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I spent time researching and compiling a list of sources I thought would be useful, so I could focus my research. I kept updating it as i found new things to look at.

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Documentary from the BBC (2012) about the evolution and progression of Disco through the 1970s, which was really useful and I learnt loads about the era

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Mugler evening gown 1979

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A previous period, but with similar features to disco fashion such as luxurious gold fabric and a clingy, halterneck style

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Another gown which bears a resemblance to disco style dresses, with a sensual backless design, halterneck and diamond details

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This dress has a space-style quality to it. Also, sequins became a quintessential disco look in the following decade

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Design exhibition, information about how the space missions inspired the public. That influence can be seen in the disco subculture with shiny silver fabrics and space inspired  costume style outfit

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Design exhibition, describing how people during the 20th century adopted fashions to portray their political, social or sexual identities

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Antonio Lopez 1970: Sex Fashion & Disco Q&A | Fashion Culture on Podbean  https://www.podbean.com/ea/pb-rasy4-e1b53f
Accessed 08/09/21

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A BBC news report from the 1970s about the popularity of dicso music and dancing
accessed 9/9/21

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Log into Facebook to start sharing and connecting with your friends, family, and people you know.

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1978: Nationwide: Disco School
#OTD 1978: The UK had a severe case of Saturday Night Fever fever - a fever that could only be treated with a £1.42 trip to disco school.
Posted by BBC Archive on Friday, June 16, 2017

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cropped jackets by Chanel featured in Grazia, an updated crop top trend for 2021

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An editorial with clear 70s disco influence throughout, even including the mirrored set.

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Stella McCartney A/W 2021 showing a shiny, fitted jumpsuit which could have walked straight out of Studio 54!

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Winner of the BFC/ Vogue Designer Fashion Fund, featuring crop tops, and discussing sustainability and social enterprise

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From some sources for my project

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a shortlisted designer in the fund, featuring 70s style silk patterned shirt and tight, shiny trousers with a modern look for 2021

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Karen Allen on Facebook, reviving 70s men's fashion

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Issue 804, featuring crop tops

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Met Gala 2021
70s disco vibes in a bejewelled jumpsuit

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Some crop tops spotted on the red carpet...

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Some 70s vibes i spotted:
Lamé
Gold and silver
Sheer dresses
Clingy dresses
Sparkly and sequined fabrics
Revealing shapes and cuts
Platform shoes
Flared trousers

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a really useful article about crop tops which gave me a good overview

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If I had to pick one standout trend of last summer, the crop top would win hands-down. With all the throwbacks to the 90's trending right now, it was inevitable that the crop would make a comeback. Of course, today's modern version of this look has a style all it's own, and the crop top has been around for much longer than the 90's.

It took a long time for the crop top to materialize in the West, partly due to a colder climate and partly because of Western fashion history's notoriously puritanical dress code. Until relatively recently, European and American women's fashions were often meant to cover and restrict as much of the body as possible.

However, in parts of the East was a different story. Since the weather was generally warmer, it did not make sense to cover up so much. For example, in India, the traditional sari is typically worn with a short top underneath called a choli. This style dates back hundreds of years, and is still paired with saris today.

Additionally, the midriff-baring garments worn for belly dance also come from the East. It is difficult to ascertain the exact origins of the outfit, as it went trough various changes over a period of time, and different places such as Egypt, the Middle East and Asia had their own styles.

Eventually, a style known as the bedlah would gain prominence, at least to Westerners. Designed by Egyptian cabaret owner Badia Masabni (who was hoping to entice tourists), the bedlah was a two-piece costume that, of course, showed off the midriff for the purpose of dancing. In 1893, belly dancers gave a performance at the World's Fair in Chicago, introducing the West to the bedlah, and the concept of the crop top in general.

While the crop top was intriguing, it would take several decades before it caught on with Westerners. For a time, it was considered too "exotic" and revealing to be incorporated into their fashions, and unlike parts of the East, there was not much of a need for it.

By the 1940's however, this would change- at least the part about necessity. During World War II, many items were rationed, including fabric. This meant that clothing designs had to be much more creative in order to conserve raw materials. Apparel designers seized the opportunity as an excuse to show off a little skin- chopping off the bottom half of a shirt was an easy yet stylish solution.

The crop top became a characteristic look of the 1940's. This version was often cut with a high collar, short sleeves, and worn with high-waisted midi skirts. This ensemble created the hourglass figure that was popular at the time. It was especially suited to vacationing in the summer, as it looked chic, yet effortless.

However, like most new trends, not everybody gave the crop top such a warm welcome to the fashion scene. Many still felt the garment was much too revealing. In 1945 a woman was fined for pairing her shorts with a midriff-baring halter-top in Central Park.

Fortunately, the majority of society was progressive enough not to outlaw the shirt entirely. This dressy, more conservative (by today's standards) style of crop top stuck around throughout the 1950's. The 60's included the crop, but it was more of a fringe trend, often cut in the peasant blouse style popular in hippie culture, or as a collared shirt tied in the front.

By the late 1970's crop tops made a comeback in a very different way. The garment's hemline began to rise, while the bottoms it was paired with were cut lower. The crop top became a glamorous sex symbol, worn by pop culture icons such as Cher. It's popularity continued to grow, and by the 1980's, the top became the trend we know, love, and are currently trying to emulate.

The next two decades would be the golden age for the crop top. A toned body and sportswear were trendy in the 1980's, and the crop was perfect for showcasing that. The "aerobic" look- a cropped sweater paired with a leotard or tank is classic 80's. The style was a favorite of Madonna, who made it a part of her signature look. The crop top frequently graced the silver screen during that period- it was styled on many iconic film characters, including Baby from Dirty Dancing and Alex in Flashdance.

The crop top continued to feature heavily in pop culture all throughout the 90's. Low-rise jeans paired with "belly shirts" were all the rage, especially in music and television. Pop stars such as Britney Spears, Christina Aguilera, and the Spice Girls frequently incorporated the tops into their wardrobes.

Cropped shirts fell off the radar during the early 2000's, but the past few seasons they have made quite a comeback. While the current styles are certainly recalling the 90's, today's look is more understated. Pairing a crop top with a high waist is also on trend, harkening back to the 40's and 50's and creating a nice blend of points in fashion history.

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Fashion Archives: A Look at the History of the Crop Top

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If I had to pick one standout trend of last summer, the crop top would win hands-down. With all the throwbacks to the 90's trending right now, it was inevitable that the crop would make a comeback.

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This video talks about festival fashion in 2014 and how it was influenced by Coachella

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Wedge sandals, crop tops and vintage silk kimonos are the new wellies and parkas of this summer's festival fashion. With the Glastonbury festival almost upon us, Jess Cartner-Morley runs the rule over a selection of clothes and shoes that would make ideal additions to your festival wardrobe

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Glastonbury 2014: how to dress for festivals - video

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Wedge sandals, crop tops and vintage silk kimonos are the new wellies and parkas of this summer's festival fashion. With the Glastonbury festival almost upon us, Jess Cartner-Morley runs the rule over a selection of clothes and shoes that would make ideal additions to your festival wardrobe

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from CNN. About how 90s trends have influenced current fashion trends.

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1990s fashion: A brief history of what we wore | CNN

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Nineties fashion was hard to pin down. A clash of trends screamed for our attention while others were so quietly cool they're still sartorial staples in our collective wardrobes.

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A small article about the ration book which came out in the 40s. It was interesting to see the perspective of the fashion world.

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Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.

