Professional Practice Report: Draft 2 & Feedback

Below shows a second draft of the report, with annotated feedback from my supervisor shown below. I was very surprised to find that there were mainly citation amends and grammatical changes opposed to content-led changes. I found this surprising as I struggled to get into writing the report at first, not quite knowing what tone of voice or structure to use, however felt reassured by this feedback.

Professional Context 1: Interim Report

 

Research Question: “A cross-cultural study in an aim to understand ‘how Social Media and Magazines within the Beauty and Fashion Industries affect our sense of body image and self-perception?’”

This report aims to contextualise progress to date in regards to resolving my working research question underpinned by a range of both professional contexts and theoretical perspectives.

As a Graphic Designer working with the Beauty and Fashion Industries on a National and International scale, I encounter ethical, social and cross-cultural issues such as, working with photography of objectified and emaciated female models. Such issues led me to question how messages being communicated may be perceived and internalised by the viewer, shaping my research question.

The Fashion and Beauty Industries are becoming more digitised through advanced technologies of Social Media and Beauty Applications for example, adding a different dimension to the media than magazines. Therefore I am interested to see how such platforms are affecting the self-perceptions of young females Internationally (16-24) with users having full curational control of both uploaded content and ‘live feed’ opposed to ideals being dictated.

In regards to a cross-cultural and International context, I am particularly interested in Japan, exploring how young females (16-24) are both represented and perceived through social media and magazines in response to the rise in blogger culture, and obsession with cultural icons. I am also interested in finding out the impacts of Western society, trends and brands dominating Eastern cultures in relation to the effects on ones self-perception and body image.

Research to date has worked towards answering my research question and learning objectives. This research has taken form of qualitative, quantitative, ethical interviews and critical-design led approaches that have shaped the direction of my current practice and methodologies.

  1. Objectives

My original proposal stated the following objectives in relation to my research question:

  1. To understand the ways in which Social Media and Magazines can affect self-perceptions and issues:
  1. A) With body image (Females, 16-24)
  2. B) With body image on a cross-cultural scale (Females, 16-24; Tokyo, Japan).
  1. To understand policies and guidelines within the Fashion and Beauty Industries encouraging positive body image.
  1. To work with and interview those both actively working in the Fashion and Beauty Industries, and those on a consumer/follower/user basis to compare thoughts, feelings and actions in relation to body image and self-perceptions.
  1. To prototype a range of design work targeted at 16-24 year old women, highlighting impacts of Social Media and Magazines on self-perceptions and body image.
  1. To derive a National or International Policy for use within the Fashion and Beauty Industries, based on collated research, interviews and experiences throughout this project.

These are the objectives that I will continue to work towards throughout this project. 

  1. Research Activity

2.1. Creative/Interdisciplinary Practitioners

Research to date has led me to a range of Creative/Interdisciplinary Practitioners whom resonate with my practice both in regards to theory, message and design, supporting the foundations for further research and exploratory prototype work:

  • Dunne and Raby
  • Luisa Omielan
  • Terry Richardson
  • Anna Potter (Top Girl Studio)
  • Barbara Kruger
  • Jessica Jean
  • Toni Hollowood
  • Bobbie Gastall (Bobbie Rae)
  • Scarlett Carson

Dunne and Raby (2007) have influenced my research and prototyping to date, utilising critical-design throughout my ‘Instagram Post’ project, allowing for “design proposals to challenge assumptions, preconceptions and givens”. Using this methodology has not only informed my practice, but also the direction of my research to date, with Instagram being a platform of promotion in order to directly engage and gain feedback from the target audience.

Anna Potter (2016) resonates with my practice utilising underlying satirical tones and cross-cultural contexts derived from media, cultural icons and the Internet particularly supporting my exploratory project titled, “What’s My Name Again?” in relation to message, tone, underlying context and aesthetics.

Discussion, debate and ideas generation, let to a collaborated with Bobbie Rae, an Interdisciplinary Practitioner in order to develop and strengthen practical ideas working towards a resolved visual Zine, “How to be a Blogger”. Working with Bobbi has allowed for a different perspective of an original idea to be considered, whilst adding a different aesthetic and tone to the concept, deriving a stronger outcome.

2.2. Organisations Supporting the Creative Industries

2.2a. Local/National:

In my research I have noted that Studio Spaces and Recruitment Agencies are part of my professional practice, however have not had to drawn upon these to date. I have found it more relevant to draw upon my Industry contacts to secure Interviews and Meetings with individuals/organisations in an aim to work towards answering my research question and achieving my objectives.

  • Industry Contacts/Links have secured Interviews/Meetings with:
  1. ASOS Corporate Responsibility and Design Team (ASOS HQ, London)
  2. Luisa Omielan (Comedian, London)
  3. Tam Dexter (Professional Model, Leicester)
  4. Zak Ahmed (CEO, Luxe to Kill and Runway96, Manchester)
  5. Toni Hollowood (MA Fashion Communication, CSM, London)

Social Media has again been invaluable in regards to feedback and local engagement allowing for interaction and further prototyping/idea development. I am hoping to engage with HE Institutions and Various Fashion Programmes in the UK in regards to talking to Japanese females (16-24), in order to gain International Eastern insights in a contrasting Western context.

  • Social Media:

Instagram (www.instagram.com/muntyandanielle)

  • HE Instituations:
  1. Leeds University
  2. Leeds Beckett
  3. UAL: Central St Martins (London)
  4. Manchester Metropolitan University

2.2b. International:

In my research I have noted that Self-Promotion is a key-part of my professional practice, in regards to working Internationally and establishing a cross-cultural client base, however this has not been the primary focus of my International context.

I have instead utilised various Self-Promotion platforms for promotion of my MA research and exploratory practical work in order to gain feedback, and share ideas with a critical-design led approach as noted above in relation to Instagram.

Self-Promotion Platforms include:

  • Behance (www.behance.net/daniellemuntyan)
  • Professional Website (www.daniellemuntyandesign.dunked.com)
  • Social Media: Instagram (instagram.com/muntyandanielle)

Tokyo:

In January (16th – 23rd) 2017 I will be visiting Tokyo in an aim to carry out cross-cultural field-research. To ensure research is carried out effectively to help answer my research question, the following research methodologies will be considered:

  • Visual Research
  • Comp Shopping
  • Verbal Research:
  1. Interviews
  2. Focus Groups
  • Publication (Magazine) Research
  • Technological Research

I had hoped on engaging with HE Institutions and Various Fashion Programmes in Tokyo, Japan, in hope of talking to Japanese females (16-24), in order to gain insight on how social media and Western Brands can affect self-perception and body image. I have however been unable to make contact and therefore hope on speaking with Japanese females in the UK.

