine, and everything in-between with no specific gender in mind.

The values of the brand are made clear the moment you enter the website. The words “INCLUSIVITY. DIVERSITY. CREATIVITY.” flash onto the screen before the site launches. Nicopanda pride themselves on creating gender non-conforming collections which have a strong focus on inclusivity. The brand has supported causes in the past, including gay pride.

“The line-up of investors includes Serena Rees, co-founder of Agent Provocateur, real estate titan Eric Hadar and Creative Artists Agency (CAA), which also represents Formichetti.” (Sherman, 2016). In 2016, a video game and feature film began production, likely take four to five years to materialize. Plans for physical retail were made in this year too.

Figure 6

Youthful, creative, fun, colourful, Japanese Harajuku influence. Celebrates youth culture.

Nicopanda is in the low to mid luxury price range. The brand provides high end streetwear for all genders. Inclusivity, diversity, creativity.

Nicopanda’s brand mission in Keller’s Brand Equity Model (1993)

BRAND MISSION

• Established designer/ stylist as brand founder • Clear customer demographic

• Collaborations with high street retailers such as Amazon and Urban Outfitters • Has created NFT art in collaboration with ‘The Fabricant’ • Inclusive & diverse

• Setting up brick and mortar stores • Having an Ecommerce store within it’s own website • Sell clothing in more stores across global market

• Industry contacts allows opportunity for future collaborations and exposure • Social media use and influencer connections to raise exposure

Nicopanda Analysis using SWOT Analysis model (Humphrey,1962)

WEAKNESSES

• Unique selling point of Agender clothing

• Has collaborated with big names, eg. MAC makeup

THREATS

Hyper-masculine to hyper-feminine pieces. Focus on price inclusivity. Agender styles.

Unity, inclusivity, self- expression, gender celebration

STRENGTHS

Innovative, high quality, credible creative director

OPPORTUNITIES

Identify with the brand, loyalty, community

• Strong brand identity

• Only sells via Ecommerce • Not the best known brand • Hard to locate online stockists (in the UK)

• The streetwear market is saturated • Fast changing fashion trends within it’s market

• No designer collection since SS19is the brand losing relevance? • Many consumers of street wear are already loyal to specific brands

• High street is a threat as 51% people asked in the UK ‘have not bought designer in the last 3 years’. (Mintel)

CONTEXTUAL ANALYSIS VIA SWOT

• American based brand • Must consider taxation when exporting products • International stockists • Must follow import and export laws

P E

POLITICAL

• Consider COVID impact on sales and shopping habits • Inclusive nature of brand targets expressive young creatives • Generation Z and X (the brand’s demographic) desire social change. The brand caters to this

SOCIAL

CUSTOMER SEGMENTATION

• 71% of younger consumers (16-34) purchased designer fashion in the last 3 years, with 48% in the lower income bracket (under £15,500 annual). (Mintel, 2021) • Inclusive price range in entry level products encourages younger demographic

ECONOMIC

MARKET ANALYSIS VIA PEST

• Lastest technologies such as NFT art and digital fashion are being experimented with by the brand • Social media such as Instagram and TikTok are avid with younger consumers so should be utilised • COVID increases demand for ecommerce

DEMOGRAPHIC

PSYCHOGRAPHIC

GEOGRAPHIC

BEHAVIOURAL

Younger demographic with disposable income, in the 2035 bracket. Student or young professional. Mintel explains how younger people are living with parents for longer, meaning financial support and disposable income is apparent in older youths (Mintel, 2020). Fits between the Acorn profile of ‘Student life’ with 62% favouring online shopping; or ‘Young Professionals in Smaller Flats’ where 65% favour online shopping. Both categories privately rent. (Acorn, 2014)

Interested in art and fashion. Conscious of political and cultural worldly affairs. Self expression and identity are of importance to this consumer. Younger people gravitate towards streetwear, as it allows brands to express cultural identities. A main driver being Identity according to Mintel (Mintel, 2021). Fits into ‘The Impossibles’ category of WGSN’s consumer report, as they “are championing solutions to ensure systemic change is enforced.” (WGSN, 2020).

