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Edition was chosen as the secondary font. As a serif font, Edition is a dramatic and eye-catching typeface which not only contrasts the modern feel of Couture but also speaks to the strength of the fashion industry and its monolithic sense of authority.

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This week I outlined the visual design of my promo video, reiterating my target audience, identifying the desired tone and researching appropriate typographies and colour palettes for my piece. I decided that, in accordance with my target audience, the tone would be that of a dark comedy to both entertain and engage, use sophisticated and contrasting fonts for maximum visual impact and feature a triad colour palette that imitates shades of popular luxury lipsticks.

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My promo video's colour palette features a triad of bold reds as its primary colour, with bright oranges and purples as the supporting colours. Red was chosen as the primary colour for its distinct connotations with luxury (the soles of Louboutin shoes), confidence and call to action. This will assist in building the subject's characterization as a high end fashion designer living a luxury lifestyle. Red's negative connotations with blood, also help to imply the subject character's bloodthirsty and tenacious mentality towards the  production and marketing of fashion despite its harmful consequences.
(Smith n.d)

Orange was chosen for its stimulating, vibrant and flamboyant connotations, which will be used to convey the frivolity and fast-paced nature of the fashion industry. Its further connotations with Hermes, a high-end luxury fashion brand helps to further convey the idea of wealth and excess.(Bourn 2011a)

Purple, the colour of exclusivity, wealth and power, was chosen to characterize the subject and, by extension, the fashion industry as being ego-centric, arrogant and elitist. (Bourn 2011b)

Accenting colours, black and white are used to evoke the classic bold and luxurious branding of most heritage fashion labels such as Chanel, Gucci and Louis Vuitton. Black is symbolic of power, formality, elegance and authority, promoting the idea of the fashion industry being an impenetrable fortress of codes and traditions. (Bourn 2011c)  While white is symbolic of perfection, cleanliness and simplicity, representing the fashion industry's obsession with beauty, youth and public image. (Bourn 2011d)

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After careful consideration as to the effects of Sans and Sans-Serif typefaces, it was decided that the fonts to be used in my promo video are Couture and Edition.

Couture was chosen as the primary font. As a sans-serif font, Couture is a bold and authoritative typeface which conveys the idea of the product being modern. In addition, its use in the Chanel fashion label's logo further consolidates my promo video's connections to the fashion world.

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As my product is a mockumentary trailer, it is predicted that my audience will assume the video to be comedic in tone. When my audience finishes watching the video, I want them to be shocked and disgusted by the actions of the subject character, viewing them as the embodiment of the fashion industry's attitudes towards ethics and sustainability. This will be achieved through the unlikeable and unrelatable characterisation of the subject character with lavish displays of ill-gotten wealth and luxury as well as the poor treatment of those around her including her assistant. While the use of dark humour delivered through punchy, memorable one-liners will be used to keep audiences from  becoming overly disgusted and disengaged from the video. This video will require a strong and bold colour palette and typography that mimics the exclusivity and luxury of big fashion labels such as Gucci, Dior or Chanel.

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My target audience are female millennials aged 25 to 40 with disposable income who are interested in ethical, sustainable fashion. Through my research into millennial consumer loyalty it was found that millennial consumers prefer to “select and consume products that help them to define who they are, what is important to them and what they value in life…” by using “their considerable knowledge about the latest trends, images, and reputations of retailers, products, and brand names … to make the best decision …not only [about] price and quality but … making good investments for the future.” (Ordun 2015 pp. 40 - 55) This makes Millennials message conscious consumers who value ethical consumption (Bucic & Harris & Arli 2012). I aim to capture their attention using a crass and divisive subject character that coincides with and strengthens their beliefs about the fashion industry being unethical and unsustainable. Not only will this satirical approach be engaging on an entertainment level (thus, creating gateways for those who do not identify with the message) but an intellectual and moral level as well.

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Week 4 - Creative Thinking and Mindmapping 

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Week 4 - Creative Thinking and Mindmapping 

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This week, I began brainstorming various ideas about different perspectives and approaches to my topic using the mindmap method to promote creative thinking and ensure that my video is as creative and original as it can be. From this brainstorming session, I summarised my final promotional message and identified the major points of difference that set my video apart from others with similar messages.