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An interesting article which shows looks that blend Black political styles with mainstream festival looks, as mentioned in "Prints, Paints, and Crop-Tops: The Emergence of Afro-Diasporic Festival Fashion" In Fashioning Indie: Popular Music, Fashion and Gender, by Rachel Lifter (2020). This was an article I used in my timeline.

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19 Fly AF Looks From The Afropunk Festival You're Going To Want To Wear Right Now

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An article looking at how the crop top is making a comeback.

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Cleavage is over and décolletage is so 2019. For 2020, it's all about the midriff. It began when French actress Marion Cotillard opted for a crop twice at Cannes Film Festival; once in a Ludovic de Saint Sernin two-piece paired with Balmain kimono, and again in a vintage Chanel Haute Couture set that brought to mind 10 Things I Hate About You 's Bianca Stratford at the prom. Ariana Grande, the poster girl of the late 90s and early 00s revival, also wore a prom queen style two-piece by Schiaparelli at the Grammys last week. Paired with opera gloves and big diamond earrings, it proved a rather fitting choice for a pop princess.

At the SAG Awards there were two stand-out stomachs; Charlize Theron let her chiseled abs peek through her sparkly Givenchy number and Phoebe Waller-Bridge accessorised her taut tum with a bedazzled Armani Privé mesh top, proving that the crop is certainly back at its best.

Historically, we've only had the crop top widely accepted in fashion since the 1960s. Thanks to the the sexual revolution, models and actresses like Jane Birkin started knotting their blouses around their ribs in a relaxed bohemian style and the hemlines of T-shirts began getting higher. By the mid 80s the crop had become bigger than ever, the aerobics craze saw people donning cut-off tees in a nod to Flashdance and Madonna's mesh vest in Lucky Star became one of the most mimicked moments of the 1980s (and still is today).

Paris Hilton's toned midriff was a landmark of the early 2000s, becoming a firm fixture on the red carpet of the Hollywood scene. Closely followed by Gwen Stefani, a 'more is more' attitude was adopted in terms of exposed middle; low rise jeans and skimpy tops were de rigueur paired with a California tan and peroxide blonde hair.

Now the look is back, with designers presenting the cream of the crop for Spring Summer 2020. For Dolce & Gabbana it's safari-meets-Sicily with high waisted skirts and bralettes emblazoned with jungle prints while Balmain take their cues from 1990s street style and pop culture. With the BAFTAs and the Oscars just around the corner, who will be next to flaunt their skin on the red carpet?

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Top of the crops: Is the midriff back as the must-have red carpet accessory?

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Cleavage is over and décolletage is so 2019. For 2020, it's all about the midriff. It began when French actress Marion Cotillard opted for a crop twice at Cannes Film Festival; once in a Ludovic de Saint Sernin two-piece paired with Balmain kimono, and again in a vintage Chanel Haute Couture set that brought to mind 10 Things I Hate About You 's Bianca Stratford at the prom.

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The Selfridges Press website had some interesting and useful information on their sustainability initiatives, which I used in my essay to discuss how brands and retail environments can trade in the future.

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Curated past season stock, prototypes, archive and show pieces, to be sold from 20+ small, global, independent brands - with all proceeds going directly back to the designers.

Inspired by the Rewiring Fashion manifesto facilitated by The Business of Fashion, Selfridges will open the Rewiring Space in the Designer Studio, Oxford Street on 3 December 2020 for six weeks.

The Rewiring Space is the first outlier born from conversations between the group of designers, CEOs and retail executives brought together to rethink how the fashion industry could and should work in the future, prompted by the global impact of the Covid -19 Pandemic. The Rewiring Fashion manifesto was created with 64 founding signatories.

The space will represent current and past season menswear, womenswear and accessories from brands including Christopher Kane, Neil Barrett, Erdem, 16Arlington andwith prices up to 70% less than the original retail. The founder of each brand has been part of the ongoing Rewiring Fashion digital gatherings - a forum for open dialogue, idea sharing and collaborative opportunities between fashion voices from around the world.

Founding signatory, Stefano Martinetto, Chief Executive of Tomorrow Ltd who support brands including A-Cold-Wall*, Maisie Wilen and has been instrumental in the delivery of the Rewiring Space project at Selfridges. Additional independent labels have been invited to participate in the project by the Selfridges buying team.

For Selfridges, the Rewiring Space is a natural next step as the shop continues in its commitment to embedding circularity into the business with new retail models. This is in alignment with Selfridges agreement to reset and think differently - as signatory of Dries van Noten's Open Forum Letter and the Rewiring Fashion manifesto itself - as well as with the delivery of the retailer's transformative Project Earth sustainability plan.

The Rewiring Space is part of the RESELLFRIDGES initiative, a permanent in-store and online Resale offer to provide new ways to shop (and sell) pre-loved, vintage, collectable and archive products. RESELLFRIDGES combines Selfridges sustainability commitments with a curation of rare and unusual products across price point and era.

The Rewiring Space will celebrate the distinct identity of small brands outside of the traditional parameters of season. With proceeds going directly back to the designers, the project addresses practical issues of stock management and cashflow, significantly exacerbated by the current climate, while also offering customers a unique product mix and retail environment.

"The purpose of the Rewiring Space is to change perceptions of newness and seasonality, while we rethink what our own calendar will look like in the future. Supporting small, independent partners has never been more important and by working together with industry leaders we can tackle real issues with both transparency and creativity." says Selfridges Executive Buying Director, Sebastian Manes.

Stefano Martinetto, CEO of Tomorrow said: " We welcome the initiative and commitment from Selfridges to create such a significant dedicated space for the designers participating in Rewiring Fashion. This space offers an opportunity for customers of the brands to get access to prototypes, samples and unique one-off pieces that would not normally be available, allowing them to get closer to the pure creativity of these designers. Christmas will be a little different this year, and this is something different for the fans of these brands to look forward to."
The Rewiring Fashion Manifesto www.rewiringfashion.org/ Rewiring Space - Brands
Drop 1

* ARTHUR ARBESSER

* COPERNI

* COPERNI

* LUTZ HUELLE

* MAISON RABIH KAYROUZ

* SALONI LONDON

MARY KATRANTZOU

Drop 2

24th December - 13th January

* A-COLD-WALL*

* CONNOLLY

* GMBH

* NEIL BARRETT

* NEMEN

* WHITE MOUNTAINEERING

* SAINT LONDON

Drop 3

14th January - 3rd February

* 16 ARLINGTON

* CHRISTOPHER KANE

* DILARA FINDIKOGLU

* ERDEM

* MAISIE WILEN

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Inspired by the Rewiring Fashion manifesto facilitated by The Business of Fashion, Selfridges will open the Rewiring Space in the Designer Studio, Oxford Street on 3 December 2020 for six weeks.

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Lucy and Yak are a really inspiring brand for sustainability as they incorporate it into every stage of their business and even encourage customers to upcycle or trade their products once they are finished with them.

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We are Lucy & Yak. Colourful and comfy clothing designed in Britain and produced in India by well paid tailors that we know personally. We use organic cotton, recycled wool and recycled polyester. We are completely independent so we can put people before profit.

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An innovative sustainable fibre company making yarn from Kelp. They use science and tech to address sustainability issues.

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AlgiKnit is creating eco-conscious, renewable yarns for the circular economy. We're developing durable yet rapidly degradable yarns from kelp, one of the most regenerative organisms on the planet. Our material is built for everyone: a functional and accessible resource without environmental harm. We're envisioning a future where the textile industry operates in a closed-loop product lifecycle, utilizing materials with a significantly lower footprint than conventional textiles.