The brand is international, with a global reach due to its use of eccomerce. The consumer will likely be living in smaller flats/ apartments in the inner city, usually found in urban locations, particularly London when considering the UK (Acorn, 2014). Enriched with inner city culture, and the fast paced life, therefore up to date with current street trends. With the brand being New York based and being Tokyo inspired, it’s likely to appeal to consumers in urban environments.

“Mobiles phones will be important to the activity of these people. The number who will respond to advertising, or enter competitions is higher than average.’ (Acorn, 2014). Mainly shop online, particularly after COVID pandemic. Transparency and trustworthiness within brands are key to these consumers, with “38% of Americans – and more than half of Gen Z and Millennials – are currently boycotting at least one company for lack of diversity” (WGSN, 2020).

TECHNOLOGICAL Nicopanda Analysis using the PEST Analysis Model (Heery et al., 2008)

Figure 9 Figure 8 Figure 10

Kane works in the city in an alternative magazine and print store. He is a regular socialite, and enjoys going to bars & events with friends. He has a keen interest in street fashion, and attends fashion pop-ups. He also visits art galleries; more specifically photography exhibitions. He enjoys shopping, seeking out alternative streetwear boutiques and second hand designer pieces.

Kane is a creative young individual, and has never been afraid of expressing himself through fashion. He is a current consumer of Nicopanda, mixing the unique styles with vintage designer pieces to create his own image. He enjoys Asian cuisine, both eating out and cooking in. Figure 12

He is left-wing on the political spectrum; a liberal individual. He believes in self expression and equality for all minority groups, and passionately expresses these views through social media and peaceful protests.

Figure 13

Kane listens to school old hip hop & alternative R&B, which influences which bars he attends. He rarely watches TV, but when he does he enjoys Squid Game, anime, however his guilty pleasure is reality TV. He loves cult classic movies, from directors such as Stanley Kubrick and Quentin Tarantino, with a keen eye for aesthetic cinematography.

CUSTOMER PROFILE

Figure 6 Figure 11 Figure 7

Kane tries to limit his use of social media, but does use Instagram to keep up with his favourite designers and worldly issues. He has a decent following on this platform, therefore uses it to voice political opinions.

TOXIC MASCULINITY Toxic masculinity is a social “sickness” in boys and men whereby common masculine ideals— physical strength, social respect, and sexual potency— are imposed onto them by the social and political climate of the hegemonic society we live in (Salter, 2019). When these attributes become unattainable, it has a problematic effect; often resulting in misogynistic and homophobic violence in attempt to reject typically ”feminine” traits. This is in order to maintain social expectations of what it is to be a “real man”. (Fradet, 2019) The real societal impacts of this are apparent, with extreme forms of toxic masculinity linking to physical aggression, homophobia, transphobia, harassment, misogyny, and negative mental health outcomes. “More than half (61 per cent) of Britain’s young men feel pressured to “man up” as a result of damaging gender stereotypes” according to YouGov studies. (Petter, 2018) “There is a myth based around the idea that masculinity and femininity

are mutually exclusive and opposite.” (Fradet, 2019) Hence creating the belief that if too many feminine qualities are obtained, then you cannot be a ‘true man’. A secondary myth hinders men from accepting femininity due to the negative association with gay men. This is due to the everpresent homophobia that still exists in our patriarchal culture. However, this is also present within the gay community itself; typically ‘masculine’ gay men sometimes subjugating more ‘effeminate’ men. (Fradet, 2019). To create change in this attitude, the social system of cis-hetronormativity must be disrupted. Men learning to accept attributes within themselves that our patriarchal society deems as ’feminine flaws’ will help to dismantle the societal support of hyper-masculinity. It should be taught that empathy, sensitivity, and emotional honesty are important traits for every individual to possess in order to build a society that is not hindered by gendered traits.