HE Institutions Tokyo, Japan:

  • Bunka Fashion College
  • Tokyo Mode Gakuen College of Fashion and Beauticians

I have been put in contact with a translator via Yuko Watanabe located in Tokyo by a contact at Tokyo Disney, should a interview/meeting arise.

2.3. Recent Advances in Technologies

Advances in technologies have in my opinion dictated the direction of promotional media within the industry and therefore has taken priority through research to date.

“Media helps us to shape beauty ideas by showing certain body sizes [as] beautiful and desirable” (Rumsey, 2012) allowing for social media platforms and magazines to participate in this creation, which can be intern damaging to the users/readers self-perception through the internalisation of idealised imagery.

A rise in associated technologies has become prevalent, in regards to Photo-Manipulation, Filters, VR, Augmented Reality and Photo-Recognition technologies allowing for further development in Application Design, UI/UX and Digital Graphic Design. A key example of advanced technologies is shown demonstrating how such technologies combined with ‘brand engagement’ can be positive to the ‘customer experience’, however potentially damaging to one’s self-perception due to one’s reflection not being ‘real’.

  • Shisiedo Magic Makeup Mirror:

‘Makeup Mirrors’ originally created by Japanese cosmetics brand, Shiseido, allows for one to try on over 50 makeup products using highly advanced facial recognition technologies and augmented reality, showing a the positive impact of such advances. These generated images however can also create distorted perceptions in comparison to one’s true beauty and their actions – “when a person compares their own inner or self image to an image that has been [edited] it can pose the threat to self objectification and self absorption” (Slater and Tiggemann, 2015). In summary, it is technological advances such as this, along with issues surrounding Western ideals of ‘icons’ and bloggers’, which has informed my decision to research further into Japanese Culture.

(Image 1 – Shisiedo Makeup Mirror, Tokyo Flagship Store)

2.4. Policies

Through research to date, I have found policies and guidelines set by various organisations, charities and establishments to promote fair practice, social responsibility and ethical issues surrounding body image, model welfare and mental health within the media.

  • B-EAT (UK)
  • Model Alliance (US)
  • British Fashion Council
  • EDAW – Eating Disorder Awareness Week
  • UK All Party Parliamentary Group on Body Image (APPG)

B-EAT (UK) and the Model Alliance (US) for example, can support, advise, promote and encourage fair and ethical practice in the media, however there is not a binding set of guidelines that enforces all retailers, magazines and brands for example to follow to proactively promote positive body image. This allows for different ‘ideals’ to be portrayed by the media causing mixed messages and perceptions for the viewer.

  • ASOS Model Welfare Policy/Social Responsibility:

The Social Responsibility team at ASOS founded the ‘Model Welfare Policy’, the only brand enforced guidelines ensuring that models have a healthy BMI and have no known mental health conditions, for example. I am interested to see whether such policies would be beneficial on a National or International scale corresponding with Objective 5.

  • Parody Law:

 

Parody law is described as “[the] copying of copyrighted material done for a limited and “transformative” purpose, such as to comment upon, criticize, or parody a copyrighted work” (Stem, 2010) and allows for entitlements as a designer to work with creative freedom commercially. In relation to my current practice, I am working with parody and satirical perspectives in relation to cultural icon, Kylie Jenner through the mocking of her branding to represent a range of key theories and issues that surround self-perception, body image and the media.

(Image 2 – Kylie Cosmetics Logo)

(Image 3 – Exploratory Project Work “What’s My Name Again?!”)

2.5. Theoretical Perspectives

I have researched various theoretical perspectives that underpin my current practice in order to find the most relevant in relation to my research question:

– Self-Perception

– Social Identity

– Consumerism

– Mirror-Stage

– Male Gaze & Self-Surveying Gaze

– Gratification

– Objectification

– Self-Objectification

– Narcissism

– Feminism

– Communication

It has proven evident that the main theories associative with both my practice and that of relevant creative practitioners are Self-Perception and Social Identity.

Self-Perception is key to my current practice shaping my prototyping work, whilst being the anchor point of my research question understanding that, “we interpret our own actions the way we interpret others’ actions, and our actions are often socially influenced and not produced out of our own free will” (Bem, 1972) highlighting how our self-perceptions are created from third-party perspectives in a bid to feel accepted.

Social Identity supports the Self-Perception Theory stating, “ones personal identity and sense of self, is formed through their acceptance or non-acceptance into a social group, and the retrospective intergroup comparisons” being relative to social media and comparative behaviours with perceived ‘ideals’.

In regard to the media, it is argued that “status is not considered here as a scarce resource or commodity, such as power or wealth; it is the outcome of intergroup comparison”, highlighting how the media for example can trigger internalized negative self-perception and intergroup comparison also in order to feel accepted (Turner and Tafjel, 1986).

Future Directions

This project has started encouragingly encompassing the groundwork of theory and contextual understanding in relation to my research question and objectives. Going forwards, I immediately plan on continuing contacting Industry Professionals, Bloggers and Brands in Tokyo ahead of my field-research trip. To support this, I plan on researching Japanese culture, socio-cultural ideals and expectations in further depth. In addition I have arranged a field-research trip to London (7th – 8th January 2017), whereby I plan on carrying out the same methodologies as noted in 2.2b that can be used comparatively in order to understand how International brands affect self-perceptions and body image on a cross-cultural scale.

Research Methodologies Include:

  • Visual Research
  • Comp Shopping
  • Verbal Research: Interviews
  • Publication (Magazine) Research
  • Technological Research

Industry links have secured a meeting with ASOS’ Social Responsibility and Design Teams, whereby I will be discussing the ASOS Model Welfare and Positive Body Image policies further specifically in relation to my research question and objectives. Furthermore I plan on speaking with CSM MA student and designer Toni Hollowell, whilst interviewing a Supermodel and an International Female Blogger Collective, Milk and Honey, to gain a different insight and perspective regarding the issues noted in my research question.

Furthermore, as a result of idea-led discussions with Commercial Photographer Scarlett Carson, an exploratory collaboration allowing for an editorial and commercial perspective is currently being planned.

Word Count: 2199

 

Bibliography:

Bem, D. J. (1972). Self-perception theory. Advances in experimental social psychology6, 1-62.

Dunne and Raby. (2007). Critical Design FAQ. Available: http://www.dunneandraby.co.uk/content/bydandr/13/0. Last Accessed: 28th November 2016.

