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It is extremely crucial for me to express through my essay that I do not agree with promoting the idea of fur farms. I am trying to express the fact that fur already made into coats is NOT thrown away and wasted so that people can make new coats of dead animals. rather use the fur already at hand in vintage stores to make beautiful pieces instead of killing more innocent animals.

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Planned out the photoshoot for the 22 November, how can we express in our shoot the meaning of 'saving the planet' while using fur? can we have it make sense that we want our fur only to be ethically sourced through thrift stores to save the planet?

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reconstructing timeless JOSEPH pieces with older, vintage pieces of leather and fur. Called 'rebirth' or 'back from the dead' (silhouettes that were popular that had once gone out of stock/ limited edition being brought back once a year to incorporate in these designs.

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pieces: timeless/ minimalistic/ effortless
target market: 25-65
inventory: womenswear, blouses, jackets, bags& accessories, shoes, etc.

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pieces: colorful/ funky/ bold
target mkt: girls 18-40
inventory: womenswear and menswear

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Inspirational Images - what the brand means to me - 

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Inspirational Images - what the brand means to me - 

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I spent a majority of my time looking through different sites and links to see what would best suit my argument over sustainable and ethically sourced fur. Here is another great article I found to use for my argument, depicting the use of fur over the early 20th century/ how it was harvested.

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INTRODUCTION TO FUR IN THE 20th CENTURY

ashion furs in dress remained a status symbol over the centuries as they denoted lineage, rank, class, and prosperity. At the end of the nineteenth century there was an increasing demand for fashion furs from the different social classes. Révillon Frères, a fur merchant company founded in Paris in 1723, capitalized on the call for affordable ready-to-wear fur garments, and by the 1860s the house had established fur boutiques in France, London, New York, and Montreal (Wikipedia). Their success encouraged the creation of a profitable retail fur industry in Europe and in North America.

Beginning in the 1840s, Europeans and North Americans started to wear animal furs on the outside of a garment. In the early 1900s, French fashion designers such as Madame Isidore Paquin (1869-1956), and Paul Poiret (1897-1944) introduced elegant fur garments in their regular fashion collections. Mme Paquin had developed a method of treating fur so that it would be softer and more comfortable to wear. Her fur coats and fur trimmed garments were in great demand by the socially prominent women of that period (Hansen, 1956, p. 100).

The new techniques in the dyeing of furs in bright colors, in laser cutting, in micro-shearing, in texturing, and in knitting and integrating fur with other fabrics has led to the marketing of products that are appealing to designers and consumers. Since 2000, designers have been creatively adapting the soft, fluffy and very light and brightly colored furs in their chic evening and daytime collections. In 2003-2004, over 170 fashion designers were working with fur, and since 2010 there have been more than 400 international designers who include fur in their collections (Fur Information Council of America, 2010; Goddard, 2011; Kastorian Fur, 2004; Tortora & Eubank, 2010, p. 585, 634).

Since the early 1900s, fur markets have been strongly influenced by changing fashion trends, and by economic and social forces. With the opening of vast Asian fur markets in recent years, we can surmise that in the future the demand for North American animal pelts will intensify, and that the prices of fashion furs will increase.
FUR MARKETS AND FASHION FURS, 1900-1940

The fur markets skyrocketed in Europe and in North America in the early 1900s, and reached their peak in the 1920s and 1930s. The most expensive furs on the market were sable, ermine, mink and fox. Furs such as racoon, beaver, and buffalo were deemed to be more affordable than the luxury furs. For those with a modest purse they could purchase furs such as moleskin, Hudson otter, and Siberian beaver. The lowest priced furs on the market included rabbit, nutria, skunk, and squirrel (Boucher, n.d., p. 400).