“ Figure 14

67 per cent of 18-24 year olds felt compelled to display “hyper-masculine” behaviour in tough situations. (Petter, 2018)

“

Name: Kane Age: 25, Young Millennial Bisexual cis-gendered male Single No children Living in New York

SOCIAL ISSUE 12

EXISTING SOCIAL CAMPAIGNS

In 2020, Berlin based magazine KALTBLUT teamed up with genderfluid fashion label PONDER.ER to comment on a social issue on both their agenda’s; toxic masculinity. PONDER.ER describes their brand as “a gender fluid label [was born] to expand and reinterpret the contemporary Men’s wardrobe through dissecting and reconstructing ideas inspired by traditional Menswear”. (PONDER.ER,) They describe how they want to ‘liquify masculinity’, meaning “diversifying what masculinity stands for to men today”, in order to work toward a new healthy masculinity. They describe this as “confidence and freedom, it’s about owning who you are and being comfortable with it.” (Schlutt, 2020)

In 2010 for her appearance at the MTV music awards, Lady Gaga shocked the nation with the infamous ‘meat dress’ (as it is known today). However, this was not simply a publicity stunt- the dress was in the name of activism. Gaga teamed up with designer Franc Fernandez to comment on the ‘Don’t Ask, Don’t Tell’ policy implemented to gay individuals in the US military.

This guerilla style of marketing is often successful, particularly when a celebrity is involved. The success of the campaign can be measured by its memorability, and the questions raised resulting in exposure for the cause.

She commented “the law prevents the military from enjoying the greatest cut of meat my country has to offer”. (Alexander, 2011) Hence- the meat dress; it represents that we are all the same on the inside, projecting a message of equality and unity.

Figure 15

This campaign is an artistic approach to illustrating an issue such as toxic masculinity. It remains authentic with the article’s conversational style, and the alignment with both companies values.

The purpose of the editorial is to bring awareness to the issue, and open up conversations to people from all communities; particularly in places like Hong Kong and Asia where it is still seen as taboo.

LADY GAGA AT 2010 VMAs

Figure 16

Furthermore, she was accompanied to the event with 4 queer veterans. Lady Gaga is a strong ally of the gay community, and uses her platform to give a voice to minority groups often, making this social stunt authentic. Figure 17

Figure 18

RATIONALE

Figure 19

NARRATIVE

In an ever changing social climate, the predetermined gendered ‘roles’ of men and women are being disrupted. Masculinity is being redefined; in order for this message to be received universally, people attitudes toward what it means to be ‘masculine’ must be altered.

The lookbook will be a conceptual interpretation of the meaning of masculinity, exploring the spectrum of complex individuals who express masculinity. It is a celebration of a new healthy masculinity, visually normalising expressive dress in order to dismantle the hypermasculinity that is still prevalent in our culture.

The campaign will celebrate men embracing their traditionally “feminine” traits. Nicopanda is a brand that represents all sexes, acknowledging everyone as individuals but creating clothing that is for everyone. They blur the lines between what is typically masculine, and what is typically feminine, throwing out the rule book on predetermined gendered clothing.

The mood of the look book will be youthful, colourful, and artistic. The imagery tells a story of suppression, self realisation, then pride and freedom. The suppression comes from the societal pressures of displaying hypermasculinity. Dream-like imagery will express hope for a future of expressive freedom- which is what the campaign is opening the door to.

The lookbook should reflect the values of the brand whilst also conveying the message of the social campaign. As the brand is already a contemporary interpretation of genderless clothing, the social issue aligns with the brand’s values, constructing an authentic campaign.

Possible pain points within the audience include fear of social perception, and freely expressing identity without social repercussions. The look book should incite feelings of freedom and self love, with individuality being praised throughout. The goal of the campaign is to create an open discussion about masculinity in current social environments, with hope to create an positive attitude change in the audience. Figure 19

CAMPAIGN SUCCESS

With regards to styling, the fabrics and textures should relate to the materials used by the brand. Key fabrics used by Nicopanda that will be highlighted in the campaign are organzas, tulles, and meshes. These will work cohesively with the social message as translucent materials convey feelings of vulnerability and transparency.

For the target market of the campaign, authenticity is vital and will weigh into it’s success. The social issue in hand needs to align with a brand’s values. “According to a Kantar study, 68% of US consumers expect brands to be clear about their values, while Millennials and Generation Z have the highest expectations of all age groups.” (Gilliland, 2021). Consumers further expect ‘meaningful action’ rather than ‘empty solidarity’. Links to reliable sources surrounding the social issue should be posted on social media outputs alongside campaign imagery: charities, information etc.