Rumsey, Nichola, and Diana Harcourt. (2012) The Oxford Handbook of the Psychology of Appearance. Oxford: Oxford UP, 2012. Print. 217

Slater and Tiggemann (2015). Psychology of Women Quarterly. The Mediating Role of Appearance Comparisons in the Relationship Between Media Usage and Self-Objectification in Young Women. P. Unknown.

Stim, R. (2010). What is Fair Use?. Available: http://fairuse.stanford.edu/overview/fair-use/what-is-fair-use/. Last Accessed: 1st November 2016.

Turner, J. C., & Tajfel, H. (1986). The social identity theory of intergroup behavior. Psychology of intergroup relations, 7-24.

Images:

[Image 1] https://www.google.co.uk/search?q=shiseido+makeup+mirror&biw=1471&bih=1273&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjWuqnvnszQAhXCAMAKHWGqAgIQ_AUIBygC#imgrc=qF5ISqPangXcyM%3A Last Accessed: 28/11/16

[Image 2] https://smediacacheak0.pinimg.com/564x/fb/2f/77/fb2f775c990326b393aa776bcb6330e3.jpg
Last Accessed: 28/11/16

Feedback:

professional-context-1-essay-2amm-comments-pdf-1 professional-context-1-essay-2amm-comments-pdf2 professional-context-1-essay-2amm-comments-pdf3 professional-context-1-essay-2amm-comments-pdf-4 professional-context-1-essay-2amm-comments-pdf-5 professional-context-1-essay-2amm-comments-pdf6 professional-context-1-essay-2amm-comments-pdf7 professional-context-1-essay-2amm-comments-pdf8

Continue Reading

Professional Practice Report: Draft 1 & Feedback

Below shows the first draft of my report and feedback received, during a tutorial session with my supervisor. I found this session particularly session due to confusion initially as to whether the 2000 words should be an essay, or a report. Once clarified I found the report much easier to understand in regard to the amendments which needed to be made and why, in order to work efficiently and more accurately from the start allowing for better time keeping whilst initially getting started.

The feedback also highlighted that I could talk about my research topic in relation to local, national and international context being more relevant than studios and exhibition spaces at this point in my practice, which I feel was holding me up also on utilising the key content required to meet the set learning objectives for the module.

As I have not written academically also since my BA dissertation, I found it took some time to get back into the style of writing, adapting to a different tone of voice and triangulation to that I have been used to recently in my professional working practice.

report

report-2
report-3

Interim Report

Below shows the revised report in relation to the feedback noted and discussed above.

 

Research Question: “A cross-cultural study in an aim to understand ‘how Social Media and Magazines within the Beauty and Fashion Industries affect our sense of body image and self-perception?’”

This report aims to contextualise progress to date in regards to resolving my working research question underpinned by a range of both professional contexts and theoretical perspectives.

As a Graphic Designer working with the Beauty and Fashion Industries on a National and International scale, I encounter ethical, social and cross-cultural issues such as, working with photography of objectified and emaciated female models. Such issues led me to question how messages being communicated may be perceived and internalised by the viewer, shaping my research question.

The Fashion and Beauty Industries are becoming more digitised through advanced technologies of Social Media and Beauty Applications for example, therefore I am interested to see how such platforms are affecting the self-perceptions of young females Internationally (16-24) with users having full curational control of both uploaded content and ‘live feed’.

In regards to a cross-cultural and International context, I am particularly interested in Japan, exploring how young females (16-24) are both represented and perceived through social media and magazines in response to the rise in blogger culture, and obsession with cultural icons.

I have undertaken a vast range of research to date working towards answering my research question and learning objectives. This research has taken form of qualitative, quantitative and critical-design led approaches that have shaped the direction of my current practice and methodologies.

 

My original proposal stated the following objectives in relation to my research question:

 

Creative/Interdisciplinary Practitioners

My research to date has led me to a range of Creative/Interdisciplinary Practitioners whom resonate with my practice both in regards to theory, message and design, supporting the foundations for both further theoretical and contextual research and exploratory practical work:

  • Dunne and Raby
  • Luisa Omeilan
  • Terry Richardson
  • Sam Roddick
  • Barbara Kruger
  • Anna Potter (Top Girl Studio)
  • Milk and Honey
  • Dove
  • Jessica Jean
  • Toni Hollowood
  • Bobbie Gastall (Bobbie Rae)
  • Scarlett Carson

[make dunne and raby one of main people in relation ton instagram project]

Due to underlying satirical tones and cultural contexts, Luisa Omelian and Anna Potter are extremely resonant in relation to my practice. Omelian is a Comedian whom discusses issues of Body Image and Mental Health in a female context, taking a focus on cultural and societial issues and trends. Potter, also known by her pseudonym of ‘Top Girl Studio’, is a Graphic Designer whom mocks trivial issues derived from media, cultural icons and the Internet through the use of typography, copywriting, poster design and publication design. In relation to exploratory and developing practical projects, it is apparent through message, tone, underlying context and aesthetic that such practitioners have inspired by practice whilst supporting it contextually.

Furthermore, through discussion, debate and ideas generation, I have formed collaborations with Bobbie Rae, an Interdisciplinary Practitioner in order to develop, push, refine and strengthen practical ideas working towards a resolved visual supporting my working research question.

Organisations Supporting the Creative Industries

Local:

Below shows a range of local organisations that I currently engage with on a regular basis to support and develop my practice.

  • Networking/Idea Sharing Groups: Penguin Posse at HEART
  • The Calls, Studio Space/Mentoring; shared with Gaz Battersby
  • Recruitment Agencies: The Book, Orchard

National:

Noted below are national organisations that currently support my current practice. Debut Magazine are particularly resonant with my current practice, positioning themselves as a publication that supports females working in the creative industries. I recently began with Debut as a Freelance Art Editor, and feel this along with associative networking groups with only further support not only my current practice, but my working research question also.

  • D&AD
  • Debut Magazine/Graphik Magazine
  • Recruitment Agencies: Tailsman Fashion, Fashion & Retail Personnel, Denza, Elite Associates, Christian Bassett
  • Networking Groups: Magma and Laurence King, Debut Magazine

International:

Below shows a list of self-promotion strategies and recruitment agencies used to promote my practice on an international scale. I have found Behance in particular, along with my professional website to be most effective in regards to reaching clients in countries such as Kuwait and Australia. Not only is Behance for example, beneficial to working as a Freelance designer, networking and generating ‘work’ for instance, I also find this platform invaluable for sharing work, ideas and ultimately, conveying a message to an international audience, which is what I feel continues to push and develop my current practice.