Dyhouse (2011), who studied fashion furs in England during the 1920s, concluded that two out of three women on any street in any English town would be wearing a fur coat, or one trimmed with fur. This data implies that the demand for animal pelts at fur auctions would have been astronomical. In her analysis of the Hudson Bay Company's London bi-annual auction sale reports for 1930, Dyhouse found that many hundreds of thousands of fox, ermine, beaver, and mink pelts came under the hammer," and that the range of species skinned "were equally mind-boggling and included badger, skunk, wolf, polecat, squirrel, musk ox, monkey, nutria, raccoon, wombat and wallaby." In addition, she noted that even "hamsters and house cats were skinned for their fur."
Popular Raccoon Coats

An innovation in the early 1900s which led to the demand for long fur coats was the development of the motor car. The early cars were open, and motoring in cool weather required warm and protective clothing. In the 1920s and 1930s racoon coats became the rage for motoring and attending sporting events. The fashionable racoon coats, worn by both men and women, were dark brown in color, and had a shawl collar and hefty leather buttons. For those who could not afford a coon coat, retailers offered lesser priced coats made out of sturdy lynx or sheepskin. The first wave of the raccoon coat fad ended with the dawn of The Great Depression (1929-1940). In 1956, the racoon coat saw a brief revival when young people started to purchase second-hand coonskin coats (Deluca, 2009; Schneider, 2012; Tortora & Eubank, 2010, p. 440, 466-467).
Stylish Women's Fur Coats

Beginning in the 1920s, fashionable women were wearing ankle length fur coats with a tight fitting bottom, large fur collars, and very wide cuff sleeves. Coats fabricated out of long vertical strips of fur were quite popular. This silhouette remained in vogue up until around the 1960s (Hansen, 1956, p. 101).
Luxurious Fur Coats

According to Dyhouse (2011), in the 1930s fox became one of the most sought after furs. Wealthy women and the glamorous film stars were usually seen wearing mega white or grey fox coats. For example, in 1932, Lili Damita was dolled up in fox in the movie, the Match King, and in 1933, Mae West and Gertrude Michael were wrapped in white fox in the film, I'm no Angel (Fur Glamor, 2011). The film stars loved to show off their full length ermine and white fox coats when attending the Oscars. In 1931, for instance, Marie Dressler looked fabulous in an ermine coat which she wore over her black lace dress. In 1935, Claudette Colbert had a luxurious white fur coat draped on her arm when she accepted her award from Shirley Temple (Chase, 2003, p. 18, 25, 121).
Fur Stoles and Tippets

In 1917, Paul Poiret and other designers introduced fur stoles in their collections. These elegant fur pieces, which were thrown over the shoulders, remained stylish throughout the 20th century. In 1938, Mme Lanvin designed a thinner fur cape which could be wrapped around the shoulders. These capes came in a variety of short and long lengths (Hansen, 1956, p.102, 104; Laver 2002, p. 237).

The tippet, which had been in fashion in the eighteenth century, made a comeback between 1920 and 1940. Fashionable women would wear an animal skin around the neck like a scarf, and quite often the head and paws of the animal were retained for decoration (Fogg, 2009, p. 13, 47; Laver, 2002, p. 237; Tortora & Eubank 2010, p. 478-479).
Fur Trimmed Garments
Since the early 1900s, designers such as Jeanne Lanvin, Paul Poiret, Patou, Gabrielle Chanel, Pierre Cardin, and others, would use fur in abundance as trim for coats. In 1913, Paul Poiret introduced a charming demi-crinoline coat with fur trim at the bottom. Some of the popular trimmings over the years have included large and small fur collars, fur cuffs, and fur bands around the hems of winter coats. In 1938-1939 it was modish to trim a winter coat with a collar and pockets of fox, or to trim a coat with long vertical strips of fur (Boucher, n.d., p. 415; Fogg, 2009, p. 61, 86; Hansen, 1956, p. 61, 99, 100-103; Schneider, 2012).
Fur Muffs