Figure 22

STYLING

The clothing will not all be typically ‘feminine’, as healthy masculinity is not suggesting an ‘effeminate male’. As an agender brand conveying this social issue, the clothing should embrace and reflect both typically masculine and feminine traits, therefore blurring the lines of what is socially expected. Fishnet, organza, tulle, and mesh clothing will contrast with less revealing and form-fitting styles.

Success of the campaign can be measured through analysing the total reach, and social media engagement (likes, comments shares). Furthermore, analytics such as website visits, click through rate (of adverts), and new leads (how many new customers are gained). (Ecommerce Germany, 2021). Figure 21

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PINK The symbolism of pink holds significance in the context of the campaign. “Pink has been definitively linked to toning down aggression, and its use in holding cells for violent criminals has been quite effective” (Sensational Colour, 2021). As aggression is one of the negative effects toxic masculinity holds on society, pink represents the change of social attitudes.

WHITE The science behind white as a colour states “As white light contains all the colours of the spectrum, it’s an inclusive, impartial colour, favouring no single hue and refusing to take sides” (Sensational Colour, 2021). The full spectrum of white is representative of the spectrum of gender expression; rejecting taking sides tells a story of rejecting the socially constructed gender norms. It’s associations with freedom further justify it’s use.

Figure 32

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STYLING COLOUR PALETTE

Figure 28

STYLING MOODBOARD

Figure 31

MAKEUP

GARMENT PLANNING

The base makeup will be dewy and natural, highlighting natural features such as freckles, moles, and where the face naturally blushes.

The garments will be a mixture of hyper-feminine and hypermasculine pieces. Basketball shorts, joggers, and boxers will be contrasted with skirts, organza dresses, and mesh gloves. Accessories include both pearl and leather, diamanté and PVC, each fabric carefully selected to illustrate the spectrum of masculinity and how its displayed

Additionally, artistic features could be added in order to tie the makeup to the clothing. This could be in the form of facial decals, most likely pearls and diamantés based on the styling of the garments and accessories. Figure 34

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CASTING

For the casting, two male models have been selected to give a broader spectrum of relatability within the consumers. Model 1 is of a petite frame, and a height of 5ft 3in. He is 29, therefore adheres to the current clientele of Nicopanda. He identifies as a gay, cisgendered man.

HAIR One of the models will have a buzzed head. As the campaign is about taking typically toxic masculine traits away and embracing typically ‘feminine’ traits, the contrast of having a historically masculine haircut (often related to military) will be an effective contrast to the styling. The message will resonate with a wider audience if the model is seen as being relatable to the target market of the social issue

In direct contrast to Model 1, Model 2 is of a muscular athletic build, with a height of 6ft. He is 25 which again, fits in with the youthful feel of the brand, and identifies as a straight cisgendered man.

Figure 38 Figure 37

The two together will help illustrate the differing forms of masculinity that exist. The models aesthetically contrast one another, yet will be visually harmonious in the finally imagery. This in itself will support the message of inclusivity.

PHOTO PLANNING

Figure 40

Prior to the photo shoot, some key themes and ideas are highlighted in these illustrations. The composition of the shots will be perfected on the day, with any additional ideas welcomed throughout the creative process. To ensure the message shines through, here are a few visuals that will be created.

Figure 42

The photography that will inspire the style of the shoot comes from Chinese photographers Ren Hang and Lin Zhipeng. Both photographers use colour and composition to illustrate youth, sexuality, and vulnerability.

Shot 1- Tight brief boxers worn on model underneath a pleated mini skirt. Casual, not forced. Shot 2- Model wears hooped earrings, a second model pulling them away. Represents the struggle with self expression.

The gender-fluid, identityorientated works of these photographers represent a new cultural direction for photography, in their home country and the world alike (Blythe, 2020). Therefore, inspiration will be drawn from these works in order to convey the social message.

Shot 3- Model pulls up own jeans/ trousers over the top of coloured fishnets. Casual, normalising self expression. Shot 4- Model ‘suffocating’ under tulle, depicting the suppression of society. Shot 5- Both models lay head to head in unison.