  • Behance
  • Professional Website
  • Big Cartel Store
  • Social Media: Professional Instagram, Facebook Business Page, LinkedIn
  • Recruitment Agencies: Christian Bassett (London. Europe. USA. Middle East. Asia Pacific & Japan), Drapers, The BoF

2.3. Recent Advances in Technologies

Whilst technologies and social media have become more developed, advanced and interlinked with my professional practice, it has become natural to use such digital platforms as discussed above to promote and support my practice. However, in regards to my working research question, recent advances in technologies specifically within the beauty and fashion industries has in my opinion dictated the direction of promotional media and therefore has taken much focus throughout my research to date. Fashion Magazines allow for Editors to dictate content, norms, trends and ‘ideals’ whilst social media allows for users, brands and cultural icons alike to curate and dictate their own instant, visual streams taking the focus away from print due to instant accessibility to connect and share on an international and cross-cultural range of platforms.

Platforms designed for ‘photo-sharing’, such as Instagram can be looked at in both a positive and negative light depending on ones perception and use. Instagram positively allows for individuals to share or privately curate their memories, or artwork, for example, whilst also allowing for individuals to share and explore within international communities. Furthermore, in a world whereby ‘ideals’ are pre-determined by the media, this platform allows for users to participate and obtain a sense of inclusivity if one withholds the right identity, which can be intern damaging to ones self-perception through the internalisation of idealised imagery.

Furthermore, a rise in associated technologies has become prevalent of late, in regards to photo-editing, filters, VR, Augmented Reality and Photo-Recognition technologies allowing for further development in application design, in-store retail design and digital graphic design.

Below shows a key example of advanced technologies, showing how UI and UX development combined with ‘brand engagement’ can be positive to the ‘customer experience’, however due to ones reflection not being ‘real’ may heavily impact upon ones self-perception and confidence in return.

  • Beauty Mirrors

‘Beauty Mirrors’ were originally created by Japanese cosmetics brand, Shiseido, and allows for one to try on a full range of makeup products using highly advanced facial recognition technologies. Even though this saves one time trying products on in-store, how does one feel if the reflection does not match their interpretation of recreating this look? Furthermore, L’Oreal created an app titled, ‘Makeup Genius’ for use in China allowing for women whom feel stigmatised by cosmetics to feel comfortable trying them in their own home, showing a positive and pro-active use to boosting confidence through technologies, however on the flipside it is apparent how these generated images can created distorted perceptions in comparison to one’s true beauty.

Policies

In support of my current practice and working research question, there are policies set by various organisations and establishments to ensure that fair practice, social responsibility and ethical issues are considered in regards to body image and mental health.

  • B-EAT
  • Clear Channel
  • Model Alliance
  • British Fashion Council
  • EDAW – Eating Disorder Awareness Week
  • UK All Party Parliamentary Group on Body Image (APPG)
  • Government Equalities Unit
  • Equalities Ministers Advisory Group

The above organisations such as B-EAT for example, can support, advise, promote and encourage fair and ethical practice in the media, when issues regards body image and mental health arise, however there is not a binding set of guidelines which enforces all retailers, magazines and brands for example to follow in relation to proactively promote positive body image. This allows for different ‘ideals’ to be portrayed by the media causing mixed messages and perceptions for the viewer.

  • ASOS Model Welfare Policy/Social Responsibility

In contrast to the above, the Social Responsibilty team at ASOS founded the ‘Model Welfare Policy’. This policy ensures that their guidelines are abided by at all times, to ensure that models fall into a healthy BMI category, have no existing medical conditions and ‘fit in’ with a range of International body shapes, sizes and ‘ideals’ amongst much more. ASOS are one of the only ecommerce retailers to re-photograph non own-brand goods to ensure fair practice. I have arranged a meeting with ASOS for January 2017, and hope to discuss their policy further in depth. I hope to gain professional perspectives in relation to the fashion industry, body and self-perception allowing to strengthen, support and develop both my practice and on-going research.

  • Parody Law

In relation to my current practice, I am working with parody and satirical perspectives in regards to my practical experiments to date and have at times heavily mocked the cultural icon, Kylie Jenner in regards to being objectified as a marketing commodity, encouraging changes in self-perception and promoting body dissatisfaction amongst the masses. By using a parody to represent such ‘icon’ through the mocking of her branding to represent a range of key theories and issues that surround this issue, I felt it was of upmost importance to ensure that I am complying with Parody Law which protects creatives from legal issues such as Copyright. Even though I am not directly using copyrighted material, but simply mocking it, I believe it is still good practice to be aware of such policies that support my practice.

2.5. Theoretical Perspectives

With my working research question being quite broad, I have naturally researched various theoretical perspectives that underpin my current practice:

– Self-Perception

– Social Identity Theory

– Consumerism

– Mirror-Stage

– Male Gaze & Self-Surveying Gaze

– Gratification Theory

– Objectification Theory

– Self-Objectification Theory

– Narcissism

– Feminism

– Semiotics

– Communication

I have found that the main theories which are associative with both my practice and that of relevant creative practitioners to be that of Self-Perception and Social Identity.

Self-Perception is integral part of my current practice shaping my exploratory practical work to date, being the anchor point of my research question understanding how we recognise and value ourselves based on third party perspectives, such as social media comments for example, whilst Social Identity Theory shows how ones personal identity and sense of self, is formed through their acceptance or non-acceptance into a social group, and the retrospective intergroup comparisons, again being relative to social media and comparative behaviours with perceived ‘ideals’ for example.

These theories are also extremely resonant with the works of both Omeilan and Potter as noted previously, with Omeilan highlighting issues of Self-Perception in her stage show, “Am I Right Ladies?” whilst Potter’s work titled, “iGirl” mocking the relationship and competitive, altered behaviours that many females have with social media and photo-sharing in relation to ‘fitting in’ and conforming with societies pre-set ideals.

Word Count: 1986

Continue Reading

Organisations and Charities supporting Positive Body Image within the Fashion Industries

This is working towards objective 1, 2, 3 and 5.

Further information on further organisations and charities supporting positive body image within the fashion and beauty industries that I would like to contact in semester 2, in order to obtain information about their policies and guidelines.

UK All Parliamentary Group on Body Image (APPG)

“To provide a cross-party forum for MPs to conduct an inquiry and monitor on an ongoing basis the causes of body image anxiety. To explore what steps can be taken to promote body confidence, working with advertisers, the media, fashion industry and youth organisations.”