Hand held fur muffs had been carried by women and men as far back as the 1600s. Fur muffs resurfaced in 1914 as an alternative to the woman's handbag. One of the changes made to the muff in later years was to incorporate internal pockets for carrying money and other small necessities (Fogg, 2009, p. 3, 129; Laver, 2002, p. 244; Lester, 1956, p. 130-131, 136).
Men's Fur Coats
Fur coats were a basic staple in the closet of most men in the early 1900s. For a number of years, the long beaver or raccoon overcoats were popular. Men also wore coats lined with shaved fur. These coats were either collarless or had a fur collar (Hanson, 1956, p. 99; Schneider, 2012). An article in Men's Wear, published in 1935, stated that every man in Europe who could afford a fur coat probably had one, and that every respectable man would own at least three, a fur coat for city wear, a casual one for sporting events, and a black evening fur coat (Schneider, 2012).

FUR MARKETS AND FASHION FURS, 1940-1950
Fur sales plummeted during the years of the Economic Depression which began in some countries around 1929, and lasted up until the late 1930s to the early 1940s. With the downturn in the labor market, many people no longer had the disposable income to purchase furs. Although there are indications that the high-end retail fur business in the United States remained recession-proof as not all wealthy individuals had lost their money in the stock markets. These individuals continued to acquire luxury furs (Evans, Inc., 1998).

The fur markets continued their downward spiral in the early 1940s due to World War II. Many families were experiencing loss of income when the heads of households went overseas. Also, the fur industry suffered a shortage of equipment and materials which went to support the war effort. During the war years a new group of fur consumers emerged. Women, who were working in highly paid wartime industries, could now afford to buy themselves a fur coat instead of having to wait for a spouse or a lover to lavish them in fur (Tortora & Eubank, 2010, p. 473). In Canada, near the end of the 1940s, the fur manufacturing and retailing firms were almost entirely dependent on the women's fur coat market (Sangster, 2011, p. 391, 401).

Images of Women as Fur Consumers
Writing from a feminist perspective, Sangster (2011) found that in the fur industry journals published in the 1940s and 1950s there were two types of images of females as fur consumers. One image presents them as the "suburban housewife," a middle class consumer wearing a lower-priced fur coat that is practical, comfortable and respectable. A contrasting image of the female as fur consumer is that of the "sensual, sexy, sultry movie star model, wearing makeup, high heels, and jewellery, adorned in fox or mink" (p. 407). It goes without saying that the majority of fur retailers would have been more dependent on middle class women to maintain their business than on the rich and famous.

The fur coats advertised in 1947 by Labelle Fourrure (1947), a 100 year old company situated in Montreal, are representative of the sort of fur coats "suburban housewives" with a modest purse would have purchased at that time. The fur coats listed included, for example, a Persian lamb (Mouton de Perse gris) for $975, a Russian squirrel (Écureil Russe) for $475, a muskrat (Rat Musqué) for $369, and a wildcat coat (Chat Sauvage) for $295. The lesser priced furs included a mouton lamb coat treated to resemble beaver (Castor) for $189, and a rabbit coat dyed to look like muskrat for $139.
BIBLIOGRAPHY 1950 TO DATE

Chase, Reeve (2003). The complete book of Oscar fashion variety's. 15 years of glamour on the Red Carpet. New York: Reed Press.

Deluca, Zachary (2009). Ivy Style. Racoon season. Based on The Saturday Evening Post, Nov.16, 1920. http://www.ivy-style.com/raccoon-season.htm

Downey, Mark (2012). Fur Harvesters Auctions Inc., Jan. 12, 2012. http://www.furharvesters.com/furforecast.htm

Dyhouse, Carol (2011). History Today. Skin deep: the fall of fur, Vol. 61, Issue 11, Feb. 22, 2012. University of Birmingham. http://www.historytoday.com/carol-dyhouse/skin-deep-fall-fur

Evans, Inc. (1998). http://www.fundinguniverse.com/company-histories/Evans-Inc-company-History.html

Fogg, Marnie (2009). Vintage handbags. Victoria Australia: The Five Mile Press Ltd.