Shot 6- Jewellery lays over organza and underwear. A play on ‘crown jewels’, representing ‘manhood’ through a ‘feminine’ medium.

Figure 43

Figure 39 Figure 41

PHOTOGRAPHY INSPIRATION

Considering the message, the photography inspiration, and the Nicopanda brand, the direction of the shoot will be studio based with the focal point being the model and the surrounding visuals (the clothing, the body and face, and any additional props). Being that many of Nicopanda’s photo shoots are in a studio, this coincides with their brand while enabling the social message to be at the forefront of the campaign.

DIRECTION

Figure 46 Dreamy A hazy dream-like effect can be created utilising cling film and Vaseline over the lens, or using motion blur in editing. As the lookbook will tell a story of hope for the future, a dreamy effect may work well to convey this hope.

Figure 44

Figure 45

Figure 47 Colour Gels Similar to the dreamy effect, colours can be a good tool to convey emotion, therefore will be taken into consideration when in the studio.

PHOTOGRAPHY TECHNIQUES

Figure 48 Depth of Field To create shots with focus on specific elements in the composition, depth of field and interesting shapes in the body can be utilised to create visually interesting shots.

Figure 51 Figure 57

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CALL SHEET

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PHOTO MOODBOARD

Figure 54

Photo Shoot/ Project Name: Nicopanda: New Masculinity Production Location: MMU Art School Light Studio Production Date: 15 / 12 / 2021 Contact Name: Charlie Butters

Call Time: 12:00 - 16:00 Phone Number: 07572078166

Email: charlie.butters@gmail.com

TEAM DETAILS Subjects:

Calum Goff, Lillyman

Scott

Photographer: Charlie Butters Photo Assistant: Scott Lillyman Makeup Artist: Charlie Butters Wardrobe Stylist: Charlie Butters Hair Stylist: Charlie Butters

PRODUCTION SCHEDULE

10:30 Hair & Makeup 11:30 Photographer & Talent arrives on set

PRODUCTION SCHEDULE

2:15 Hair & Makeup for second shoot 2:20 Outfit styled

11:45 First outfit styled

2:30 Begin Shooting

12:00 Begin shooting

3:15 Second outfit styled

12:45 Second outfit styled

3:30 Shooting

1:00 Shooting

4:00: Wrap

2:00 Wrap

EDITING

CONTACT SHEET

On top of basic colour editing, to achieve the dream-like feel of ‘breaking free’ of a social norm, motion blurs were added to certain photos in editing. To accompany this, solar flares were also added to details like jewellery.

Other images have a halftone effect added. This is to show a harsher contrast to the softer images. The halftone also mimics a computer screen, which ties into the social media era that can often amplify areas of the social issue.

LOOKBOOK WIREFRAME

KEY

Photography

Caption

Title/ Logo

The lookbook will have an artistic flow, demonstrating the storyline of an inner struggle with oneself and society alike. The eventual self-realisation and condifence in expression is visually displayed throughout. The bi-line will be on the first spread, making for a clear vision to the viwer. Brand logos will be continual throughout, with product captions added to each page.

LOOKBOOK The lookbook is an artisitic interpretation of masculinity- what it means and the endless ways in which it can be expressed. Due to the target market research, the lookbook images will be used for Instagram posts, with a link to the publication in the bio along with information on platforms that open discussion around the social issue. The publication will also be used in NICOPANDA pop up stores, as well as for use in editorials inside magazines. The purpose is to spread awareness around toxic masculinity, in attempt to dismantle socially learned agendas that in turn have a negative affect on society. The lookbook will achieve this with its clear bi-line, in order to open up discussion around the topic, and evoke a feeling of hope in those who may be affected by this.

RESPONSE After the extensive research into Nicola Formachetti as an individual and persona in the fashion industry, it is clear why Toxic Masculinity would be in his social agenda. With a brand like Nicopanda having such vocal opinions on LGBT+ rights and Formachetti being a part of this community himself, it’s likely Toxic Masculinity may have directly affected him in his life. This justifies the authenticity of the social issue with regards to the brand. When developing the campaign, it’s apparent the target audience is Gen Z to millenials. This being said, I think the use of children within the campaign would have distracted from who the message is aimed at. The social message is to encourage men to refine masulinity within themselves for the better of society and future generations. Nicopanda is a brand that portrays sexuality and sensuality, therefore to in keep with the brand and consumer, the campaign features a more sensual, romantic expression.

