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21_ 9 AUT_MN/W_NTER 14/15


FASH20032 _ Promotion&context ML_ Michelle hughes BY Aimee joughin _ N0439441 Kellie hooper _ n0430228 STephanie gArrard _ N0444846


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Fig 4 / Paintaway II by M. Chase II, 2013

Fig 3 / Antlers, 2014

Fig 2 / Mirror, 2014

I N S_ D E

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Cover Fig 1 / Paintaway by M. Chase, 2012


6 21_9 10 12 14

Cutting Edge Aquatic Aesthetic Pull Shapes

18 Romantic Illusionist 20 Folklore 22 Woodlands

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Marble Art Molten Metallics Concrete Ideas

34 Inspiration 35 Packaging 36 References

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We at 21_9 are a young trend-forecasting agency, committed to introducing our clients to the next big thing. We communicate political, economical, social, technological and sustainable trends through fashion visuals in four categories. Within creative direction we focus on the story behind the trend – the overarching ideas that are transformed into elements of the related collections and in-store environments. These creative direction trends go on to influence trends within print and graphic, sports- and menswear and visual merchandising. This document entails trends for Autumn/Winter 2014/2015, with reference to macro trends. The trend book is split into three different creative directions and filters into the appropriate transitional trends. It is aimed at designers who wish to obtain vital information on up-and-coming trends in order to create relevant collections.

Fig 5 / Daum Space by Mass Studies, 2012

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G_O M E T R I C

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CREATIVE DIRECTION Dubbed ‘the turbulent teens’, this decade has already struggled with a series of downfalls. Our society has been affected by a double-dip recession, strikes and an up-and-down economy. This has led to a deeper consideration of ourselves in terms of the universe through looking into space, nature and within our bodies. We are now more than ever interested in all things related to space and exploration thereof. Due to recent technological advances, processes and products that were once considered impossible are now probable and within our reach. More and more artists and designers consider scientific and mathematical ideas within their work, and collaborate with specialists thereof. This has lead to a transitional trend in terms of geometric shapes and futuristic installations, which has filtered through to our runways and store environments.

Fig 6 / As Fig 2

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Fig 9 / Ellery by S. Zaman, 2012

Fig 8 / Ara 117 by M. Shlian, 2013

Fig 7 / Chloé by L. Colombo, 2012

PRINT&GRAPHIC

C u t_ i n g EDGE


Fig 10 / Sportsmax by C. McDean, 2013

Pantone Swatches 7660C Aniline Grey 403C Nubuck Grey 429C Mist 7527C Oatmeal BLACK6C Waterway

The Laser Cut Trend / Due to technological advances in laser cutting techniques, we are now able to mass-produce intricate patterns on a variety of fabrics. These designs are featured on all types of garments and even leather bags and purses, and vary from floral patterns to geometrical shapes. This trend has been spotted on the catwalks of ChloĂŠ and harmonises with a more neutral and monochrome colour palette during the autumn/winter season.

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Fig 14 / C.E at Seek by A. Joughin, 2014

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Fig 13 / Latex Jacket by G. Coelho, 2013

Fig 12 / Rianne Ten Haken by P. Riches, 2013

Fig 11 / Gurafiku by S. Sugiyama, 2008

SPORTSWEAR

A Q u A T_ C A _S T H E T I C


The Neoprene & Transparent Trend / Neoprene fabric has come a long way since the days we merely associated it with aquatic wet suits – it has become a striking and noticeable fashion fabric within its own right. Designers choose to use it due to its sturdiness and ability to create shapely and structured garments inspired by sportswear. This, in combination with sheer and transparent fabrics such a mesh, chiffon and plastic, leads to futuristic aesthetics in boxy, geometrical shapes.