Fur Fairs (2012). The 39th China Fur & Leather Products Fair. Beijing. http://www.fur-fair.com/en/

Fur Fashion UK. (2010). Real fur buying guide. http://www.fur.me.uk/fur-fashion-galore-real-fur-buying-guide

Fur Harvesters Auction Inc. (2012). Sales results - March 22-23, 2012. http://www.furharvesters.com/results/2012/March/mar12us.pdf

Fur Information Council of America (2010). Fur. The natural responsible. Types of fur. http://www.fur.org/about-fica/

Goddard, John (2011). Infur. A world of luxury. Blacklama. http://www.infurmag.com/

Graham, Ian (Dec. 30, 2011). North American fur auctions (1998-2011). http://www.nafa.ca/

Hansen, Henny Harald (1956). Costume cavalcade. 685 examples of historic costume in colour. London: Methuen and Co. Ltd.

Kastorian Fur (2004). http://www.kfurs.com/facts.htm

Labelle Fourrure/Furs (1947). Coat prices. http://www.labellefourrure.com/

Lee, Michelle (2003). Fashion victims. Our love-hate relationship with dressing, shopping, and the cost of style. New York: Broadway Books.

Marc Kaufman Furs NY. (Dec. 23, 2011). Fur prices continue to rise 2011-2012 in spite of poor global conditions.

Nova Scotia: NS. Endangered Species Act (2011). http://www.gov.ns.ca/natr/wildlife/biodiversity/legislation_nsesa.asp

Ontario Nature (2011). http://www.ontarionature.org/protect/campaigns/endangered_species.php

Paperpast Yearbook (1960). http://www.paperpast.com/html/1960_fashion.html

Rossouw, Francois (2012). Fur auction of the year sees price increases across the board, Jan. 16, 2012. North West Territories. Department of Industry, Tourism and Investment. http://news.exec.gov.nt.ca/first-fur-auction-of-the-year-sees-price-increases-across-the-board/

Saga Furs (2012). Auctions. Finland. http://www.sagafurs.com/wps/portal/sagafurs/auctions_home/auctions_info

Sangster, Joan (2011). Making a fur coat. Women, the labouring body, and working-class history. Through Feminist Eyes. Essays on Canadian women's history, p. 391-423.

http://www.aupress.ca/books/120191/ebook/16_Sangster_2011-Through_Feminist_Eyes.pdf

Schneider, Sven Raphael (Feb. 13, 2012). Fur coats for men. http://www.gentlemansgazette.com/fur-coats-for-men/p://www.fws.gov/endangered/laws-policies/esa-history.html

Tortora, Phillis G. & Eubank, Keith (2010). Survey of historic costume. A history of Western dress. 5th Edition. New York: Fairchild Books.

U.S. Fish & Wildlife Service, Endangered Species Program (2011). http://www.fws.gov/endangered/laws-policies/esa-history.html

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Furs in Fashion In The Early Twentieth Century

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ashion furs in dress remained a status symbol over the centuries as they denoted lineage, rank, class, and prosperity. At the end of the nineteenth century there was an increasing demand for fashion furs from the different social classes.

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It was important for me to uncover more about JOSEPH so that I knew how to approach it when thinking of how to incorporate my idea more thoroughly.

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is much more than just another high-end fashion brand, especially for stylish women over 50.

The fashion brand JOSEPH started life as a shop on The King's Road, Chelsea, back in the day when The King's Road was the street to see and be seen. It was not just a shopping mecca for the chic and stylish of the UK and for overseas visitors, but a byword for cutting-edge style in the 1960s and '70s: Vivienne Westwood had her first shop there, and when JOSEPH founder, Joseph Ettedgui, arrived in London from Paris, he headed straight to The King's Road to open his first shop.

The very clever thing about Joseph Ettedgui, never seen without his trademark heavy-frame glasses and cigar, was that he was much more than a brilliant retailer and designer. After his success on The King's Road, he opened further stores on London's chicest fashion avenues - on Brompton Road, Sloane Street and on Brook Street, just a few Ferragamo-shod paces from Bond Street.