FEEDBACK

You have chosen a really great and individual brand to work with for this and I can see how the brand’s narrative and current visuals run alongside you chosen social theme very well. It would be great to see some really thorough research into the brand and Nicola Formachetti himself and how this brand started to underpin the links to toxic masculinity. The social issue is very current and further research into facts and stats on problems that toxic masculinity causes socially would be necessary to develop your look book visuals. Your shoot prep and ideas are great and I see this working very well, it would be a shame to produce a look book that looked too similar to anything that has already been done before so again, I would consider the idea of age that you mentioned and how this problem is nurtured into children and maybe bring the age element into your casting for this, representing children and older models would be great to show this visually. The styling and make up could be what keeps this very on brand and consistent but just changing one element would be exciting. Look into other articles and editorials on how toxic masculinity is being portrayed in fashion at the minute too. I do really like these ideas of yours and I look forward to seeing this come together.

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IMAGE REFERENCES Figure 1: Nicopanda. (2019) SS19 Runway. [Online image] [24/12/21] https://www.nicopanda.com/pages/ss19-runwa y?view=gallery&page=look-23

Figure 9: N/A (N/A) The Empire State Building. [Online image] [05/01/22] https://www.esbnyc.com/about/ architecture-design

Figure 2: Nicopanda. (2019) SS19 Runway. [Online image] [24/12/21] https://www.nicopanda.com/pages/ss19-runwa y?view=gallery&page=look-23

Figure 10: Bolton, L. (N/A) Bowl of Ramen. [Online Image] [05/01/22] https://www.forkknifeswoon.com/simplehomemade-chicken-ramen/

Figure 3: Business of Fashion. (N/A) Nicola Formichetti. [Online Image][24/12/21] https://www.businessoffashion. com/community/people/nicola-formichetti Figure 4: Nicopanda. (2018) Aquaria for Nicopanda. [Online Image] [09/01/21] https://sheaquaria.tumblr. com/post/173746101798/aquaria-at-nicopanda-fw18backstage

Figure 11: Wikipedia (N/A) Cowboy Bebop Anime Cover. [Online Image] [05/01/22] https://en.wikipedia.org/wiki/ Cowboy_Bebop Figure 12: Lloyd, F (1959) The Guggenheim Museum New York. [Online image] https://www.guggenheim.org/history

Figure 5: Nicopanda. (2018) Nicopanda Mac Makeup Campaign. [Online Image] [09/01/21] https:// www.beautyalmanac.com/article/mac-nicopandacollection/3842

Figure 13: N/A (N/A) Male Fashion Model in Harajuku wearing Vintage Jean Paul Gaultier. [Online image] [05/01/22] https://www.pinterest.co.uk/ pin/818670038513516764/

Figure 6: ToiletPaper Magazine (1944) Toiletpaper Artist’s Magazine Cover. [Online Image] [04/01/22] https://www. shoptoiletpaper.com/product/toiletpaper-10/

Figure 14: Gerbers, D. (2021) GENTLEMAN. Fucking Young! Magazine. [Online Image] [08/01/21] https://fuckingyoung. es/gentleman/

Figure 7: 032c Magazine (2021) 032c 38th Issue Magazine Cover. [Online image] [04/01/22] https://www.bruil.info/ product/032c-iss

Figure 15: Schlutt, M. (2020) Toxic Masculinity. KALTBLUT. [Online Image] [06/01/22] https://www.kaltblut-magazine. com/toxic-masculinity/

Figure 8: N/A (2021) Old school DJ Headphones. [Online image] [05/01/22] https://headphonescompared.com/thebest-retro-headphones/

Figure 16: Schlutt, M. (2020) Toxic Masculinity. KALTBLUT. [Online Image] [06/01/22] https://www.kaltblut-magazine. com/toxic-masculinity/