Fig 16 / S/S 14/15 Backstage by L. Swee, 2013

Fig 15 / Jacquemus A/W 14/15 by Y. Vlamos, 2014

Pantone Swatches 7527C Cirrus 7543C Altostratus BLACK6C Cumulonimbus 1665C Bloodorange 403C Riverstone

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VM&INSTORE

Fig 17 / Fifth Avenue Shoe Repair by Guise, 2009

Fig 18 / Modern Minimalist Hangers by C. Lundgren, 2009

PULL S H A P_ S

The Geometric Shapes Trend / We have moved on from the trend of scaffolding and exposed brickwork and now focus on cleaner and more graphic installations within our store environments. We are now seeing large 3D frames, futuristic clothes hangers and abstract typography in great big spaces. This trend can also be seen within art works of, for example, Lucas Sim천es, which can be featured within visual merchandising. The colour pallet for this trend is relatively muted and monochrome to concentrate on the shapes rather than the colour.

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Fig 19 / Fifth Avenue Shoe Repair II by Guise, 2009 Fig 20 / At Night I Fly at Premium by A. Joughin, 2014

Fig 21 / Desmem贸rias by L. Sim玫es, 2010

Pantone Swatches COOL GRAY 1C Dust 429C Verve BLACK 6C Underground 433C Noir 7449C Vamp 15


NOWHER_

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CREATIVE DIRECTION With financial woes still looming over Europe as well as civil war and potential escalating conflicts casting a shadow worldwide, we look to a constant subject in nature. We are breaking away from our roots through taking a break from social media and reflecting on the outdoors. Biodiversity is an extremely important macro trend that is driving our generation to become more aware of the surrounding environment and what it has to offer. Inventing new and innovative ways to get the most from the natural environment is key. From products that change within different atmospheres to developing plants that can generate our electricity or even grow lace, we are able to see certain varieties of plant life and habitats as both, important and desirable for our future prospects. The ability to see beauty within nature and appreciate natural products and handcraft is key for autumn/winter 2014/2015. Colours are pulled from nature, including woody and earthy tones alongside poignant colours inspired by flowering plants. This not only springs from the countryside, but also from the steady increase of cultivating in this modern era as tradition meets eco rustic values.

Fig 22 / As Fig 3

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PRINT&GRAPHIC

Fig 23 / Ethel Vaugh at Premium by S. Garrard, 2014

Fig 25 / Y Hyères Festival by Y. Gross, 2011

RomantIc i l _u s i o n i s t

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The Graphic Floral Trend / The print trend for this season captures a romantic and ethereal mood. The use of natural references and images of reflected floral prints, represent this theme perfectly. Painterly interpretations of floral patterns will be poignant, with the use of watercolor-like finishes, as well as the manipulation of imagery in order to create an overall dreamy impression.

Fig 24 / Double Exposure Portraits by D. Mountford, 2011


Pantone Swatches 7687C Vanda Blue 574C Lichen Green 252C Snap Dragon 584C Tonga Yellow 484C Terracotta 631C Aquamarine

Fig 26 / Maxi Pouch LaGranja by Zubi, 2014

Fig 27 / Criminal Damage by S. Garrard, 2014

Fig 28 / Multicolour Bark, 2012

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MENSWEAR

F O L K L _R E Fig 29 / Marshland by La Cie Vantis, 2014

Pantone Swatches 7624C Yew Berry 4485C Silt 4625C Sequoia

Fig 31 / Folk Men by Anerkjendt, 2014

Fig 30 / Accidental Bear at Seek by S. Garrard, 2014

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Fig 33 / Steffen Norgaard by Accidental Bear, 2013 Fig 32 / Moss by La Cie Vantis, 2014

The Folk/Tribal Trend / Rich tapestry fabrics are the heart of this theme, inspired by skilled craftsmen of past generations. As the qualities and origins of materials become more important, so does the contrast created when these are used alongside different textures and patterns in an array of patchworks. Modernism meets function in simple pieces made from the highest quality materials, mixing expensive tastes with carefree attitudes.