After identifying a particular message for my video, I completed an AIDA statement and outlined my creative intentions in planning for my treatment.  Upon completing my treatment, I look forward to moving ahead with planning the visual design of my promo video and carefully considering the most effective and engaging style choices to successfully convey my message.

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Svetlana Petrovna is an eccentric fashion designer and the editor of fashion magazine, Fastest Fashion Fastly. Upbeat music plays. She sits, dressed in an outrageous outfit with large round sunglasses, in front of a white studio backdrop. Music stops abruptly. She talks about her morning routine.

A title card appears. Music starts again. 'Meet the world's most controversial designer'.

Magazine covers featuring Petrovna in various ridiculous outfits flash across the screen. She explains her approach to fashion. Petrovna explains how she increased the industry's 52 micro seasons to 365, a new line for every day of the year.

Music becomes more intense. A montage of archival footage of people buying clothes, then throwing away clothes and then landfill quickly flash across the screen. Petrovna comments that 'it makes people happy'. Music stops. Image of the Rana Plaza collapse flashes across screen. Screams and sirens are heard.

The interviewer asks Petrovna if she is concerned about the future of fashion. She answers back sarcastically. Upbeat music continues. The interviewer asks Petrovna about the ethical and environmental issues the fashion industry causes including fast fashion, exploitative labor, cultural appropriation and unfair beauty standards. She answers back sarcastically again, ignorant of the issues in fashion, reflecting the attitudes of the fashion industry.

Music stops. Petrovna introduces herself and states her evil plan to take over the world with fashion. The video fades to black with Petrovna's maniacal laugh echoing over the darkness. Lights up again on Petrovna giggling about the interviewer's ethical and environmental concerns.

Dramatic drum beats are heard as the final call to action appears in a title card, "What you wear says a lot about you. Buy Ethically. Buy Sustainably."

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Attention: I aim to capture the audience's attention within the first 6 seconds of my promo video by having my subject say or do something controversial or divisive. This encourages the audience to engage with the video on an emotional level as their personal beliefs are challenged. Having my subject demonstrate questionable ethical choices in a way that evokes anger, disgust and surprise should encourage the audience to agree with my message and take action.

Interest: My target audience have been identified as message conscious consumers who value ethical and sustainable practices from the businesses they choose to support. By showcasing the unethical and unsustainable aspects of the fashion industry through my subject,  I will appeal to the audience's beliefs and justify why they should take action.

Desire: Using dark satirical humor, I aim to highlight the frivolity of the fashion industry and its careless attitudes towards sustainability and human rights via a fictitious fashion designer. This should position the audience to think critically about both the industry and their own fashion habits.

Action: My call to action, "Your clothes say a lot about you. Buy ethical. Buy sustainable" aims to leave the audience appalled by the fashion industry and wanting to change their attitudes towards fashion to become more conscious consumers.

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Ethical Perspectives: How Do Millennial Audiences Criticise the Fashion Industry?  

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Ethical Perspectives: How Do Millennial Audiences Criticise the Fashion Industry?  

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Fashion is a global industry worth an estimated $2 trillion AUD (Shahbendeh 2021), which “…employs more than 300 million people worldwide…” and has become a “…substantial driver of global GDP.” (Gazzola et al. 2020, pp. 1) Millennial consumer loyalty, analysed by Canadian Social Science researcher, Güven Ordun (2015 pp. 40 - 55), indicates that Millennial consumers prefer to “select and consume products that help them to define who they are, what is important to them and what they value in life…” by using “their considerable knowledge about the latest trends, images, and reputations of retailers, products, and brand names … to make the best decision …not only [about] price and quality but … making good investments for the future.” This makes Millennials message conscious consumers who value ethical consumption (Bucic & Harris & Arli 2012). Despite its rapid growth (Gazzola et al. 2020, pp.1), the fashion industry has been widely criticised by consumers, environmentalists and academics for its increasingly negative impact on the environment, its reliance on labour exploitation and cultural appropriation. Conversely, the fashion industry has also been acknowledged for its recent focus on affordable apparel and for developing platforms for activism. It is important to understand my audience’s ethical perspectives on the fashion industry to best inform my decisions about how I promote my chosen message.