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AlgiKnit is creating eco-conscious, renewable yarns for the circular economy. We're developing durable yet rapidly degradable yarns from kelp, one of the most regenerative organisms on the planet. Our material is built for everyone: a functional and accessible resource without environmental harm.

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An article about virtual fashion, discussing Auroboros, a digital fashion brand

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he seemingly sci-fi world of digital couture - in which social media users can buy virtual clothing to be worn online, while gamers can dress avatars in flamboyant "skins" - is increasingly being hailed as the next big thing in the industry.

Now, virtual clothes designers can take a master's on the subject, the first of its kind in the UK, at the University for the Creative Arts in Farnham.

"Digital fashion is disrupting the industry and it was not an option to wait. We really see digital fashion as the future of fashion," says Prof Jules Dagonet, the head of school for fashion at the university, where the digital fashion MA course will run from September.

According to Dagonet, a growing reliance on tech for communications as well as increasing concerns about the environment and waste have created "the perfect storm" for this new sector to thrive.

In gaming, the skins market is estimated to be with $40bn (£28bn) a year, while the global augmented reality and virtual realitymarket is forecast to reach $72.8bn.

For the younger generation, online presentation may be just as important - or more so - than the way they choose to dress in their physical lives, she adds. "There is an opportunity for them to curate their digital identities that can be more extravagant than their real ones."

Digital embellishments are already part of the language of social media, such as the omnipresent filters that add makeup or distort facial features to Bambi-like proportions, and apps such as KiraKira+ that add a sparkle effect to clothing.

Sustainability was also a significant part of the appeal for young designers, Dagonet says. "The new generation is all about environment and sustainability. If something is going to be worn only once to be worn on social media, does it need to be made at all?"

The course will also focus on the digital fashion trade - creating samples digitally, rather than in fabric - before final versions are produced, which could reduce a huge amount of waste during the design process.

Paula Sello, 24, and Alissa Aulbekova, 22, are at the cutting edge of digital fashion with their brand, Auroboros, and are part of the prestigious Sarabande Foundation talent incubator programme set up by Alexander McQueen.

'Digital fashion is disrupting the industry,' says Prof Jules Dagonet. Photograph: UCA

Their work, says Sello, reflects "what it means to be a brand in the 21st century, not only during a pandemic but also during the the third stage of internet when online starts to merge into reality".

Prices for their current collection range from £60 for a Metamorph headpiece, an otherworldly violet floral crown that appears to grow across the head, to £750 for a full-length undulating, sci-fi amphibian look titled Replicant.

They predict digital style could eventually become so mainstream that it may provide the same hit as fast fashion. "We can't keep producing millions of garments every year," Sello says. "Instead the tech allows people who like changing outfits quickly - fast fashion essentially - to wear things they could not in reality, whether that's fire or water."

The pair also produces similarly sci-fi sounding real biomimicry couture gowns, which grow on the body over six to 12 hours before disintegrating.

The distinction between digital and real-life design is hyper fluid, says Aulbekova. The current collection consists of data files that are applied to photographs or videos provided by clients, but an augmented reality version will be enabled soon, allowing users to use the technology immediately and directly on their bodies. Technology will move beyond the screen in the near feature, says Sello.

Augmented reality clothing could become something that is integrated into the every day and part of your body, she adds. "There is a utopian possibility of turning it into something really beautiful."

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Digital fashion designers sought for UK's first degree in virtual couture

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he seemingly sci-fi world of digital couture - in which social media users can buy virtual clothing to be worn online, while gamers can dress avatars in flamboyant "skins" - is increasingly being hailed as the next big thing in the industry.

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An article about body positivity, especially in relation to age. It shows the direction society is going in, with attitudes to how women dress changing.

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Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.

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An article about resale, which had some good information but I also found it a bit too technical for what I needed

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The Textile and Apparel Industry

eBook

4th Edition

Elena E. Karpova , Grace I. Kunz and Myrna B. Garner

Fairchild Books Library

Table of contents

Front matter

Part 1: Embarking on a Global Adventure

Part 2: The Global Supply Chain

Part 3: Trading Partners

Back matter

This content is not covered under a current subscription plan

Please contact your library to request a trial. For more information see Subscriber Services

Copyright © 2021
Bloomsbury Publishing Plc
Registered in England No. 01984336

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The Textile and Apparel Industry eBook 4th Edition Elena E. Karpova , Grace I. Kunz and Myrna B. Garner Fairchild Books Library Front matter Part 1: Embarking on a Global Adventure Part 2: The Global Supply Chain Part 3: Trading Partners Back matter Please contact your library to request a trial.

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notes 6

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An article about the 'Godfather of Disco' 

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An article about the 'Godfather of Disco' 

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This article was really interesting for understanding the early disco movement.

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n Bill Brewster and Frank Broughton's definitive 1999 history of dance music, Last Night a DJ Saved My Life, there is a lovely, heartfelt tribute to David Mancuso. "If disco - and the music which came after - has an angel, it is the raggedy figure of David Mancuso," they write. "If it has a birthplace, it is his club, the Loft."

It is beautifully put, and, after news of his death at 72 broke on Monday, there were plenty of DJs, producers and artists saying much the same thing. But there's always the chance that Mancuso himself would have argued with that interpretation of his legacy. For one thing, it describes the Loft as a club, something he would never have done. It may have been a pivotal, definitive venue of the disco era and beyond, but he was always at pains to point out that it was an invitation-only party, held in his home - and not run for profit. For another, you get the feeling he might have thought agreeing with it was egotistical, contrary to his keenly honed ideology, in which the dancefloor was a kind of egalitarian utopia, devoid of celebrities or leaders. Certainly, he had no time for the idea of the DJ as a superstar. "A party is made of many components: the group, the music," he said in 2003. "It doesn't revolve around one person. Once that starts to happen, forget about it."

But then Mancuso was always the most complex and anomalous of dance music's early-70s pioneers. He defined the latter-day notion of a DJ not as someone who played records, but as someone who could manipulate music to create an atmosphere and tell a story; to - in that oft-abused cliche - take the crowd on a journey.

A host of revered DJs would happily admit to effectively being his proteges, shaped by the emotional experience of hearing him play at the Loft: Larry Levan, Frankie Knuckles, Tony Humphries, Francois Kervorkian, David Morales. But Mancuso remained, somehow, apart from the world he'd helped create. He could mix records, and did for a time, but came to believe that doing so compromised their purity. Instead, he would play tracks from beginning to end, leaving a gap between them: his friend and collaborator Colleen "Cosmo" Murphy recalled that the Loft eventually had no headphones or DJ mixer, which Mancuso felt affected the sound quality. The atmosphere of the Loft inspired umpteen legendary clubs, including the Paradise Garage and the Warehouse, but the man behind it professed not to care much for nightclubs: "I don't like to go in situations that are overcrowded; where you can't dance or where the sound system is so overpowering that your ears are ringing or where beer costs $7 a bottle - this is what I am rebelling against."

In fact, Mancuso always seemed rather more a product of the summer of love and hippiedom than the burgeoning club culture of post-Stonewall New York. Before the Loft, he was a regular at psychedelic venues the Electric Circus and Fillmore East, and a friend and disciple of Timothy Leary, who had begun experimenting with LSD when it was still legal.

He had a tendency to talk about music in mystical terms, telling journalist Vince Aletti that his DJing was inspired by "listening to birds, lying next to a spring and listening to water go across the rocks ... there were times when it would be intense, and times when it would be very soft".