Figure 17: Alexander, E. (2011) Lady Gaga: Getting Political. Vogue. [Online] [06/01/22] https://www.vogue.co.uk/ article/lady-gaga-meat-dress-explanation Figure 18: Alexander, E. (2011) Lady Gaga: Getting Political. Vogue. [Online] [06/01/22] https://www.vogue.co.uk/ article/lady-gaga-meat-dress-explanation Figure 19: Nicopanda (2016) Nicopanda: 2016 Campaign. Nicopanda. [Online image] [07/01/22] http:// chasseurmagazine.com/nicopanda-2016-aw-collection/ Figure 20: Nicopanda (2016) Models get high in Nicopanda’s tongue-in-cheek campaign. [Online image] [07/01/22] https://www.dazeddigital.com/fashion/ article/29793/1/models-get-high-in-nicopanda-s-tonguein-cheek-campaign Figure 21: Macchiavelli, O. (2017) ©Omar Macchiavelli NICOPANDA s/s 2017. [Online image] [07/01/22] https:// auraphotoagency.wordpress.com/2016/10/30/omarmacchiavelli-nicopanda-ss-2017/ Figure 22: N/A. (N/A) Man in mesh top. [Online Image] [12/01/21] https://www.pinterest.co.uk/ pin/696580267374043854/ Figure 23: N/A. (N/A) Man with mesh over head. [Online Image] [12/01/21] https://www.pinterest.co.uk/ pin/696580267374043672/

Figure 24: Vogue. (2015) Westminster University Autumn/ Winter 2015 Ready-To-Wear. [Online Image] [12/01/12] https://www.vogue.co.uk/shows/autumn-winter-2015ready-to-wear/westminster-university/collection Figure 25: N/A. (N/A) Lime green mesh glove. [Online Image] [12/01/21] https://www.pinterest.co.uk/ pin/696580267374083845/ Figure 26: Ngai, N. (2021) Introducing Mateo Velasquez. [Online Image] [12/01/21] https://fuckingyoung.es/ introducing-mateo-velasquez/ Figure 27: Katayama, M. (2018) New Masculinity! Photography by Matheus Katayama. [Online Image] [12/01/21] https://www.kaltblut-magazine.com/newmasculinity-photography-by-matheus-katayama/ Figure 28: N/A. (N/A) Glove mesh top. [Online Image] [12/01/21] https://www.pinterest.co.uk/ pin/696580267374043833/ Figure 29: Martin, D. (2016) Liam Little for ODDA Magazine by Wish Thanasarakhan. [Online Image] [12/01/12] https://www.malemodelscene.net/agencies/bananas/liamlittle-odda-magazine/ Figure 30: N/A. (N/A) This fashion editorial is a rad AF Afrofuturism dreamworld - Fashion Editorials. [Online Image] [12/01/21] https://www.pinterest.co.uk/ pin/373024781642374822/ Figure 31: Nicopanda. (2019) Nicopanda runway SS19. [Online Image] [12/01/21] https://www.nicopanda.com/ pages/ss19-runway

Figure 32: Pantone. (2021) Blush Pink. [Online Image] [12/01/21] https://www.pantone.com/uk/en/connect/151614-TCX

Figure 41: Hang, R (N/A) Red hands over body. [Online image][10/12/21] https://www.pinterest.co.uk/ pin/493144227957239763/

Figure 33: Pantone. (2021) Bright White. [Online Image] [12/01/21] https://www.pantone.com/uk/en/connect/110601-TCX

Figure 42: Zhipeng, L (2019) Pregnant woman on red rug. [Online image][10/12/21] https://www.dazeddigital.com/ art-photography/gallery/28195/1/lin-zhipeng

Figure 34: Duong, C. (N/A) IN THE MOOD FOF LOVE. [Online Image] [12/01/21] https://www.behance.net/ gallery/88606511/IN-THE-MOOD-FOR-LOVE-LOVE-IN-THEWAR

Figure 43: Zhipeng, L (2013) “Ballet Girls”. [Online image] [10/12/21] https://www.artsy.net/artwork/lin-zhipengballet-girls