Joseph was also a curator who created a lifestyle. He wanted to create a brand which was as much about the food you ate; and the photography and architecture you saw, as it was about the clothes. Joe's Café became an extension of this; a place to meet for coffee with a girlfriend, a business lunch or grab coffee-to-go between browsing. He recognised that time was something we could afford to spare little of, so curated his brand around that ethos - creating his own line of functional, beautiful essentials that can carry you from day to evening, weaving other designer brands amongst the luxe, contemporary wardrobe he created.

After his death in 2010, the JOSEPH stores continued purveying the beautiful high-end and high-quality clothing which had always set JOSEPH apart in UK retail. Today, SoSensational is thrilled to have as one of its premium fashion brands, offering super chic, timeless, ageless and dangerously tempting womenswear.

This is a brand that updates itself each season rather than sending us scurrying off in a totally new direction, it perfects those essentials that we know and love, ensuring our wardrobe is modern yet timeless. The JOSEPH collection of luxe, classic pieces makes it simple to update our existing wardrobe without having to start again from scratch each season - unless we want to, of course.

The is as deliciously covetable as ever, especially for the stylish older woman. The skirts and trousers are inspired by the cut of the traditional man's trouser, infused with sophisticated slouch yet perfectly tailored to the body. Masculine wear is updated with a modern feminine lens, his tuxedo shirt is elevated in silk with the addition of a feminine bow, his overcoat becomes her cover-up in double-faced cashmere. Silhouettes are a balance of volume and sartorial style, asymmetric tops swoop low on the hip, midi and maxi skirts are pleated to provide movement and volume. As always with JOSEPH, the fabrics are super luxe: leather and nubuck, silk and satin, super soft jersey and cotton-poplin all in tonal palette of pale neutrals and the brand's signature monochrome.

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The fashion brand JOSEPH started life as a shop on The King's Road, Chelsea, back in the day when The King's Road was the street to see and be seen.

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brainstormed and thought about ideas of where to shoot for JOSEPH that would still depict the brand but would also represent sensitivity towards nature. chose to go with the main aspect of flowers/ nature/ regents park/ hyde park

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trying to put together good ideas that will help me generate the type of positioning I want my brand to have. It have proven to be more difficult than expected due to the fact that most fo the paces that I think would really go well with JOSEPH are either hard to reach or are private's properties. I hope to have my ideas finished from tomorrow

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comparing the example of baobab using the madagascan woven baskets on the outside perimeter of their candles for a limited edition collection - limited edition collection for Joseph that i slightly different to the rest, where all proceeds to go towards a non profit?

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want to do something based around wildlife and in the forest; personally believe that it would be the best theme for JOSEPH because it matches their aesthetic well for the brand.

- showing compassionate side with children to help promote the fact that purchases go towards helping young children who may not be able to afford education?

- working closely with animals to show connection to nature and also support anti animal - abuse non profits?

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thinking of ideas that I can put into my project that will benefit my brand in a CSR standpoint. Considering these key articles:

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From reducing carbon emissions and mitigating the environmental impact of textile production to strengthening fair labor practices and addressing workers' rights, corporate social responsibility has a broad mission.

But many consumers are demanding brands, products and companies to have better CSR practices. And from an investor's perspective, it is a key business strategy. According to the Forum for Sustainable and Responsible Investment, the assets of companies engaged in various CSR activities have grown from about $1 trillion in 1997 to nearly $7 trillion today, which represents about 20 percent of total global business assets.

The FSRI notes that these business are engaged in "sustainable, responsible and impact investing practices." And that includes the fashion apparel and retail industry. Gayathri Banavara, a faculty member at LIM College who teaches in the marketing, management and finance department, has a research focus in CSR practices and ethics. Here, Banavara discusses with WWD some of the trends occurring with corporate social responsibility.

WWD: Companies in the fashion apparel and retail segment have made significant strides on the corporate social responsibility front. But some critics say more can be done. Do you agree? Why or why not?