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VM&INSTORE

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Fig 35 / Pharmacy Woodland VM by Lairesse, 2014

Fig 34 / Sonnenstrahlen in Solacher Forst I by J. Donelly, 2014

W o_D L A N D S

Fig 36 / Current/Elliot VM by S. Garrard, 2014

The Tree Trend / Autumn/Winter 2014/2015 will see the shift towards us becoming part of a global community, which seeks inspiration from different cultures. We will also be more aware of the importance of sustainability. Paying more attention to the impact we are having on the planet will reflect on the appreciation of natural and unfinished products with handcrafted touches. Stores will focus on bringing the outdoors to the forefront of the interior; creating indoor sanctuaries.


Pantone Swatches 583C Android Green 484C O+ 7568C Elm 1615C Hazel

Fig 37 / Current/Elliot VM II by S. Garrard, 2014

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Fig 40 / Aesop at Merci by March Studio, 2014

Fig 39 / Starbucks VM by Starbucks, 2012

Fig 38 / Heinz Bauer Manufakt at Premium by A. Joughin, 2014


S U R F A C _S


CREATIVE DIRECTION Our previous consumer habits have led to over-consumption of goods in the west. Since being faced with the recession we have struggled to recover, as, in order for this to happen, we must spend money that will in return be pumped back into the economy. However this is not happening as we have already consumed enough and feel no necessity to buy anything else. We are working less, earning less, buying less yet experiencing more. We are choosing memories over possessions and favour more stripped-back aesthetics, including simplistic industrial and unfinished textures. We are a tactile generation who opt for minimal concrete and marble finishes and we appreciate the texture of an industrial surface. Spending our money on experiences and memories, has led to inventions such as ‘The House That ÂŁ100k Built’. This transitional trend has started to show in fashion collections and in-store environments through marble effects and exposed cement walls.

Fig 41 / As Fig 4-

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Fig 42 / Black Marble Texture by Wall Press, 2014

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Fig 45 / Spring 2014 #24 by R. Rodriguez, 2013

Fig 44 / Mary Katrantzou A/W 13 by Vogue, 2013

Fig 43 / Mary Katrantzou A/W 13 by M. Tondo, 2013

PRINT&Graphic

M _R B L E A R T


Fig 46 / Balenciaga Marble Print Silk Top by Kom-Rad, 2013

Pantone Swatches 403C Iron Maiden 429C Aero 744BC Muted Machinery 7527C Stone Cold Silver BLACK6C Acid Etched Grey

The Marble Trend / A surface print that has started to feature on all types of garments is the marbled effect. Previously showcased in collections by Balenciaga, it is an upcoming trend for the autumn/winter 2014/2015. The effect focuses on a colour pallet of muted grey tones but it is not always restricted to neutrals, sometimes adding shades of blue and purple. This trend is versatile as it can be quite an obvious print or more subdued and abstract.

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Fig 50 / S/S 14 by Y3, 2013

Fig 48 / Gareth Pugh A/W 14/15 by K. Weston-Arnold

Fig 49 / Gareth Pugh A/W 14/15 II by K. Weston-Arnold

Fig 47 / Distorted Building Reflection, 2010

SPORTSWEAR

MOLTEN M E T A L _I C S


Fig 51 / Shiny Metal by M. Piana, 2013

Pantone Swatches 7545C Rough Rider COOL GRAY 1C Mirror, Mirror... 5523C Line Reactor 2717C Welder 7449C Chemical Plant

The Metallic Trend / Heavily inspired by sportswear shapes and silhouettes, reflective and metallic materials are back on this season’s runways. The lose shapes and clean colour pallet create a modern take on a 90s classic. Spotted at Gareth Pugh’s show, these fabrics represent shiny metal surfaces, in contrast to matte cement facade. The nature of the trend limits the selection of colours to monochrome tones, however the shiny materials can show flashes of Technicolor when hitting the light.