The Model Alliance US

“Model Alliance, a not-for-profit organization (application for recognition of 501(c)(3) status pending), with the assistance of fellow models.  Our goal is to work with progressive modeling agencies to give models in the U.S. a voice in their workplace and organize to improve their basic working conditions in what is now an almost entirely unregulated industry.” (Ziff, F, 2012)

 

Sources:

UK Parliament. (2015). Register Of All-Party Groups. Available: http://www.publications.parliament.uk/pa/cm/cmallparty/register/body-image.htm. Last Accessed: 29th November 2016.
Ziff, S. (2012). Introductory Note. The Model Alliance. Available: http://modelalliance.org/introductory-note. Last Accessed: 29th November 2016.

 

Continue Reading

Professional Context Presentation 2: Feedback

Below shows feedback written in the form of notes on a page of my script. Overall, I felt the presentation was very positive with good feedback, whilst being within the time limit, so felt that timing myself and really stripping back my script again the day before delivery really helped ensure that the presentation was good as it could be within the 5 minutes allocated. I also didn’t feel as nervous this time, so felt overall it went smoother and felt more confident about the topics of discussion.

Feedback

  1. Much better on time keeping
  2. ‘Taste’ Book
  3. Theory of Power
  4. Male Perceptions as a comparison? Influence on men opposed to women?

The above comments were made by both Sharon and Gary in regards to my presentation. I have already noted better time keeping. I have considered ‘Power’ in my research on various occasions showcasing how cultural icons and celebrities within social media and magazines obtain power over the users in relation to affecting ones self-perception and body image issues. I do not feel that I have enough time in the remainder of this semester and module to look into this further and more in-depth in relation to my research question however feel that this is something I would like to look further into. This can be said also for also how Male Perceptions have been affected by the media. I have directed my studies and research to that of Female perceptions, however it was noted that it would be interesting to compare theories and findings comparatively in a male context.

feedback

Continue Reading

Personal Branding

As part of the Professional Context module, I wanted to work on my personal branding as this has not been updated since March 2015, and feel I have developed, changed and transformed into a more sophisticated designer. However, with my re-brand, I wanted to ensure that my brand is still recognisable keeping a feminine an fun aesthetic, colour scheme and tone throughout, whilst using a combination of print and illustration.

Below shows my personal branding from 2015.

f9b84b24201059-5633124150430

Above Image Source

In updating my branding, it was important for me to ensure that a “fun, retro, feminine and 90s tone” is portrayed being reminiscent of my brand, completed works and existing branding.

Below shows my new personal branding keeping in line with the points made above in regards to aesthetic and tone. Each has been created digitally, compiling hand created collage and digital illustration to give depth, tactileness and unique compositions.

Working heavily in the Fashion and Beauty Industries, it is important to me that this is reflected in my branding through a sophisticated aesthetic also.

artboard-1

artboard-2

artboard-5

artboard-4

Below shows mockups of both my updated business cards and CV design, which has been designed as a booklet encompassing all aspects of my creative career, expertise, experience and contact/portfolio details.

The CV booklet has been designed at A5 in order to be able to post out to existing and potential clients.

business-cards-5

business-cards-4

business-cards-3

business-cards-2

business-cards-1

screen-shot-2016-11-28-at-13-43-03

cv-spread-1

screen-shot-2016-11-28-at-13-44-20

cv-spread-3

cv-spread-4

cv-spread-5

I feel the visual outcome is true to my identity and niche as a designer, whilst being recognisable in relation to my previous promotional materials. Going forwards, I would like to experiment further with more branded, useable products, such as a Portfolio Look Book, Notebooks and Tote Bags for example, in order to promote my brand in a contextualised manner relevant to the Fashion and Beauty Industries.

I also produced physical mockups of both the CV and business card. Photography can be seen of these below, along with a mockup of my revised website, featuring a similar yet less structured grid system and a lighter pink logo, falling in line aesthetically with the print based collateral.

Going forwards, I want to get these mass produced to take with me on research trips in semester 2, whilst also being invaluable throughout the MA for self-promotion at exhibitions and networking events for example.

screen-shot-2016-12-07-at-14-34-27

screen-shot-2016-12-07-at-14-34-34

website-mockup

website-mockup-2

Feedback has been received on Instagram in relation to my new personal branding, this is shown below:

screen-shot-2016-12-07-at-14-35-39

Source: Last Accessed 7/12/16

screen-shot-2016-12-07-at-14-36-28

Source: Last Accessed 7/12/16

Going forwards I would also like to experiment with coptic stitch binding incorporating the yellow shown in the print, adding a pop of colour. I would also like to produce variations with white, black and pink cottons. This will fall in line with any other promotional items, i.e. notebooks, as discussed previously above and will be worked on in semester 2.

Submission boards have been developed for this project, and features an in-depth analysis/evaluation of the personal branding project. This can be found on the most recent blog post, and in my portfolio submission.

Continue Reading

“How to be a Beauty Blogger”: Developed Idea and Collaboration with Bobbi ‘Rae’ Gastall

This project is working towards objective 4.D.

Concept, Composition and Layout Design

Danielle Muntyan

Illustrations and Copywriting

Bobbi Rae

Below shows the developed Zine in collaboration with Leeds-based interdisciplinary creative Bobbi Rae (Gastall). For the purposes of showing the development of this zine and the aesthetics, in relation to my original concept for a “how to be a beauty blogger zine” I have broken down the project into elements noted below.

The issue with my first zine prototype worked on individually was that the concept was there, but there wasn’t enough visual stimulation to back up the satirical copywriting. It was during a discussion and ideas generation debate surrounding this which derived the collaboration between Bobbi and I which I feel has only strengthened the concept and final resolution of the prototype, whilst supporting both of our practices contextually and theoretically.

Brief

To design and produce a zine highlighting issues within the blogger culture industry, regarding self-perception and body image.

Context & Target Audience

The first fashion blog was found online in 2003 (Gibson, 2012, P.135), and have dominated the internet ever since with 27% of females blogging about ‘fashion & beauty’ and 27% blogging about ‘lifestyle’ topics (Vuelio, 2016, P.5).

Aimed at 18-24 year old females who are active on social media, and perhaps already have a blogging hobby, whilst providing a satirical take on those who currently blog for a career.

Solution

A collaboration with Leeds-based interdisciplinary practitioner, Bobbi Rae, designing and producing a satirical zine, entitled ‘how to be a blogger’ highlighting curent issues surrounding blogger culture in regards to self-perception and body image.

Technological Advances

Recent technological advances within the fashion and beauty industries have allowed for distorted self-perceptions and negative behaviours to be instilled in order to meet the expectations of the various forms of ‘ideal’, promoted by celebrities, cultural icons and bloggers alike.

