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)



UK Parliament. (2015). Register Of All-Party Groups. Available: Last Accessed: 29th November 2016.
Ziff, S. (2012). Introductory Note. The Model Alliance. Available: Last Accessed: 29th November 2016.


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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.


  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.


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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.


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.





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.












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.





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


Source: Last Accessed 7/12/16


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.

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“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.


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.


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.


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:













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:








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.


Lizzyvdligt (2014). Image. Available: tent/uploads/2014/02/lizzyvogue11.jpg. Last accessed 2nd Decem- ber 2016.
Disney Roller Girl (2012). Image. Available: http://www.disneyroller- 2012-I-Am-A-Camera.jpg. Last accessed 2nd December 2016.
Fashion Squad (Unknown). Image. Available: http://www.fash- Last accessed 2nd December 2016.
BeautyPlus. (2016). Available at: Screenshot. scrn/69677000/69677468/beautyplus-55598b862a819-700×535.jpg. Last accessed 3rd December 2016.
Appraw. (2016). Available at: accessed 3rd December 2016.
Song, A. (2014). How To Take Good Instagram Photos. Available: 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.

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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.


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.


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.


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.


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.



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.

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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.



Above Source



Above Source (last accessed 25/11/16)


Above Source (last accessed 25/11/16)

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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.


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Professional Context Essay: Structure and Planning


  • 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
  • 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


  • 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.


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London Field-Research Itinerary: 7th – 8th January 2017

Below shows my initial itinerary for my London Field-Research visit in Jan 2017. I am currently in process of confirming interviews with ASOS and my model contact in London, whom for confidentiality reasons cannot name. I have also talked with a freelance client of mine, Milk and Honey, in regards to meeting my contact for a short interview as Milk and Honey are an online collective of female bloggers, targeting issues such as diversity, natural beauty and body image and would like to discuss their proactive approach to such issues opposed to endorsing them.

Furthermore, I also plan on undertaking a ‘comp shop’ prior to visiting Tokyo, Japan later in January, as I would like to see if visuals such as advertising campaigns are the same in comparative countries looking at what models and language are used for example, whilst also seeing what cosmetic products are available in the UK for skin lightening for example, whilst also noting the packaging of well known International cosmetics brands/campaigns to compare whilst overseas. I am planning on carrying out such activities in the same stores/brands also in Tokyo to see if the representation of women is different or the same as in the UK, hopefully helping to answer questions regarding why many Japanese want to ‘look more Western’, a topic heavily discussed and researched prior to this post.

By planning my time in London accordingly, I will be able to ensure that all meetings and comp shops are undertaken well and competently in the short amount of time allocated due to forward planning, whilst being able to alleviate any issues in advance in regards to travel times/meeting times. I am yet to confirm time/location for two meetings, however the itinerary will be updated going forward as necessary, and will be reviewed again at the start of January to finalise times, dates and locations with my contacts.

London Itinerary

Dates Sat 7th Jan – Sun 8th Jan 

Saturday | AM


[7:25am to 7:33am] Burley Park – Leeds Train Station

[7:42am to 9:51am] Leeds – London Kings Cross

[Travel to Accommodation to Drop off Luggage]

[Travel from Accomodation to Lunch/Interview location (location tbc) via Underground]

12.30pm – 2.30pm Milk and Honey Lunch/Interview with Contact

[Travel to ASOS Meeting at HQ in Camden Town via Underground]

3.30pm – 5.00pm (Time TBC) ASOS Interview with Contacts

[Travel to Oxford Street/Regent Street for Late Afternoon/Evening Comp Shop – Stores which can be looked at and visited comparatively in Tokyo, Japan – 16th to 23rd January 2017]

6pm – 9pm High Street Store/Cosmetics Comp Shop

  • Uniqlo
  • Topshop
  • Forever 21
  • H&M
  • Zara
  • Selfridges for Cosmetics: Kiehl’s, M.A.C, Giorgio Armani, Shiseido

[Travel to Accommodation via Underground]

Saturday | AM

[Travel to Model Interview Location via Underground – time and location TBC]

[Time TBC] Model Interview with Contact

[Travel to New/Old Bond Street for Afternoon Comp Shop – Stores which can be looked at and visited comparatively in Tokyo, Japan – 16th to 23rd January 2017]

2pm – 5pm New/Old Bond Street/Conduit Street/David Street Comp Shop

  • Burberry
  • Chanel
  • Prada
  • TOD’s
  • Bottega Veneta
  • Louis Vuitton
  • Gucci
  • Vivienne Westwood
  • Vera Wang

[Travel to Accommodation via Underground]

[Travel to London Kings Cross via Underground)

[7:35pm to 9:54pm] London Kings Cross – Leeds

[10:30pm to 10:39pm] Leeds – Burley Park







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Vogue Japan/UK Contacts

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

I am currently in the process of confirming my research information sheet and consent form for participant use with my supervisor, and once finalised I will begin emailing contacts in regards to interview surrounding my research question both in the UK and in Japan. I have already contact a well-known model (confirmed), ASOS (pending) and various freelance clients (Milk and Honey, Runway96, Luxe to Kill, Doko) in regards to interview.

In advance of my research trip to Japan, I wanted to source a contact at HQ in Japan. I could not find a direct contact for Vogue Japan itself, however found contact addresses for Conde Nast’s International Offices both in the UK and in Japan. I will call the London office to both source contacts for my Japan trip, whilst also hopefully being able to source a contact or speak to someone in the Vogue office in London in regards to speaking with them in relation to the UK edition. I feel by contacting both and hopefully gaining an insight from both, I can compare, contrast and analyse their point of view from a working, professional background to that of the audience, and researcher, whilst also analysing in comparison to their ‘media kits’ which demonstrate their demographic details for example in regards to their target audiences. In addition this will ultimately strengthen my research for a cross-cultural study of the issue of self-perception and body image within the beauty and fashion industries.

In addition to this, I have also been using LinkedIn to connect with relevant employees of Vogue as an alternate route of entry. By using this method as a form of research also, I am able to see what experience contacts have to see how suitable they are for interview in regards to helping to answer my research question and support my research and practical work moving forward.





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