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VM&INSTORE

c o n c r _t e IDEAS

Fig 55 / Concrete, 2013 30

Fig 53 / Saint Laurent VM II by H. Slimane, 2013

Fig 54 / Saint Laurent VM III by H. Slimane, 2013

Fig 52 / Saint Laurent VM I by H. Slimane, 2013


Fig 57 / Neon Lights at Premium by K. Hooper, 2014

Fig 56 / S/S 2013 NGC 6312 by V. Z. Wang, 2013

Pantone Swatches 403C Moon Landing COOL GRAY 1C No Place Like Chrome BLACK 6C Rock Steady

The Exposed Concrete Trend / We have moved on from the typical industrial trend of exposed pipe- and brickwork and instead using concrete surfaces. We are seeing much more unfinished, textured wall surfaces such as concrete combined with sleek marble effect finishes. These communicate a juxtaposed mood and in addition to these, mirroring and lighting is used to create a ‘new age’ industrial aesthetic. The colour pallet for this trend is a range of monochrome; black, white and grey shades.

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A P P E N D_X

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INSPIRATION Magazines we used for inspiration in terms of layout and photography included:

Fig 61 / J’N’C, 2014

Fig 59 / MINUS MINUS PLUS, 2014

Bright Diaries – Bright tradeshow XVIII Interview Sportswear International J’N’C No55 – Cool Cities / Florence The Showroom Days Issue #5 Premium Magazine Fig 58 / BITE Magazine, 2012 Vue / Berlin – Urban Tribes TM Europe Wear Buyers Guide A Question of – Lookbook La Cie Vantas – Lookbook MINUS MINUS PLUS Wanderwonder - Lookbook BITE

Fig 60 / WANDERWONDER Lookbook, 2012 34


Fig 62 / Seta AW 12-13 by Four Plus, 2012

PACKAGING CONCEPT

Fig 65 / A_W 2014/2015 by 210_9, 2014

Fig 64 / Design First by O. Piedboeuf, 2012

Fig 63 / KRAIJ Berlin by L. Banchelli, 2013

We looked at a series of packaging designs to come up with a concept appropriate for our 21_9 trend book. Initially, we really liked the idea of using tracing paper to create different textures within the document. We also found packaging that used metallic and reflective materials, which would link to trends referred to in the trend book. However, to present our clients with a sense of exclusivity, we mocked up the image just above. We want the reader to appreciate that this document is theirs and has not been read by others before, hence why the paper needs to be ripped to reveal the document. Furthermore, the paper of the trend document will have a matte finish with spot UV writing to create a contrast between the visuals and the typography.