Instagram has allowed for applications to be produced which can be used to edit photos prior to posting. For example, Beauty Plus is particularily popular in Japan as it features allow for ‘Westernisation’, allowing one to question whether this is a socio-cultural rebellian against standards, expectations and norms due to the influx of fashion and beauty led photographs and videos posted by Western bloggers and brands which dominate the East.

An example of this is shown with blogger Aimee Song, whereby YouTube has become an invaluable platform for bloggers in the industry to post review and tutorial-led videos engaging with an international audience. This particular YouTube video shown entitled, “how to take good Instagram photos” (2014) evidences ‘the importance’ of uploading a perfect photo creating a personal brand and positive social identity.

Theoretical Perspectives

Bloggers are now not only known online, but also in fashion magazines, being celebrated for their following and sponsorships with brands. Above shows a range of images contextualising bloggers within publishing, however these images also adhere to various theoretical perspectives underpinning this project.

Self-Perception theory notes that we shape our self-perceptions on third-party perspectives, allowing for our behaviours and actions to change in order to find approval (Bem, 1972) and acceptance within a social group or community (Tajfel and Turner, 1986) respective of the Social Identity theory. Furthermore, with “individuals [striving] to achieve or to maintain positive social identity” (Tajfel and Turner, 1986, P. 16), it can be said that these bloggers shown have curated lifestyles in order to portray a desired image giving a false perception to the reader or follower, for example.

Aesthetics and Tone

Throughout the zine upholds a light-hearted yet satirical tone of voice, reflected through the copywriting, illustrations and chosen topics. Minimal copy has been used allowing for the ‘10 steps’ to lead the reader through the publication.

A feminine colour palette and rounded sans serif font has been used throughout being reminiscent of the other practical works I have experimented with forming an aesthetically cohesive set of work recognisable to the target audience.

Keeping inline with the traditional format of zines, these have been printed on white 90gsm paper stock, and have been stapled in order to be mass produced and distributed at a low cost.

Evaluation

I am really pleased with the outcome of this collaboration, and feel combined ideas generation in regards to the ‘10 steps’ and illustrations really added a different dimension to my original concept for a zine, entitled, “how to be a beauty blogger”. By combining our practices and ideas, we were able to cover a broader sense of “blogger” encompassing the fashion industry also, whilst adding a different dimension in regards to aesthetics.

Moving forwards I would like to mass-produce these and distribute them in order to gain feedback and test the concept in a quantifable manner, whilst sharing a message.

Visuals can be found below:

how-to-be-a-blogger-zine

how-to-be-a-blogger-zine2

how-to-be-a-blogger-zine3

how-to-be-a-blogger-zine4

how-to-be-a-blogger-zine5

how-to-be-a-blogger-zine6

how-to-be-a-blogger-zine7

how-to-be-a-blogger-zine8

how-to-be-a-blogger-zine9

how-to-be-a-blogger-zine10

how-to-be-a-blogger-zine11

how-to-be-a-blogger-zine12

Bobbi and I also worked collaboratively on photographing this project, taking into account the knowledge obtained from the photography inductions throughout this semester. Photographs can be seen below:

screen-shot-2016-12-07-at-14-21-07

screen-shot-2016-12-07-at-14-23-14

screen-shot-2016-12-07-at-14-23-22

screen-shot-2016-12-07-at-14-23-29

screen-shot-2016-12-07-at-14-23-41

screen-shot-2016-12-07-at-14-23-50

screen-shot-2016-12-07-at-14-23-57

I am happy with the photography shown, however would of liked to of photographed each spread individually. Going forward, I want to also digitally mock this zine up to showcase the complete design for my professional website and online portfolio. This will avoid any inconsistencies within imagery shown, however may re visit this photography and do this in this manner opposed to mock ups however this depends on time available post-submission. This will also be kept in mind going forward in semester 2 and 3 to avoid having to photograph and digitally mock up also which will ensure for better time keeping and retrospective planning.

Sources:

Lizzyvdligt (2014). Image. Available: http://lizzyvdligt.com/wp-con- tent/uploads/2014/02/lizzyvogue11.jpg. Last accessed 2nd Decem- ber 2016.
Disney Roller Girl (2012). Image. Available: http://www.disneyroller- girl.net/wp-content/uploads/Tati-Cotliar-Raymond-Meier-Vogue-Feb- 2012-I-Am-A-Camera.jpg. Last accessed 2nd December 2016.
Fashion Squad (Unknown). Image. Available: http://www.fash- ionsquad.com/wp-content/vogue_girl_korea1.jpg. Last accessed 2nd December 2016.
BeautyPlus. (2016). Available at: Screenshot. https://screenshots.en.sftcdn.net/en/ scrn/69677000/69677468/beautyplus-55598b862a819-700×535.jpg. Last accessed 3rd December 2016.
Appraw. (2016). Available at: https://appraw.com/static/previews/downloads/d/l/l/p-beau- typlus-magical-camera-lLRpTsdhIa-3.jp.Last accessed 3rd December 2016.
Song, A. (2014). How To Take Good Instagram Photos. Available: https://www.youtube.com/ watch?v=GSfrjvF86aE&t=73s. Last accessed 3rd December 2016.
Gibson, F (2012). Fashion and Celebrity Culture. London: Berg by Bloomsbury. 135.
Vuelio (2016). UK Bloggers Survey. P.5.

Continue Reading

Professional Context Presentation 2: Time Keeping/Script Refinement

As noted in the feedback from my first presentation whereby I went over my time, I wanted to ensure that this did not happen in my second presentation, and once the structure had been confirmed with my tutor, I ran through this again timing it. I ran through twice for clarity and clocked up a time of 7 minutes.

At this stage I decided to cut down this again, keeping only the essential, critical information needed to convey the desired message. I found this at first hard with the subject this time being theoretical perspectives, however actually looking back now can see how this has helped to refine this theories to their essential core details in respect to my current practice and research question, which going forwards I believe will be of help which working on both practical and research-led projects alike. I found this process of timing myself useful and is not something which I did in preparation for the first presentation, which now in retrospect would of alleviated this problem prior to delivery. The final and refined script for my second Professional Context presentation can be shown below.

SLIDE 1 – INTRODUCTION

This presentation will cover the key theoretical perspectives that I believe support my current creative practice.

In regards to my working research question, I have listed theories that I have touched on during research to date. However, for the purposes of this presentation I will cover several key theories that are most relevant to my practice – Self-Perception, Social Identity, The Male Gaze and The Self Surveying Gaze, and the Theories of Objectification and Self-Objectification.

Self-Perception Theory is an integral part of my current practice shaping my practical work to date, and being the anchor point of my research question, whilst the other noted theories are of importance due to underpinning the links between context and graphic design.