Gayathri Banavara: Stakeholders, particularly consumers, have played a major role in encouraging CSR activities in fashion companies. Research has shown that positive social activities by companies are a direct result of the demands of consumers and employees.

Most company Web sites have a tab dedicated to CSR which includes information on the company's current CSR activities as well as their future plans. And almost all companies at least require their vendors to be audited and have the records to prove it.

But more can be done. Many companies are using CSR only as a marketing tool, resulting in only partial implementation. This strategy has improved the industry's image of being more socially responsible, but there is a danger that this approach could turn into "greenwash" - used only to gain a competitive advantage. The issue with this approach is that CSR's main purpose - being responsible - will be overshadowed by the profitability of the program.

Social media, NGOs [nongovernmental organizations] and various nonprofit organizations have played a major role in motivating fashion companies, and they will continue to do so. Yet to ensure the true purpose of CSR is achieved, companies must weave it into their operations and organizational decision making. One example of how this can be done is to include CSR goals in employees' job descriptions and annual performance reviews.

WWD: Last year's historic decision on gay marriage addressed a critical social justice issue, and the decision garnered a lot of support from the fashion industry. From a CSR reporting perspective of social justice issues, what are some of the goals companies are currently setting? What trends are you seeing?

G.B.: Issues of social justice do play a role in CSR, but to a limited extent. CSR has a broad agenda and, as its name indicates, it is responsible for the company, its stakeholders and the environment.

Taking a cue from the concept of CSR, companies in the fashion industry have started to look to the supply chain and the divide between the buyer and vendor. It has been argued that outsourcing has done more harm than good for manufacturing countries, creating more poverty. Companies are now moving toward addressing these issues, adopting multiple strategies to implement corrective measures, while at the same time building their brand image.

Using cause marketing and social media to garner support, companies are bringing aspects of social issues they can address to the forefront. Some of these are: worker abuse, worker underpayment, child labor, and women's health and empowerment in developing countries.

WWD: How well would you rate fashion apparel and retail companies with regard to the work they're doing on the environment, as well as addressing climate change?

G.B.: The fashion industry (particularly retailers) are aware of the serious issue of climate change and are shifting some of their business strategies to combat it. The shift toward sustainability in clothing and the use of natural and environmentally friendly dyes in textiles are some key strategies companies are adopting.

WWD: Overall, what are some of the trends you're seeing in regard to CSR reporting?

G.B.: A key trend prevalent in CSR reporting in the fashion industry, and in its infancy in most other industries, is self-reporting. Stakeholders are influencing companies to be more transparent about their operations. NGOs, nonprofit organizations and social media are encouraging this. Large companies, who usually have a harder time adapting and changing, are collaborating to improve their brand image and become more socially responsible. The traditional form of reporting - audits - is only the first step. The trend is to do more, which will give companies a competitive advantage.

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Fashion Companies Can Do More on the CSR Front

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From reducing carbon emissions and mitigating the environmental impact of textile production to strengthening fair labor practices and addressing workers' rights, corporate social responsibility has a broad mission. But many consumers are demanding brands, products and companies to have better CSR practices. And from an investor's perspective, it is a key business strategy.

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LOCATION - FARMHOUSE/ RURAL AREA
ATTIRE - NEUTRAL COLORS/ BLACK/ MINIMALISTIC FEEL
TAKEAWAY - CALM FEELING / PEACEFUL/ OPEN SPACE, ENVIRONMENT

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Some ideas around sustainability and nature -outdoor locations and styling - great but why...?
Try to find the thread and real connections to tell a story and engage costumer or new audience.
I believe you and your styling collaborator can question it and take it further!
Looking forward to see more later.