It wasn't just the acid-fuelled mind-expansion that made him talk like that. You didn't have to dig too deep into his past to realise why Mancuso might have believed music to have magical powers. He was brought up in an orphanage in Utica, a city in New York state that later earned the grimly dramatic soubriquet "the city that God forgot". His happiest memories of his childhood there revolved around a nun called Sister Alicia, who, he remembered, "would find any excuse to have a party", filling a room with balloons, handing out juice and putting out a record player and a stack of records for the children to dance to.

He left the orphanage at 15, reunited with his mother and got a job shining shoes, before moving to New York City and working as everything from an interior decorator to an antiques dealer. But something of the orphanage hung over the invitation-only parties he began throwing in 1970 as a way of paying for the loft space he lived in (illegally) at 647 Broadway. He filled the room with balloons and squeezed orange juice for his guests. Tellingly, the invites were decorated with images of the stars of Our Gang, a series of comedy shorts about poor neighbourhood children running wild that broke new ground in US cinema by treating black and white characters as equals.

The crowd Mancuso's parties drew were pansexual and racially mixed - about 60% black and 70% gay, according to one estimate - a gathering of "the disaffected and disenfranchised", as Brewster and Broughton put it. It cost $2.50 to get in. "I wanted a situation where there are no economic barriers, meaning somebody who didn't eat that day or only has a few dollars in his pocket can eat like a king ... drinks are included, you see your friends," he later said. "There's no difference if you have a lot of money, or a little."

The Loft in 1980. Photograph: Waring Abbott/Getty Images

People were drawn to the the Loft (as the various homes Mancuso threw his parties in over the years came to be collectively known) by the incredible sound system - which was built to his own exacting specifications - and the music, which was always much more eclectic than the disco tag suggests. Mancuso saw himself as a kind of curator - he loved black music, had a particular penchant for Latin rhythms and African-influenced tracks. But his tastes ran from jazz to rock, and the fabled list of 100 Loft Classics that Mancuso and Murphy compiled contains not just the expected disco and soul anthems, but records by Ian Dury, Demis Roussos and Van Morrison's Astral Weeks. He was a curator blessed with golden ears, big on finding the one great track by an otherwise obscure or uninspiring artist and turning it into a dancefloor hit - hence Roussos, or indeed The Mexican, discovered by Mancuso before it became an anthem on the nascent hip-hop scene, a solitary funky moment on an album by a prog-rock band from Hatfield called Babe Ruth.

Mancuso could, by all accounts, get people to dance to the most unlikely music by intuitively knowing exactly the right moment to play it: he had an innate understanding of how to string records together in order to generate, and then change, a mood. Eventually, his influence became such that he could turn a record into a hit across America, as happened with Soul Makossa by Manu Dibango. It started life as the B-side of an obscure French single celebrating Cameroon's success in the 1972 African Cup of Nations. Mancuso found a copy in a West Indian store in Brooklyn, it became a hit at the Loft, then across New York, then the US: so many covers proliferated that at one point, nine different versions of the track were on the Billboard chart at once. Eventually, its central chant was repurposed by Michael Jackson on Wanna Be Startin' Something.

Mancuso DJing in London in 2001. Photograph: Camera Press

The Loft long outlived the disco boom, but its fortunes faded in the late 80s: Mancuso moved to the crime-ridden Alphabet City, which put all but the most hardened dancers off. Then, having lost a lot of money in bad business deals, he found it increasingly hard to discover affordable spaces to live in downtown Manhattan.

He was forced to go on tour, much against his will. But, if nothing else, his global DJing stints must have brought home to him very forcefully how far the legend of the Loft had spread. At one London date to launch the 2001 compilation David Mancuso Presents the Loft, the crowd was so overawed to be in his presence, they applauded at the end of each record.

"The Loft is a feeling," he once said. It was another of his mystical pronouncements, but one that anyone who's ever experienced that incredible, sometimes life-changing, sense of transcendence that the right music at the right moment with the right people on a dancefloor can bring will understand.

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The legacy of David Mancuso: 'His dancefloor was a kind of egalitarian utopia'

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n Bill Brewster and Frank Broughton's definitive 1999 history of dance music, Last Night a DJ Saved My Life, there is a lovely, heartfelt tribute to David Mancuso. "If disco - and the music which came after - has an angel, it is the raggedy figure of David Mancuso," they write.

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notes 5

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Some really good quotes which describe life in the Bronx during the era when disco was growing

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Everyday Life in the Hood: New York 1970-1973

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Photographer Camilo José Vergara writes for LightBox about his experience photographing the urban blight of 1970s New York.

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An interesting article about drag and ball culture in the USA and UK through the 20th century.

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Shaun Cole

Dress, Body, Culture

Don We Now Our Gay Apparel

(2000)

http://dx.doi.org/10.2752/9781847888679/DWNOGA0007

Please select from the following available links for this article:

https://www.bloomsburyfashioncentral.com/products/berg-fashion-library/book/don-we-now-our-gay-apparel-gay-mens-dress-in-the-twentieth-century/youre-born-naked-and-the-rest-is-drag

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Notes 4

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notes 3

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notes 2

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My timeline, essay and reflective journal

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slides 1 to 12

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Slides 13 to 25

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Contextual Studies presentation feedback form

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The Get Down
A Netflix series about Disco and Hip Hop culture, directed by Baz Luhrmann

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Trendstop Ltd - the Essential Fashion Trend Decoder

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Fashion Trend Forecasting Agency for Fashion, Design and Creative Industry Professionals

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Latest fashion trend forecasts, trend analysis and fashion retail store trends, street fashion trends, runway photos and catwalk trend reports, in-depth coverage of New York, London, Paris, Milan Fashion Weeks.

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A few articles I found about dopamine dressing and it's previous forms.

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Dopamine Dressing at Copenhagen Fashion Week SS22

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Dopamine Dressing at Copenhagen Fashion Week SS22

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Bold colours and silhouettes were seen on attendees and catwalks at CFW such as colour-blocked tailoring and big, bright dresses.

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We often associate Scandi style with effortless minimalism. But this Copenhagen Fashion Week, we've seen bright pops of colour dominating the streets, and no wonder, considering the past 18 months we've had. In fact, "dopamine dressing" has become one of the biggest trends to emerge from the pandemic - a term used to describe the mood-boosting effect that fashion can have.

Zingy orange, apple green and hot pink have been among the most popular shades in the Danish capital so far this season. Eye-catching prints, too - as seen on the catwalk at Stine Goya, Soulland and Baum und Pferdgarten - have brought a renewed sense of optimism as we return to IRL shows, with many taking a more-is-more approach to styling. For those who aren't quite ready to fully commit to colour and pattern yet, don't fear: a bold accessory can be just the lift you need.

So, if you're looking to inject some joy into your wardrobe right now, here are the most uplifting looks seen at Copenhagen Fashion Week spring/summer 2022.

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Dopamine Dressing Is The Biggest Street-Style Trend At Copenhagen Fashion Week

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We often associate Scandi style with effortless minimalism. But this Copenhagen Fashion Week, we've seen bright pops of colour dominating the streets, and no wonder, considering the past 18 months we've had. In fact, "dopamine dressing" has become one of the biggest trends to emerge from the pandemic - a term used to describe the mood-boosting effect that fashion can have.

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Bright colours and voluminous maxi dresses appeared at BUP's runway, in keeping with the dopamine dressing trend also seen in London, New York and Milan.

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Home really is where the heart is in Denmark, and Rikke Baumgarten and Helle Hestehave have really, really been feeling the love. They showed it by planning an outdoor show to which they could invite many guests while also engaging passerby. In addition, they demonstrated their support for the LGBTQ+ community by including a sweatshirt with rainbow-colored letters that read "Love und Understanding" and presenting it on the eve of the city's WorldPride celebrations.