SLIDE 2 – SELF-PERCEPTION THEORY

It is said that “Self-perception theory is counterintuitive. Common knowledge would have us assume that a person’s personality and attitudes drive their actions; however, self-perception theory shows that this is not always the case. In simple terms, it illustrates that “we are what we do.”

We interpret our actions and the actions of others, therefore allowing ourselves to be socially influenced opposed to be being completely self-led. This resonated with the current trends of social media surrounding the beauty and fashion industries, whereby we often see those whose actions and appearances are ‘socially informed’ opposed to produced from freewill.

The images shown – one of Kim Kardashian, and one of Makeup Artist/Instagram Icon, Amreezy – both show that they are practically holding the same pose in similar attire, with similar postures and facial features. This example represents how social media can affect our self-perception, allowing us to feel it is okay to perceive ourselves, or see ourselves in a similar way to others in order to attain positive appraisal.

SLIDE 3 – SOCIAL IDENTITY THEORY

Tajfel and Turner, stated “part of a person’s concept of self comes from the groups to which that person belongs. An individual does not just have a personal selfhood, but multiple selves and identities associated with their affiliated groups” acknowledging the fact that people act different, and at times look differently also depending on their social situation.

Tafjel and Turner note that we belong to ‘social groups’ changing our identities to ‘fit in’ or be ‘in-group’ and that “individuals strive to achieve or maintain positive social identity”. This can also be said for those whom do not fit in mainstream groups, trends and cultures and therefore change their ‘look’ to find acceptance and belonging in society, as demonstrated in the model shown.

The image of the Harajuku girls shows that this ‘group’ have accepted the social identity of which they belong and feel accepted. This image contrasts the imagery from Japan Vogue shown in my previous presentation whereby Japanese women were told that they had to change their image to ‘fit in’ and be accepted by society.

SLIDE 4 – MALE GAZE AND THE SELF SURVEYING GAZE

Rumsey, stated that, “Media help us to shape beauty ideas by showing certain body sizes [as] beautiful and desirable” summarising how the fashion and beauty industries can affect our self-perception and perceptions of others due to a constant gazes and promoted ‘ideals’ often curated for men.

For example, a photograph of the original 1950’s Playboy Bunnies on the left shows women were aware that they were objects of male attention and the male gaze, proudly wearing their corset-based uniforms, in turn becoming the ‘ideal’ and ‘sex symbols’ of the time.

Theorist Shields noted that “[the] ‘male gaze’ transforms women into objects of the heterosexual man’s eye … advertisements and other images of women are shot in such ways that encourage female audiences to adopt a certain perspective when looking at other women and themselves” therefore internalizing the male gaze and the medias pre-set ideals triggering, the self-surveying gaze.

The right hand side image visualises how our self-perceptions can become distorted, not being able to recognise the ideal nor reality, adding pressures to look a certain way due to this new, internal influence.

 

SLIDE 5 – OBJECTIFICATION AND SELF-OBJECTIFICATION THEORY­­

Finally, Objectification theory is also key to understanding how women are portrayed in the media, suggesting that women may perceive themselves as objects or commodities to be looked at, and judged.

Frederickson and Roberts’ noted that “objectification occurs whenever a woman’s body, body parts, or sexual functions are separated out from her person, reduced to the status of mere instruments, or regarded as if they were capable of representing her. In other words women are treated as bodies – and in particular, as bodies that exist for the use and pleasure of others”

On the right hand side, an editorial from Vogue France can be seen whereby a young girl is being objectified through the use of her body part’s and self-awareness, separated out as commodities of influence promoting Tom Ford’s cosmetic goods – a designer whom often objectifies women in his promotional campaigns also.

Fredrickson and Roberts define Self-Objectification as “valuing one’s own body [from] a third-person perspective, focusing on observable body attributes”.

The photograph of Sarah Gonzalaz, a Makeup Artist turned Instagram icon shows such self-objectification, with one recognising the need to objectify her body as a commodity and marketing tool, knowing what the ‘outsiders’ want to see and internalising this.

I feel this short overview of key theories, shows how powerful the beauty and fashion industries can be when influencing our internal perceptions, encouraging change for external pleasures, approval and acceptance.

Continue Reading

Creative Practitioner: Toni Hollowood

This is working towards objective 1, 3 and 4.

Whilst researching contacts at CSM in regards to finding International Students in the UK studying on Fashion Degrees whom may be interested in taking part in my research methodologies – interview, questionnaire or focus group – I came across the work of Toni Hollowood as being promoted on the CSM homepage.

The work titled, “Beauty HACKS” instantly caught my attention with the subtitle, “exploring how digital culture is shaping, contouring and morphing our bodies” jumped out to be extremely resonant with my own exploratory work and research question, whilst also being very relevant in regards to a digital context of social media, which has shaped much of my research to date with both the industry and consumer culture being more digitally-led by ‘nature’. I will not be in London unfortunately prior to the 2nd Jan 2017, as my trip to London is booked for the 7th-8th. However, due to being so resonant with my current practice, and as Toni is also an MA student, I decided to reach out and get in touch, explaining my current position at LCA and my research topic at hand. Post-submission for Semester 1 I plan on speaking with Toni regarding both of our works, the Industry and a potentially be able to discuss a future collaboration. In addition to this, I feel that the work Toni has done is very much in regards of UI and UX which is what I have been exploring through recent technological advances in the industries noted, and feel that this could be a beneficial contact to have, whilst also being inspiring.

Furthermore, I particularly like the aesthetic of Toni’s work reminding me of my own work again. Toni’s work has a very feminine, bold and 90s aesthetic which I feel is resonant in my work also, using collage, typography, photography and illustration to create visual outcomes. I feel however throughout this semester, I have only worked very digitally and in a vector/CAD regard, and would like to next semester work with different mediums more feeling inspired by this work and reflecting on my own practice, strengths and skill sets which I would like to re-visit and develop further blurring the boundaries of ‘Graphic Design’ and ‘Art’.

The above is working towards objectives 1, 3 and 4:

1. To understand the ways in which Social Media and Magazines can affect self-perceptions and issues:

A) With body image (Females, 18-24)

3.To work with and interview those both actively working in the Fashion and Beauty Industries, and those on a consumer/follower/user basis, to compare behaviours and perspectives in relation to body image and self-perceptions.

4. To prototype a range of design work targeted at 18-24 year old women, highlighting impacts of Social Media and Magazines on self-perceptions and body image.