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IMAGE REFERENCES Fig 1: CHASE, M., 2012. Paintaway [acrylic paint on ceramic tile]. Available at: http://areaofinterest.com/paintaway. html [Accessed 1 March 2014]. Fig 2: UNKNOWN, 2014. Antlers [online photograph]. Available at: http://2bfamily.tumblr.com/post/27897077331 [Accessed on 1 March 2014]. Fig 3: UNKNOWN, 2014. Mirror [online photograph]. Available at: http://24.media.tumblr.com/ bf083b0ee27995212143ae3cf2942d97/tumblr_mf776se6uW1qjj175o1_500.jpg [Accessed on 27 March 2014]. Fig 4: CHASE, M., 2012. Paintaway II [acrylic paint on ceramic tile]. Available at: http://areaofinterest.com/paintaway. html [Accessed 1 March 2014]. Fig 5: MASS STUDIES, 2012. Daum Space by Mass Studies [online photograph]. Available at: http://www.dezeen. com/2012/10/31/daum-space-by-mass-studies/ [Accessed on 27 Feb 2014]. ¬ Fig 6: As Fig 2 Fig 7: COLOMBO, L., 2012. Chloé, Spring/Summer 2013 [online photograph]. Available at: http://www.dazeddigital. com/fashion/article/14801/1/chloe-womenswear-ss13 [Accessed 2 March 2014]. Fig 8: SHLIAN, M., 2013. Ara 117 [paper]. Available at: http://www.mattshlian.com/sculpturefram2013.html [Accessed 1 March 2014]. Fig 9: ZAMAN, S., 2012. Nicole Pollard in Ellery [online photograph]. Available at: http://stylemeromy.com/2012/02/ fitting-in/ [Accessed 28 Feb 2014]. Fig 10: McDEAN, C., 2013. Laura Kampman for Sportsmax, S/S 2013 [online photograph]. Available at: http:// mode.newslicious.net/2013/01/sportmax-springsummer-2013-laura.html [Accessed 27 Feb 2014] Fig 11: SUGIYAMA, S., 2008. Gurafiku [online]. Available at: http://www.shunsukesugiyama.jpn.org [Accessed 27 Feb 2014]. Fig 12: RICHES, P., 2013. Rianne Ten Haken for Marie Claire [online photograph]. Available at: http://www. designscene.net/2013/02/rianne-ten-haken-marie-claire.html [Accessed 27 Feb 2014]. Fig 13: COELHO, G., 2013. Latex Jacket [online photograph]. Available at: http://lovaspeti.tumblr.com/ post/63399154106/styletrove-latex-jacket-by-gloria-coelho [Accessed 27 Feb 2014]. Fig 14: JOUGHIN, A., 2014. C.E at Seek [online photograph]. Available at: http://gin-in-berlin.blogspot.co.uk/2014/01/ dont-go-seek.html [Accessed 27 Feb 2014]. Fig 15: VLAMOS, Y., 2014. Jacquemus Autumn/Winter 2014/2015 [online photograph]. Available at: http://www. style.com/fashion-shows/fall-2014-ready-to-wear/paris/jacquemus/collection/JAC_0011.450x675.JPG [Accessed 28 Feb 2014]. Fig 16: SWEE, L., 2013. Jacquemus S/S 2014-15 Backstage [online photograph]. Available at: http://novembremagazine. com/jacquemus-s-s-2014-15-backstage [Accessed 28 Feb 2014]. Fig 17: GUISE [pseud.], 2009. Fifth Avenue Shoe Repair by Guise [online photograph]. Available at: http://www. dezeen.com/2009/12/10/fifth-avenue-shoe-repair-by-guise/ [Accessed 28 Feb 2014]. Fig 18: LUNDGREN, C., 2009. Modern Minimalist Hangers [online photograph]. Available at: http:// matthewryanrivera.com/2009/11/25/hangers/ [Accessed 1 March 2014]. Fig 19: GUISE [pseud.], 2009. Fifth Avenue Shoe Repair by Guise II [online photograph]. Available at: http://www. dezeen.com/2009/12/10/fifth-avenue-shoe-repair-by-guise/ [Accessed 28 Feb 2014]. 36