When Baumgarten and Hestehave say they looked for inspiration "close to home" during lockdown, they cast a widish net. The spring collection is a sort of valentine to the Finnish designer Alvar Aalto (who's been name-checked by three designers showing at CPHFW.) Aalto's work, says Hestehave, inspired the team to tackle new colors and shapes. "We have tried to emphasize these more round waves, which you see in his very famous Savoy vase...and we have tried to [bring] in both these more modernistic and monumental straight shapes, which he's also famous for, and add to this with these more organic shapes and forms."

Aalto's extensive oeuvre offered perhaps an overload of inspiration, which suggested more variety than depth. If the collection's frills seemed fussy rather than organic, the designers came through, as always, with tailoring. When dualities were reconciled in a single look-as when a blazer was paired with fluid, flared pants and a '70s-style track jacket topped a billowing skirt-the collection sang. Knits in the form of a henley shirtdress and cheery, on-trend checkerboards were also notable.

The collection, titled New Spirit, paid homage to Aalto ideologically as well as aesthetically. "He never did anything without thinking about who would use his things, and I think this idea about doing products which we can all live in and we can all have a great life in is also part of the collection's ideas," said Baumgarten. Clearly this much-loved team took this to heart; it was no stretch to imagine the brand's fan base showing up to the spring 2023 show decked out in these spirited and optimistic clothes.

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Baum und Pferdgarten Copenhagen Spring 2022 Collection

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Home really is where the heart is in Denmark, and Rikke Baumgarten and Helle Hestehave have really, really been feeling the love. They showed it by planning an outdoor show to which they could invite many guests while also engaging passerby.

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Some screenshots and links about my trend, from Edited, Trendstop and WGSN

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Colour trends from Pantone colour reports, and some looks from the runways showing them

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Vogue article on Mango's new distribution centre

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Vogue article on Mango's new distribution centre

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The article discusses the new innovations there and how it will help mango compete with their competitors

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Mango's automated centre consolidates the company's logistics, giving it more control over customer experience and product allocation.

The strategy is to speed up shipping and delivery times to better respond to trends as fast fashion gets more competitive.

Since opening the centre, Mango has tripled the number of garments processed per hour and can ship items within days.

LLICA D'AMUNT, Spain - Every item of clothing sent to Mango's 2,100 stores in 110 countries around the world first passes through the Spanish fashion label's new logistics centre in Llicà d'Amunt, a picturesque town outside Barcelona. Approximately 600 people work six days a week at the highly automated facility, where around 400 operations are machine-driven, to process items for store deliveries.

The company has so far invested €232 million in the 186,000-square-metre facility, which can stock up to 7 million hung garments and 20 million folded garments and accessories at the same time. It was completed in 2016 but became fully operational last summer. By incorporating the latest automation technologies, the centre is able to process 75,000 garments an hour, tripling the retailer's former capacity.

As soon as hung garments arrive at Llicà d'Amunt, they are unloaded onto one of nine automatic loading bays, which can process 27,000 garments an hour. Each bay is equipped with a classifier that separates the garments by size and style. They then travel along a 24-kilometre rail to be shipped out to stores or held in the warehouse. According to Mango, its hanging garment installation is one of the most automated in Europe.

On the opposite side of the logistics centre are automatic loading docks that can process 1,000 boxes of folded garments and accessories per hour. The boxes are passed through a weighing and labelling area and identified with a tracking ID so they can be located at any time. Like the hung garment area, the folded garment warehouse prepares boxes to be either shipped or stored based on in-store sales information.

"We are a fashion company with digital transformation and data in our hands, and we want to deliver meaningful changes. We can do this if we control our operations," says Mango's general manager Toni Ruiz, who pledged to allocate an additional €35 million to expand the space by 295,000 square metres in the coming few years.

Fast fashion's efficiencies

Fast fashion retailers like Inditex have set the pace for agile supply chains by sourcing production close to its headquarters to make its lead times speedier. Today, its Zara brand takes about 10 to 15 days to bring a new item from concept to shop floor. In comparison, British online retailer Asos, which has many factories in continental Europe, takes four to six weeks - about the same time as Mango.

This shift toward speed has forced companies like Mango to rapidly update their bricks-and-mortar retail models for the digital age. Both Mango's folded and hung garment operations in its new hub feature temporary storage spaces where products are ready to leave the facility in a few days or be kept up to four to five weeks. Items are selected to be shipped to stores according to predictive models and data analysis systems, carried out by the company's integrated Warehouse Management System.

Following Zara's footsteps, Mango does not replenish but instead replaces sold-out styles with new looks. That way, shoppers know to purchase an item when they see it because they might not have the opportunity to again, resulting in fewer markdowns and stronger margins. About 35,000 boxes of garments leave its logistics centre daily in roughly 70 trucks.

Ruiz hopes that Mango's focus on streamlining logistics and automating its warehouse technology will help it better compete worldwide amid significant changes in the industry. The rapid rise of online competitors - from e-commerce upstarts like Boohoo and Nasty Gal to established giants like Amazon - is driving greater online fashion consumption. Companies like Mango have had to respond.

"Mango's store network has gone through a very quick and important transformation," says Antonio Pascual, Mango's supply chain director, noting that the retailer has increased the average surface of its stores by almost 50 per cent, from 500,000 square metres of floor space in 2012 to over 800,000 square metres today. The larger, revamped stores offer shoppers a more complete online-offline experience, including easier returns and click-and-collect.

New logistics

The opening of the Llicà d'Amunt site marks the first global distribution centre for Mango, whose operations were previously run out of smaller warehouses spread across multiple locations. By co-ordinating production and leveraging the latest technologies such as automation and tracking IDs, Mango can continue to get its latest styles onto the sales floor, satiating consumers' need for newness. In the new centralised logistics centre, Mango's clothing - produced in one of its 1,200 factories - is ready to be shipped in less than four hours if necessary.

"It guarantees we can do everything in the same place," says Pascual. "It's not about loading more trucks and garments, but maintaining a good level of service."

After three years of stagnant sales, revenues picked up in 2018: Mango reported revenues of €2.23 billion, an increase of 1.8 per cent from the 2017 financial year. It reached the breakeven point in operating profit, despite a net loss of €35 million for the year. Gross profit increased by 36 per cent year on year, with EBITDA up 17 per cent to €135 million.

Ruiz says this was driven by the success of Mango's new collections and online sales, which grew 31 per cent year on year to €445 million. He declined to forecast sales figures for 2019, but noted that the next six weeks of holiday season would be "super important".

While Mango has its main e-commerce warehouse in Palau-solità i Plegamans, garments from the facility can also be used to fulfil e-commerce orders if necessary. Investments in transforming the store network and logistics system have had a halo effect on online sales. E-commerce accounted for 10 per cent of total company turnover in 2015, and now accounts for 20 per cent of turnover, two years earlier than expected. Executives forecast that the channel will represent 30 per cent of sales by the end of the year.

Facing competition

While the efficiency of Mango's new logistics centre has contributed to a gradual turnaround, Pascual says there's plenty more to be done, and the company is working on more solutions to tackle challenges such as returns, which "force us to constantly adjust our reverse logistics", he says. The company has also designed a flexible network of eight satellite distribution centres, with one opening in Mexico just a few months ago, "to be closer to our customers and offer the best service possible".

Mango's new strategy is poised to make it more up-to-date and dynamic. But keeping up with Zara is no easy feat: the company updates its inventory about twice a week, releases on average 500 new designs every seven days.