 

screen-shot-2016-11-25-at-00-09-40

Above Source

screen-shot-2016-11-25-at-00-10-48

screen-shot-2016-11-25-at-00-11-06

Above Source (last accessed 25/11/16)

screen-shot-2016-11-25-at-00-13-56

Above Source (last accessed 25/11/16)

Continue Reading

Research: Revised Consent Form and Information Sheet/Ethics Policy

Below shows the final content form and information sheets which I have been working on recently in regards to upcoming interviews in semester 2. This has been worked on independently alongside the college ethics policy, with reviews from both my personal supervisor and the course leader to ensure that meet the policies requirements.

As I am not working with children my forms have not had to go under a committee review, however should the type of research being carried out change, or should my target audience change, this may need to be reviewed going forwards.

Following the college ethics policy has ensured that:

  • Research carries out no harm to individuals, institutions or organisations for example.
  • Respect in maintained for the participant.
  • Academic and research integrity – being honest in findings and acknowledging work of others.
  • Any risks to the participant are highlighted as well as highlighting positives.
  • Consent must be taken for any research carried out with individuals/organisations, etc.
  • Taking part must be a voluntary decision by the participant being asked.
  • Participants should be given the option to if they would like to remain confidential, or if a pseudonym or their real name should be used.
  • Data protection and confidentiality of personal data and research must be withheld at all times, and must be explained as to how this will happen.
  • Safety for both participant and researcher in regards to setting a mutual meeting place for in-person interviews.
  • Explanation of any technical terms.
  • Participant should be able to review questions prior to face-to-face interview to omit any questions which may be unanswerable or uncomfortable, or to change accordingly.
  • Who is undertaking the research, why, in what aim and what the research will be used for.
  • What will be required of the participant and how much of their time will be needed.
  • Who to contact regarding questions or complaints.
  • The ability to withdraw if so desired and how to do so.
  • De-briefing should be considered post-research, and collated, summarised findings should be sent for approval.
  • Academic research should be designed, reviewed and undertaken according to College Governance, Professional Codes of Practice and the Law.
  • Research should not harm the reputation or interests of Leeds College of Art. The college should also be aware of benefits or risks associated with research.
  • Any photographs taken should be taken only alongside consent of the participant.

This ensures that fair practice is carried out throughout this process, whilst ensuring that good principles regarding ethics are carried out throughout research.

I feel by working with the policy and the key points noted above in specific relation to my practice, I will be able to carry out research with academic integrity whilst ensuring that participants are at ease whilst informing them of  the research project, pros and cons in order to make an informed decision as to whether they would like to take part, whilst furthermore ensuring that all research fits inline with the college ethics policy for postgraduate research.

final-consent-forminformation-sheet-revised-1information-sheet-revised-2

Continue Reading

Professional Context Essay: Structure and Planning

Intro

  • My practice
  • My research question
  • My aims

Relevant Creative Practitioners

  • Luisa Omeilan
  • Terry Richardson
  • Sam Roddick
  • Barbara Kruger
  • Dunne and Raby
  • Anna Potter (Top Girl Studio)
  • Scarlett Carson
  • Bobbi Rae
  • Milk and Honey
  • Dove
  • Jessica Jean
  • Documentary by Anne Robinson, “Britain’s Body Secrets” BBC (2016)
  • Fashion Magazines, i.e. Vogue
  • Cosmetics Brands, i.e. Kylie Cosmetics/Lancome Skin Lightening (Japan)

Self-Promotion and Organisations Supporting the Creative Industries

  • Website
  • Behance
  • Big Cartel
  • Social Media
  • Printed Publications/Online Press
  • Duke Studios
  • East St. Arts and Patrick Studios
  • Lady Beck Studios/Assembly House
  • HEART
  • Leeds College of Art Exhibition Spaces
  • Belgrave Art Fairs
  • The Brunswick
  • The Old Red Bus Station
  • The Bowery
  • Sunny Bank Mills
  • &Model Gallery
  • The Gallery at Munro House
  • Shared Studio Space at The Calls with Gaz Battersby
  • UKFT
  • Lamberts Yard
  • LCA Business and Enterprise Days
  • British Fashion Council
  • Fashion Angel
  • Kickstarter
  • D&AD
  • YCN
  • IPSE
  • Charted Society of Designers
  • Behance
  • The Dots
  • People per Hour
  • Networking Groups – Penguin Posse (Leeds), Debut Magazine (London), Magma and Laurence King (London), Creative Networks (Leeds)
  • Recruitment Agencies for Freelance – The Book, Orchard (Leeds/Manchester)
  • Recruitment Agencies for Fashion – Fashion and Retail Personnel (Online, International), Drapers (Online, International), The Business of Fashion (Online, International), Tailsman Fashion (London), Denza (UK, International), Christian Bassett (London. Europe. USA. Middle East. Asia Pacific & Japan.), Elite Associates (London).
  • PGCLTHE Qualification at Manchester Metropolitan University
  • Grafik
  • AdWeek
  • i-D
  • Debut Magazine
  • Drapers
  • The Business of Fashion
  • WGSN
  • ISTD
  • International Design Awards
  • AIGA
  • ioc-D
  • Design Council
  • Creative Guild

Policies:

  • B-EAT
  • Clear Channel
  • ASOS Model Welfare Policy/Social Responsibility
  • Model Alliance
  • British Fashion Council
  • EDAW – Eating Disorder Awareness Week
  • UK All Party Parliamentary Group on Body Image (APPG)
  • Government Equalities Unit
  • Equalities Ministers Advisory Group
  • Parody Law

Theoretical Perspectives

  • Self-Perception
  • Social Identity Theory
  • Consumerism
  • Mirror-Stage
  • Male Gaze & Self-Surveying Gaze
  • Gratification Theory
  • Objectification Theory
  • Self-Objectification Theory
  • Narcissism
  • Feminism
  • Semiotics
  • Communication
  • AIDA

Recent Technologies and Perspectives

  • Applications
  • Social Media – Instagram, Snap Chat, Facebook, YouTube
  • Allows for a sense of inclusivity in a community if one withholds the right identity, however can be damaging to ones self-perception through internalisation of such ‘idealised’ imagery.
  • Photo-editing
  • Photo-filters
  • Google Translate
  • CGI
  • VR and Augmented Reality
  • YouVisit
  • AR Doors (retail – try on clothes without getting changed)
  • Beauty Mirrors – Shiseido Magic Make-Up Mirror created by the Japanese brand and allows to try on different makeup products with facial recognition technologies.
  • Tweet Mirror – takes photos of shoppers trying on different outfits to capture to view back themselves or to send to friends for example for a second opinion on such look.

Conclusion/Summary

Continue Reading
1 2 3 6