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One of the most common subjects now mentioned in university is the importance of being transparent as a company. I personally have mixed feelings about this. although I find it important that a brand is transparent in what they are using in their clothing and where they are sourcing their raw materials from, I personally do not find it absolutely necessary that every statistic is placed online for individuals to see. I believe that it is important that brands are informative to their clients through their 'shock factor' and where they are sourcing their products from/ conditions of their factories

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Joseph as a brand has proven to be one that possesses various different characteristics through their design strategy. these include -
- minimalist
- modernity
- simplicity
- edgy

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I personally was attracted the most to the brand JOSEPH because it is the one that I am the most aesthetically drawn towards. Most of my closet has the colors black, white, and neutral; I also usually wear clothing with a straight cut that is not too form fitting and has a relaxed aesthetic. When I walked into joseph and started scouting their inventory, I personally would see myself wearing many of the pieces that were featured in the store. The brands that they feature are ones that I am familiar with and look for when searching for inspiration.

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Features a large variety of brands that all have different styles and designs.

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much more of an open store design; much more pleasurable to walk around in, materials and stock are laid out in a much neater way, staff seems more clam, laid back, and friendly, and interior design of the store gives more of a spacious feel.

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too cramped, feels almost slightly suffocating; not a good floor design, too many products on one shelf, and sales associates tend to be more aggressive in terms of selling than those one finds on Bond St.

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Various brands featured in Joseph S.A. Alexander McQueen

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JOSEPH 2

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STRENGTHS

Ability to work well in groups and share ideas that I feel would benefit the overall project.

Organized and keeps work for both jobs and school in line.

Ability to balance a job well while also focusing on my education.

Selfless and caring towards other individuals, good listener to any issues that one may have/ in a work environment

Able to learn quickly

Able to work quickly and efficiently in a high pressure/ busy work environment.

WEAKNESSES

I tend to get distracted easily by something that does not seem of interest to me; I am a visual and audio learner, I cannot absorb information as well if I have to memorize large amounts at one time. Need to work more on multitasking when working on various projects at once.

OPPORTUNITIES

Regarding opportunities, i believe that the best options for me are jobs where I am constantly working and not sitting behind a desk. I am quick on my feet, an avid listener, absorb new information quickly. I am aiming to do a job in PR and marketing; its where I am the most comfortable. I also am very keen on travelling and exploring new countries and cities that can assist me in learning about new cultures. My hostess job also helps me socialize with clients to make sure that all of their needs are met, which can benefit me in the future when I decided to go into promotional services.

THREATS

Some threats that could potentially hold me back would be jobs that would have me working behind a desk or require large amounts of paperwork; it is hard for me to absorb long paragraphs of information, i am more of a visual learner and absorb information quicker that way or if I’m ‘thrown’ into an environment where I have to think and learn quickly to have a successful service ( which is why I usually work part time as either a receptionist or a hostess when not in university, it is a straightforward job but the workload requires you to stay on your feet and move quickly).

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When I went into the store, it was a complete different perspective from what you see online. PHILIP LIM is a brand that I have visited through the years; I especially loved their past summer collection, which consisted mostly of neutrals, with colored accent pieces and accessories.
Now the winter collection has deemed more busy; patterned fabrics are sewn next to each other, creating, in my opinion, a messy piece (visual provided below)

However, when visiting the store in South Kensington and actually viewing the garments, one an see that the designer does create very beautiful individual pieces. However, because he photographs them together in an editorial way on the site, it is hard to see how the clothing actually fits on the body.

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ANYA HINDMARCH

I personally have noticed a large differentiation between the stores of Anya when based on the amount of product in the store, how it is presented, and the clientele that goes into the store, all based on the location and even the layout of the stores themselves. Anya Hindmarch on Bond St looks much more clean, neat, and sophisticated than the one seen on sloane st. because there is less product is the actual store itself,  the location on Bond St would be one I personally would prefer to shop in. The sales associate arte attentive but not overwhelming, and the store is small but not cramped. However, this differentiates largely to the one on Sloane St., which, although larger, does carry more clutter and makes it less appealing to shop. overall the aesthetic feels more aged and tired, and sales associates tend to act almost more rushed than the one in Bond St (not giving proper space, trying to sell a product every time the client looks at a new handbag). Because of this, if i was ever wanting to purchase an Anya bag or knew anyone that would be interested, I would direct them to Selfridges or another large store selling the brand.