Pascual asserts that it isn't Mango's priority to compete with Zara. "Mango offers a great product in terms of value," he says. Pascual stresses that the brand prefers to embrace relevant moods each season, rather than copying styles from the runway. "This is a key difference versus our competitors and a bet for value for our customers and the key to our success over the past 35 years."
To receive the Vogue Business newsletter, sign up here. Comments, questions or feedback? Email us at feedback@voguebusiness.com. More from this author: Vestiaire's ex-CMO brings luxury bag rentals to the UK How to sell fashion on Instagram without traditional influencers H&M's millennial brand bets on livestream shopping

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Mango is building a faster fashion brand

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Mango's automated centre consolidates the company's logistics, giving it more control over customer experience and product allocation. The strategy is to speed up shipping and delivery times to better respond to trends as fast fashion gets more competitive. Since opening the centre, Mango has tripled the number of garments processed per hour and can ship items within days.

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It discusses the controversy surrounding their 'plus size' range starting at size 12

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Are size 12 women 'plus-size'? Mango's new curvy collection criticised for implication that wearing anything above a 10 is 'big'

Mango's new 'plus-size' Violeta fashion line comes in sizes 12 to 24

400-piece collection has been praised by Government and fashion editors

Shoppers incensed at the implication that being above a size 10 is 'large'

Spanish market calling for its withdrawal saying it alienates women

British shoppers vented rage on Twitter, calling it 'beige' and 'stigmatising'

Accused Mango of encouraging eating disorders

Spanish clothing giant Mango has come under fire from shoppers in the wake of launching a plus-size clothing line for women from sizes 12 to 24.

Consumers in Spain and the UK have taken to Twitter irked at the implication that anything over a size 10 is considered 'large'.

The Violeta line - which is accompanied by the tag ' it suits me and I like it' - is a 400-piece collection available online now and in stores from tomorrow.

A spokesman for Mango said: ' The secret to this new project lies in the care taken in the technical pattern details from size to size and in being able to offer a high quality collection for any moment of the day, aimed at a modern and demanding woman who wants to feel attractive, sexy and fashionable.

'Consequently, the aim of Violeta by Mango is to dress a young target market in sizes 12 to 24 with garments designed to be comfortable, feminine and modern.'

But while the Government and fashion editors have celebrated the collection, Mango has been accused by shoppers on Twitter of stigmatising women larger than a size 10, and even encouraging eating disorders.

A campaign group in Spain have called for the line's withdrawal.

Jenny Willott, Minister for Women and Equalities, told The Times: 'Diversity makes good business sense - research shows that plus-size women are frustrated by the poor choice of fashion available to them and embarrassed by retail environments that separate them from other women.

'I welcome moves by the retail industry to reflect and celebrate the great diversity we have in the UK. I would like to see more retailers doing the same.'

While Trish Halpin, Marie Claire's editor-in-chief said 'there's the demand to address the style needs for women of all shapes and sizes. It's great that Mango are engaging with a larger-sized audience'.

But Spanish shoppers say the line is alienating to larger women and stigmatising to those who are smaller, and should be withdrawn.

One lawyer, Arantxa Calvera, launched an online petition that already has 57,000 signatures.

She said: 'To consider a size 12 as a plus size is to have a distorted picture of the reality.'

On Twitter, plus-size shoppers commented that the line was too 'beige', and that they were 'underwhelmed'.

A spokesman for Mango said: 'In view of the controversy surrounding the launch of Violeta by MANGO, the company would like to reiterate that Violeta by MANGO is a new brand within the group which was created to cover an existing demand in the market by offering a fashion collection in sizes that extend up to 24.

'What differentiates said brand is the attention to technical details, pattern to pattern and size to size, and the selection of garment materials and fabrics, which have been produced to be more comfortable, feminine and modern.

'The key characteristic of this line is the personalisation of the collection to a new target market, the result of painstaking work and effort on the silhouette and pattern of each size.'

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Mango plus-size Violeta line irks shoppers, saying above 10 is 'big'

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Mango's new 'plus-size' Violeta fashion line comes in sizes 12 to 24 400-piece collection has been praised by Government and fashion editors Shoppers incensed at the implication that being above a size 10 is 'large' Spanish market calling for its withdrawal saying it alienates women British shoppers vented rage on Twitter, calling it 'beige' and 'stigmatising' Accused Mango of encouraging eating disorders Spanish clothing giant Mango has come under fire from shoppers in the wake of launching a plus-size clothing line for women from sizes 12 to 24.

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One of Mango's influencer/designer collaborations

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We've been counting down the days until the launch of the the new Chufy x Mango collab and the day has finally arrived! Designed by Sofia Sanchez de Betak, the collection features bohemian-chic dresses inspired by the romantic, free-spirited vibe of Mallorca-perfect for warm summer days or a Spanish getaway. See more below and keep scrolling to shop our favorite styles from this limited-edition collab!

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Currently Coveting: Chufy x Mango - HEDS & DEKS

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We've been counting down the days until the launch of the the new Chufy x Mango collab and the day has finally arrived! Designed by Sofia Sanchez de Betak , the collection features bohemian-chic dresses inspired by the romantic, free-spirited vibe of Mallorca-perfect for warm summer days or a Spanish getaway.

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Mango's profit report from their website

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Sales increased by 141 million euros, 6.3% more than 2018, and are the highest sales achieved in the company's history. EBITDA rose by 43.7%, from 135 to 194 million euros. For the third year running, Mango reduced its net financial debt, which fell to 184 million euros. Online sales grow by 26.7%, totalling 564 million euros, and now represent 23.7% of total group turnover. The total annual investment was 58 million euros, much of which was allocated to accelerating the digital transformation of the company. Mango moves forward in its sustainability plan: More than 3 million active customers in the new loyalty club since its launch in Spain and France. it signs the Fashion Pact and joins the Sustainable Apparel Coalition.
Barcelona, 12 March 2020 - MANGO/MNG Holding has closed the 2019 financial year with sales of 2.374 million euros, the highest in the company's history.Income has risen by 141 million euros, representing an increase of 6.3% compared to the turnover of 2.233 billion euros posted in 2018, and exceeds the 2015 turnover by 47 million euros, which until now were the highest sales figures ever recorded.

This increase in sales is accompanied by a significant improvement in profitability.Mango's EBITDA has grown by 43.7% from 135 to 194 million euros, with accumulated growth in the last three years close to 120 million euros.The company made a gross profit of 41 million euros.

According to Mango's Chief Executive Officer, Toni Ruiz:"2019 has been an extraordinarily satisfactory year, in which we achieved the highest sales figure in our history and we have obtained the largest increase in profit in a single financial year.These excellent figures are the result of the effort and the great work of all of us who form part of Mango and will allow us to continue to build the company we want to be in the future".

At the same time, Mango has continued to reduce its bank debt.In just two years, it has managed to cut its net financial debt from 415 to 184 million euros.Specifically, the debt was reduced by 131 million euros last year."Our financial situation is better than it has been for many years.Today we are able to repay all the debt the company generates in a single year.Our goal is to continue reducing it, but without renouncing projects that will increase our profitability", Ruiz points out.
Online sales increase by 26.7% while sales in physical stores also rise
With regard to turnover by geographical regions, the international activity of the group remained at 77% of total turnover and the Spanish market, its main sales market, at 23%.By business lines, Man, Kids and Violeta accounted for 18% of sales.Of particular note was the evolution of the men's collection, which grew by more than 20% in 2019 and achieved a turnover in excess of 200 million euros.

With regard to online sales, turnover rose by 26.7%, to 564 million euros, which represents an increase of 119 million euros, above the target set for the year.In relative terms, online sales accounted for 23.7% of total company turnover.In the coming financial years, Mango expects to obtain growth rates in excess of 20%.