Fig 20: JOUGHIN, A., 2014. At Night I Fly at Premium [online photograph]. Available at: http://gin-in-berlin.blogspot. de/2014/01/premium.html [Accessed 1 March 2014]. Fig 21: SIMÕES, L., 2010. Desmemórias [cut-out photographs and acrylic sheets]. Available at: http://www.lucassimoes. com.br/desmemorias [Accessed 1 March 2014]. Fig 22: As Fig 2 Fig 23: GARRARD, S., 2014. Ethel Vaugh at Premium [photograph]. Berlin. Fig 24: MOUNTFORD, D., 2011. Double Exposure Portraits [online photograph]. Available at: http://abduzeedo. com/double-exposure-portraits-dan-mountford [Accessed 1 March 2014]. Fig 25: GROSS, Y., 2011. Yann Gross for Hyères Festival [online photograph]. Available at: http://trendland.com/ yann-gross-for-hyeres-festival-2011/ [Accessed 2 March 2014]. Fig 26: ZUBI, 2014. Maxi Pouch LaGranja [online photograph]. Available at: http://zubidesign.com/shop/maxipouch/ maxi-pouch-lagranja/ [Accessed 2 March 2014]. Fig 27: GARRARD, S., 2014. Rack of Criminal Damage Clothing [photograph]. Berlin. Fig 28: UNKNOWN, 2012. Multicolour Bark [online photograph]. Available at: http://justcallmegrace.tumblr.com/ post/37084431645 [Accessed 3 March 2014]. Fig 29: LA CIE VANTIS, 2014. Marshland [photograph]. La Cie Vantis Lookbook. Fig 30: GARRARD, S., 2014. Accidental Bear at Seek [photograph]. Berlin. Fig 31: ANERKJENDT, 2014. Anerkjendt Folk Men [online photograph]. Available at: http://accentclothing.com/ blog/tag/anerkjendt/#sthash.bvdL01MT.dpbs [Accessed 2 March 2014]. Fig 32: LA CIE VANTIS, 2014. Moss [photograph]. La Cie Vantis Lookbook. Fig 33: ACCIDENTAL BEAR, 2013. Steffen Norgaard [online photograph]. Available at: http://i2.wp.com/ accidentalbear.com/wp-content/uploads/2013/12/Steffen-Norgaard11.jpg?resize=730,941 [Accessed 2 March 2014]. Fig 34: DONELLY, J., 2014. Sonnenstrahlen in Solacher Forst 1 [online photograph]. Available at: http://www.panoramio. com/photo_explorer#view=photo&position=75&with_photo_id=82537592&order=date_desc&user=4398220 [Accessed 2 March 2014]. Fig 35: LAIRESSE, 2014. Pharmacy Woodland VM [online photograph]. Available at: http://retaildesignblog.net/wpcontent/uploads/2012/11/Lairesse-pharmacy-Concrete-Architectural-Associates-Amsterdam.jpg [Accessed 3 March 2014]. Fig 36: GARRARD, S., 2014. Current/Elliot VM [photograph]. Berlin. Fig 37: GARRARD, S., 2014. Current/Elliot VM II [photograph]. Berlin. Fig 38: JOUGHIN, A., 2014. Heinz Bauer Manufakt at Premium [photograph]. Berlin. Fig 39: STARBUCKS, 2012. Starbucks VM [online photograph]. Available at: http://i.dailymail.co.uk/i/ pix/2012/03/17/article-0-1227D8AD000005DC-390_638x480.jpg [Accessed 2 March 2014]. Fig 40: DEZEEN, 2014. Aesop at Merci by March Studio [online photograph]. Available at: http://static.dezeen.com/ uploads/2011/01/dzn_Aesop-at-Merci-by-March-Studio-1.jpg [Accessed 3 March 2014]. Fig 41: As Fig 4 37