Figure 35: Carter, M. (2019) Lending a voice for the unheard. [Online Image] [12/01/21] https://emmazed. com/viewfinder/micaiah-carter Figure 36: N/A. (N/A) Model with pearl face gems. [Online Image] [12/01/21] https://www.pinterest.co.uk/ pin/696580267374043701/ Figure 37: Black, D. (2013) Frederik Rasmussen by Darren Black. [Online Image] [12/01/21] https://www. malemodelscene.net/fresh-faces/frederik-rasmussendarren-black/ Figure 38: Vogelenzang, P. (2021) The Dutch House Of Extravaganza. Fucking Young! Magazine [Online Image] [12/01/21] https://fuckingyoung.es/dutch-houseextravaganza/ Figure 39: Hang, R. (N/A) Woman holding two tulips. [Online image][10/12/21] https://i.pinimg.com/ originals/06/ae/8f/06ae8fb4124d99ad6993bff3d79129d0. jpg

Figure 40: Hang, R (N/A) Two women in red dresses. [Online image][10/12/21] https://www.pinterest.co.uk/

Figure 44: Nicopanda (2015) Woman in white Nicopanda clothing AW15 show. [Online Image][10/12/21] https:// www.dazeddigital.com/fashion/gallery/19321/3/ nicopanda-aw15 Figure 45: Nicopanda (2017) Women in red tulle dress. [Online image][10/12/21] https://www.nicopanda.com/ pages/fw-2017?view=gallery&page=look-10 Figure 46: Wales, C. (2021) Adele for The Face Magazine. [Online Image] [12/01/21] https://theface.com/music/ adele-new-album-30-candice-carty-williams-interviewvolume4-issue9-burberry-stormzy Figure 47: Adler, L. (2021) The Magic of Gels. [Online Image] [12/01/21] https://learn.lindsayadlerphotography. com/product/the-magic-of-gels/ Figure 48: Beleiu, D. (2018) Freak Like Me. [Online Image] [12/01/21] https://anneofcarversville.com/style-photos/20 18/7/3/7trg7qmegdrjo1qkuk0ekvbl1md0vt

Figure 49: Munoz, K. (2021) No title, boy. Fucking Young! Magazine [Online Image] [12/01/21] https://fuckingyoung. es/no-title-boy/ Figure 50: Beleiu, D. (2018) Freak Like Me. [Online Image] [12/01/21] https://anneofcarversville.com/style-photos/20 18/7/3/7trg7qmegdrjo1qkuk0ekvbl1md0vt Figure 51: Lamb, R. (N/A) Fashion in Motion. [Online Image] [12/01/21] https://www.anothermag.com/fashionbeauty/gallery/7219/grace-wales-bonner/5

Figure 57: Duong, C. (N/A) IN THE MOOD FOF LOVE. [Online Image] [12/01/21] https://www.behance.net/ gallery/88606511/IN-THE-MOOD-FOR-LOVE-LOVE-IN-THEWAR Figure 58: Figure 53: Katayama, M. (2018) New Masculinity! Photography by Matheus Katayama. [Online Image] [12/01/21] https://www.kaltblut-magazine.com/ new-masculinity-photography-by-matheus-katayama/

Figure 52: Zhipeng, L (2019) Flowers and Fruit. [Online image][10/12/21] https://www.dazeddigital.com/artphotography/gallery/28195/1/lin-zhipeng Figure 53: Katayama, M. (2018) New Masculinity! Photography by Matheus Katayama. [Online Image] [12/01/21] https://www.kaltblut-magazine.com/newmasculinity-photography-by-matheus-katayama/ Figure 54: Duong, C. (N/A) IN THE MOOD FOF LOVE. [Online Image] [12/01/21] https://www.behance.net/ gallery/88606511/IN-THE-MOOD-FOR-LOVE-LOVE-IN-THEWAR Figure 55: Beleiu, D. (2018) Freak Like Me. [Online Image] [12/01/21] https://anneofcarversville.com/style-photos/20 18/7/3/7trg7qmegdrjo1qkuk0ekvbl1md0vt Figure 56: Marble, J. (2018) Lightbox. [Online Image] [12/01/21] http://www.designlovefest.com/2018/10/ lightbox-2/

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