To attend to online sales in a quicker and more efficient manner, the group currently has ten logistics warehouses distributed throughout the world.Furthermore, the enlargement of the new logistics centre in Lliçà (Barcelona), announced last November, will accompany the growth in e-commerce.

In 2019, the Mango webpage received more than 600 million visits, 80% of which were via mobile devices.The company has continued to invest in improving the browser experience and user-friendliness of platforms (desktop, Apps and mobile).It has also made significant advances in improving and maximising the profitability of digital marketing, by personalising the browsing and shopping experience through the integration of more than 20 million customers available in CRM, increasing the relevance of communications with customers and at the same time obtaining greater efficiencies in investments.

For their part, sales in Mango's physical stores also performed outstandingly during 2019, achieving comparable growth of 5.5%, a very positive result given the evolution of the market. In addition, the consolidated like-for-like physical and online sales achieved double-digit growth in the company's main markets.
A major commitment to sustainability
Throughout 2019, Mango has continued to reorganise its stores network in order to adapt it to new requirements, although the amount of selling space has remained stable.In absolute terms, the company closed the financial year with 2,188 stores, 5 more than the previous year and with a selling space of 803,000 m ², 1% less than in 2018.

Mango is accelerating its commitment towards more sustainable fashion, which is one of the strategic goals of the company.In 2019, it joined the Fashion Pact, a global coalition made up of 300 companies and brands, which aims to promote environmental sustainability in the textile and fashion sectors.And just a few weeks ago, Mango announced that it has joined the Sustainable Apparel Coalition, a leading organisation in the textile sector which encourages good practices in the supply chain and measures environmental impact.
Omnichannel selling and loyalty
Similarly, Mango has continued to implement new sustainability initiatives, such as increasing the proportion of sustainable fibres in its collections, and highlighting that 100% of the cotton it uses will be sustainably sourced by 2025.

Mango is continuing to focus its strategy on the customer.Consequently, it has increased its investment in the development of omnichannel projects which guarantee the best shopping experience for customers, irrespective of the channel through which they decide to interact with the brand.

A key element to better understanding the needs of customers is the Mango likes you loyalty programme, which was launched in April and May of last year in Spain and France, respectively.The results obtained to date far exceed the initial targets and there are now more than 3 million active customers in the programme in the two countries.All the knowledge obtained through the programme is shared among the departments of the company, which allows all teams to accelerate their focus on the customer, while helping to prioritise initiatives according to the level of impact they have on the customer experience.

We have also extended the Click and Collect service(which uses the store's own stock), which will be available in over 500 stores during the first half of 2020. Thanks to this service, online orders can be delivered much quicker and more sustainably, given that this avoids the transfer of goods between the online warehouse and the store the customer has chosen to collect from.
Consolidation of the workforce and digital transformation
During 2019, Mango also continued to progress in the development of the RFID project.The pilot test conducted in selected company stores in Spain far exceeded the initial forecasts.For this reason, the company is going to implement it throughout the chain over the next 3 years.RFID technology allows greater visibility and traceability of stocks.Its implementation will make it possible to optimise omnichannel services and initiatives, while allowing the company to move towards decision making based on real-time data.

Mango's excellent results and his recent appointment as Chief Executive Officer confirm Toni Ruiz as the company's top executive, with responsibility for chairing the Steering Committee made up of 10 directors.This governing body is responsible for continuing to advance the process of digital transformation the company is currently engaged in.With this in mind, last year the company allocated a significant part of the 58 million euros it has invested towards this process.

A key part of this transformation process is the hub Mango occupies in Barcelona's 22@ district, whose workforce increased from 20 to 50 employees last year.The hub employs engineers with a technological profile to implement some of the most significant projects of the online business, the customer department and the omnichannel retailing department.

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MANGO POSTS A GROSS PROFIT OF 41 MILLION EUROS, AFTER ACHIEVING RECORD SALES OF 2.374 BILLION EUROS.

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Sales increased by 141 million euros, 6.3% more than 2018, and are the highest sales achieved in the company's history. EBITDA rose by 43.7%, from 135 to 194 million euros. For the third year running, Mango reduced its net financial debt, which fell to 184 million euros.

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An article about the release of the new collaboration this autumn

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Fashion

Written by Naomi May

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All products on this page have been selected by the editorial team, however Stylist may make commission on some products purchased through affiliate links in this article

After spending years fronting Mango campaigns, the Danish influencer and creative director has put her name to a collaboration with the brand for the first time.

If you're one of the many people who fawn over street style images born from Copenhagen Fashion Week, then you wouldn't be alone.

While Parisians are known for being impossibly put-together and Londoners are revered for their thrown-together aesthetic, there's something about the Danes' ability to combine the fun and frivolity of fashion with a healthy helping of sensibility which sets it apart from the crowd.

And now one of its original street style stars, Pernille Teisbæk, has joined forces with Mango on a 20-piece collection full of Scandi staples that are not only fashion-forward but also utterly timeless.

"I wanted to create a collection that would endure over time with special pieces," Teisbæk says of the collection. "These essentials are, for me, garments that can be worn both during the day and at night with jeans, a white T-shirt or a classic tailored jacket."

While the Danish native has lent her considerable clout to Mango's campaigns before, the collaborative effort marks the first time Teisbæk has joined forces with the brand to design a collection with them, although the star notes that it's been a long time coming.

Mango, which was founded in Spain in 1984, is selective with its collaborations, and recently has produced collections in tandem with a clutch of on-brand stars, including artists Sofía Sanchez de Betak and André Saraiva.
Prices start from £35.99 - £229.99. Shop the Pernille Teisbæk x Mango collection here.

Images: courtesy of Mango.

Copyright © 2010-2021 Stylist

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Pernille Teisbæk's debut Mango collection is here and it's even better than we'd hoped

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Skip to content Fashion Written by Naomi May background Layer 1 Add this article to your list of favourites All products on this page have been selected by the editorial team, however Stylist may make commission on some products purchased through affiliate links in this article After spending years fronting Mango campaigns, the Danish influencer and creative director has put her name to a collaboration with the brand for the first time.

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An article about how Mango weathered the covid 19 storm

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a WGSN report about dresses this season, detailing growth and key patterns and styles

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A recent analysis of the British retail climate

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Great Britain’s retailers hit by longest spending slump since 1996

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Sales fall unexpectedly for fifth month in a row in September despite removal of most Covid controls

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An explanation of which category consumers fall into depending on their behaviour

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Do you consider yourself a trend-setter, or do you tend to go with the flow? When new technologies or trends are introduced, sometimes we can be hesitant, and other times we are jumping right on the bandwagon. Believe it or not, there is a scientific theory that classifies the types of people who are more or less likely to adopt something new.

Learn more about which consumer group you belong to, and why it matters!

What is the Innovation Adoption Curve?

The Innovation Adoption Curve is designed to classify people by their willingness to adopt new ideas, technologies, or trends. Developed in 1962 by E.M. Rogers, the Innovation Adoption is also known as the Diffusion of Innovation Theory, Consumer Adoption Curve, or The Rogers Adoption Curve.

The Consumer Adoption Curve is represented by a bell-curve graph, which is used to show deviations within a group. The highest point on a bell curve indicates the majority, so the early majority and late majority make up most of the population. An example of a common use for bell curves is when teachers curve test grades. They will take the average of the majority test scores and alter the grading scale accordingly.

For the Innovation Adoption Curve, the bell-curve is used to explain how new ideas spread, and at what rate. The theory is most popularly used in marketing, but it's also been applied to agriculture, public health, and criminal justice.