Fig 42: WALL PRESS, 2014. Black Marble Texture [online photograph]. Available at: http://asmgrant.org/room/ black-marble-texture-home-design-information.html [Accessed 3 March 2014]. Fig 43: TONDO, M., 2013. Mary Katrantzou A/W 13 [online photograph]. Available at: http://www.style.com/ fashionshows/complete/slideshow/F2013RTW-MKATRANTZOU/#15 [Accessed 3 March 2014]. Fig 44: VOGUE, 2013. Mary Katrantzou A/W 13 [online photograph]. Available at: http://media.vogue.com/ files/2013/02/17/mary-katrantzou-rtw-fw2013-details-29_154417818060.jpg [Accessed 3 March 2014]. Fig 45: RODRIGUEZ, R., 2013. Spring 2014 #24 [online photograph]. Available at: http://www.style.com/ fashionshows/complete/slideshow/S2014RTW-RRODRIGUEZ/#24 [Accessed 3 March 2014]. Fig 46: KOM-RAD, 2013. Balenciaga Marble Print Silk Top [online photograph]. Available at: http://kom-rad.com/ post/64995491821/asthetiques-balenciaga-marble-print-silk-top [Accessed 3 March 2014]. Fig 47: UNKNOWN, 2010. Distorted Building Reflection [online photograph]. Available at: http://www.murraymitchell. com/wp-content/uploads/2011/10/distorted_building_reflection.jpg [Accessed 2 March 2014]. Fig 48: WESTON-ARNOLD, K., 2014. Gareth Pugh A/W 14/15 [online photograph]. Available at: http://www.style. com/fashionshows/complete/slideshow/F2014RTW-PUGH/#32 [Accessed 3 March 2014]. Fig 49: WESTON-ARNOLD, K., 2014. Gareth Pugh A/W 14/15 II [online photograph]. Available at: http://www. style.com/fashionshows/complete/slideshow/F2014RTW-PUGH/#15 [Accessed 3 March 2014]. Fig 50: Y-3, 2013. S/S 14 [online photograph]. Available at: http://ida.freshnet.com/2013/10/13/random-inspirationprt-35/y-3-ss14/ [Accessed 2 March 2014]. Fig 51: PIANA, M., 2013. Shiny Metal [online photograph]. Available at: https://fbcdn-sphotos-e-a.akamaihd.net/ hphotos-ak-ash3/535814_418298048186856_1219419887_n.jpg [Accessed 27 March 2014]. Fig 52: SLIMANE, H., 2013. Saint Laurent VM I [online photograph]. Available at: http://fuckingyoung.es/saintlaurent-montaigne/ [Accessed 3 March 2014]. Fig 53: SLIMANE, H., 2013. Saint Laurent VM II [online photograph]. Available at: http://fuckingyoung.es/saintlaurent-montaigne/ [Accessed 3 March 2014]. Fig 54: SLIMANE, H., 2013. Saint Laurent VM III [online photograph]. Available at: http://fuckingyoung.es/saintlaurent-montaigne/ [Accessed 3 March 2014]. Fig 55: UNKNOWN, 2013. Concrete [online photograph]. Available at: http://media-cache-ak0.pinimg.com/ originals/d6/ae/98/d6ae988923c5bbf3e793e79ce3e96655.jpg [Accessed 3 March 2014]. Fig 56: WANG, V.Z., 2013. S/S 2013 NGC 6312 [online photograph]. Available at: http://thecreatorsproject.vice.com/ blog/vega-zaishi-wangs-ss-2013-collection-echoes-the-intergalactic-vision-of-ialpha-lyraei [Accessed 3 March 2014]. Fig 57: HOOPER, K., 2014. Neon Lights at Premium [photograph]. Berlin. Fig 58: BITE MAGAZINE, 2012. BITE magazine// Issue 5 October 2012 [online photograph]. Available at: http:// showtime.arts.ac.uk/IsabellYaldaHellysaz [Accessed on 2 March 2014]. Fig 59: MINUS MINUS PLUS, 2014. Minus Minus Plus by Irene Shkarovska, via Behance [online photograph]. Available at: http://www.behance.net/gallery/Minus-Minus-Plus/13140585 [Accessed on 2 March 2014]. Fig 60: WANDERWONDER, 2012. WanderWonder Collection ’12 Lookbook [online photograph]. Available at: http://streething.com/news/threads/5108/wanderwonder-collection-12-lookbook/ [Accessed on 3 March 2014]. Fig 61: J’N’C MAGAZINE, 2014. J’N’C Issue 1/2014 [online photograph]. Available at: http://www.jnc-net.de/en/ 38


magazine/current-issue.html [Accessed on 2 March 2014]. Fig 62: FOUR PLUS, 2012. SETA AW 12-13 [online photograph]. Available at: http://thinktanklab.blogspot. co.uk/2012/11/seta-aw12-13.html [Accessed on 3 March 2014]. Fig 63: BANCHELLI, L., 2013. KRAIJ Berlin techno label 2013 [online photograph]. Available at: http://www. behance.net/gallery/KRAIJ-Berlin-techno-label-2013/7777837 [Accessed on 1 March 2014]. Fig 64: PIEDBOEUF, O., 2012. Design First [online photograph]. Available at: http://carddsgn.com/business-cardgallery/designfirst [Accessed on 2 March 2013]. Fig 65: 21_9, 2014. A_W 2014/2015 [photograph]. Nottingham.

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21 _ 9 By Aimee joughin _ N0439441 Kellie hooper _ n0430228 STephanie gArrard _ N0444846


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