What Are the Adopter Categories?

The Innovation Adoption Curve has 5 categories: innovators, early adopters, early majority, late majority, and laggards. Each category features different characteristics about consumers to shed light on whether they'll be on board with something new like a new drink flavor or a new style of car.

Innovators

Innovators are the risk takers. They are the people who are willing to try the newest app, lifestyle habit, or fashion trend. Innovators tend to think outside-the-box, and you likely won't find them going with the flow. It's estimated that innovators make up 2.5% of the population.

Are You an Innovator?

If you possess a willingness to try just about anything, you might be an innovator. Typically, individuals in this category don't need a new idea or product to be proven, and often will come up with new ideas on their own. An innovator must be willing to take risks despite the chance of failure. If you've ever bought a unique piece of clothing or downloaded an app before your friends, you're likely an innovator.

Early Adopters

In order to be an early adopter, you also need to be somewhat of a risk taker. These people are more informed than innovators and tend to push a new trend or technology to a wider audience. Making up roughly 13.5% of the population, early adopters typically have some degree of persuasive power or leadership status.

Are You an Early Adopter?

You might be an early adopter if you consider yourself a leader. Early adopters recognize need for change and improvement, and therefore welcome new ideas and technologies. If you like to be on the frontiers of change, it is likely you are an early adopter. If you decided to check out the new restaurant you drive past every day, or you asked for the latest Bluetooth headphones for Christmas that would make you part of the early adopter crowd as well.

Early Majority

Making up about 34% of the population, the early majority needs time to pass before adopting something new. While they may have some relationships with early adopters, they take significantly longer to welcome new products or trends into their lifestyle.

Are You in the Early Majority?

The early majority still adopts ideas sooner than the average person, but they just require more evidence that something new is working. If you like to know that a new product or innovation works before giving it a shot, you might be in the early majority. For example, someone in the early majority would read lots of reviews before making an online order or ask for recommendations before deciding on a new coffee maker.

Late Majority

Those in the late majority require more extensive research and proof before adopting a new product, technology, or trend. Making up 34% of the population, this category tends to accept something new due to peer pressure because the majority has already made the change.

Are You in the Late Majority?

If you tend to be skeptical of change, you are most likely in the late majority. Individuals in this category want to know an innovation has been successful and are unlikely to take risks. Do you find yourself hating Facebook but having an account anyway because everyone else does? Consider yourself in the late majority.

Laggards

Laggards are not only the last group to adopt an innovation, they are also resistant to change and prefer tradition. Surprisingly, this group makes up 16% of the population. By the time a laggard has come around to adopting an innovation, if at all, it may be obsolete.

Are You a Laggard?

You're maybe thinking of your stubborn grandparent and classifying them as a laggard. While most laggards are in advanced age, that does not represent the entire group. If you refuse to get a smart phone because your flip-phone works just fine, or don't want an electric car because you think it's a hassle, chances are you're a laggard.

The category you fall into can change depending on the product, idea, or trend. Just because you might be in the late majority with one innovation, doesn't mean you won't be in the early majority the next.

What the Innovation Adoption Curve Means to You

The Innovation Adoption Curve affects business owners and consumers alike. As a business owner, the Innovation Adoption Curve is important to you in two ways. First, it can help you understand which adopter categories your consumers fall into. Second, it can give insight into how your new products or technology might be accepted. It is fairly accurate in determining how consumers will react to now innovations, so take this theory into consideration before marketing new products.

Consumers can change which category they fall into depending on what the product or technology is and how they feel about it. For example, someone may be willing to try new energy-saving technology in their home, but not as willing to purchase the latest smartphone.

The bottom line is, the Innovation Adoption Curve is more relevant than you might have previously thought. The theory provides beneficial insight into people's behaviors and preferences.
Boston State University of Public Health. (2018). Diffusion of Innovation Theory. Retrieved August 20, 2019, from https://sphweb.bumc.bu.edu/otlt/MPH-Modules/SB/BehavioralChangeTheories/BehavioralChangeTheories4.html The Economic Times. (2019). Definition of 'Innovation Adoption Curve'. Retrieved August 20, 2019, from https://economictimes.indiatimes.com/definition/innovation-adoption-curve Maeli, John-Pierre. (2016, May 6). The Rogers Adoption Curve and How You Spread New Ideas Throughout Culture. Retrieved August 20, 2019, from https://medium.com/the-political-informer/the-rogers-adoption-curve-how-you-spread-new-ideas-throughout-culture-d848462fcd24 On Digital Marketing. (2018). The 5 Customer Segments of Technology Adoption. Retrieved August 20, 2019, from https://ondigitalmarketing.com/learn/odm/foundations/5-customer-segments-technology-adoption/

Gianna Petan

Meet Gianna - no stranger to all things promo products. Her background in research-based writing, linguistics, and advertising gives her an edge in blogging about the marketing industry. More articles by Gianna Petan

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Which Consumer Group Do You Belong To? - The Innovation Adoption Curve

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Do you consider yourself a trend-setter, or do you tend to go with the flow? When new technologies or trends are introduced, sometimes we can be hesitant, and other times we are jumping right on the bandwagon. Believe it or not, there is a scientific theory that classifies the types of people who are more or less likely to adopt something new.

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Mango's new sustainable brand being released this autumn

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// Mango is set to launch Alter Made, a new sustainable brand

// The retailer said the brand came to be thanks to consumer demand for responsible consumption of fashion

The Mango Group has announced it will be launching a new sustainable brand Alter Made, set to release online in select European countries as an independent addition to the group.

The Alter Made concept centres around conscious consumption and well-being, with a number of sustainable and ethical initiatives that further the label and group's commitment to the eco-side of the industry.

Mango said its development was triggered by consumer demand for responsible consumption.

Items to be in the collections are described as "durable, timeless, high-quality pieces with sustainable characteristics", as suggested in the release.

The retailer plans to use a short-run production strategy as a way to minimise surplus, as part of the collection properties.

Local production will also be one of the main attributes of the collection, with garments to be produced in Europe and Turkey, and suppliers selected according to expertise and traceability control.

Fabrics and raw materials will also be examined according to certifications for both sustainability and quality.

Mango chief executive Toni Ruiz said: "Alter Made is a different value bet of the Mango Group that is aimed at a specific audience that seeks to consume responsibly. Our goal is to accompany this trend while learning and testing new ways of working which will allow us to advance in our global sustainability strategy."

Ruiz further added that the underlying objective of the launch is "for the brand to invoice 25 million euros in three years".

Alter Made will be directed by Mango's Alejandra Mur, who has been with the group for 15 years, and will work in an international team of 12, each bringing different responsibilities and experiences to the table.

"For us, this path that we are now beginning is an exciting challenge," said Mur. "In society, there is a growing demand for collections that help to consume fashion responsibly and that is our main objective. Create quality garments, very careful, made in proximity and that have a long life."

He added: "To achieve this, it is important to focus on all the details of the garments, as well as on the partners with whom we are going to work. We are going to produce where they know how to make each product best, the origin of each garment will be marked by mastery."

Set to launch in early November, the brand's online site will be available throughout Spain, France, Germany and the Netherlands on its own official website.
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Mango to launch new sustainable brand, Alter Made

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Mango is set to launch Alter Made, a new sustainable brand // The retailer said the brand came to be thanks to consumer demand for responsible consumption of fashion The Mango Group has announced it will be launching a new sustainable brand Alter Made, set to release online in select European countries as an independent addition to the group.

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Autumn/winter 2021 trends rounded up by Edited.

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Boats and boating--Equipment and supplies