Fast Fashion and Sustainability

Fast Fashion is the process of designing, creating and marketing clothing with the intent to make fashion trends available quickly and cheaply to consumers (Merriam-Webster.com 2021). This approach has revolutionised the fashion industry with fashion brands having transitioned from the traditional 4 fashion seasons to a staggering 52 micro-seasons per year over the past few decades (Stanton 2019). Hence, clothing production has approximately doubled since 2000 (Remy & Speelman & Swartz 2016). This increase in trend turnover and a decrease in product quality has led to the rise of “throw-away culture”, where consumers are encouraged to buy into cheap disposable trends rather than invest in sustainable practical items (Stanton 2019).  In 2018, the United Nations Environment Programme (UNEP) reported that the fashion industry “produces 20 per cent of global wastewater and 10 per cent of global carbon emissions” while “textile dyeing is the second largest polluter of water globally.” It was also reported that “washing clothes … releases half a million tonnes of microfibres into the ocean every year.” (UNEP 2018) According to the United Nations Economic Commissions for Europe (UNCE), 85% of all textile products are sent to landfill each year. Although some view Fast Fashion as having bridged the gap between what is available to middle- and low-income earners, for others, it has become a major concern and has negatively impacted their views on the fashion industry, with 70% of millennial adults aged 18 to 34 expressing that they are worried about global warming (Reinhart 2018).

Exploitative Labour Mal-Practice

The fashion industry is highly reliant on cheap outsourced labour from third-world countries where workers’ rights are limited or non-existent (Charpail 2017). On average, Bangladeshi textile workers are paid an appalling one-fiftieth of their European or American counterparts (Pumpkin Interactive 2021). Due to high demand and volume of production, mainstream fashion brands take advantage of cheap labour under poor working conditions. As Fast Fashion brands outsource their production to subcontractors, they have no direct affiliation. Hence, these brands have no legal obligation to ensure adequate working conditions for workers, generating a breeding-ground for abuse and mal-practice (Stafford 2018).

Most of these factories are located in India and Bangladesh, where 80% of the workforce are women (Hucal 2018). Due to a lack of formal, protected and minimum wage paying job opportunities in other industries, women will endure disproportionately horrendous treatment including physical, mental and sexual violence in Fast Fashion factories (Global Labour Justice 2019, pp. 26). In Global Labour Justice’s (2018) GAP report, it was documented that workers were subjected to serious “deprivations of liberty” including being forced to work during legally mandated lunch hours, prevented from taking bathroom breaks, forced to work overtime and prevented from using legally mandated leave entitlements all while working in deteriorating facilities (Global Labour Justice 2019, pp. 6). Several major factory collapses including the Rana Plaza Collapse in 2013 - which claimed 1,134 lives and was named “the country’s worst industrial disaster” (The Guardian 2016) – expose the severe lack of regulation and the extent of the fashion industry’s exploitation of cheap labour in developing countries. While some consumers may view the fashion industry’s use of outsourced labour as providing an important and growing economic export to developing countries, others are appalled by the reports of poor working conditions with “sustainable practices and fair wages for workers [being] top consumer demands for modern fashion retailers.”(Moore 2019)

Cultural Appropriation

Cultural Appropriation is defined as “the act of a member of a dominant culture taking a TCE (tangible common equity) whose holders belong to a minority culture and repurposing it in a different context, without the authorization, acknowledgement and/or compensation of the TCE holder(s).” (Vézine 2019, p. 6) The fashion industry has had a long history of cultural appropriation, the backlash from which has sparked conversations around appropriation versus exchange and representation of minority voices in the industry. Where big name fashion designers such as Jean Paul Gaultier, Donna Karen and Dolce & Gabbana received worldwide attention and acclaim for their appropriated African runway looks, actual African designers did not (Blazio-Licorish & Anyanwu 2020) This kind of highly visible cultural appropriation can be incredibly damaging to the global understanding of particular cultural identities and misrepresent shared cultural experiences.

““Streetwear” apparel and sneakers have undergone a mass appropriation…” (Lahud-Zahner n.d). Originally, a product of US Black culture and stereotyped by the dominant white culture as being associated with “prison garb and thuggery”, “Streetwear” has since been appropriated by the modern fashion industry for mainstream consumption. However, while white celebrities such as Billie Eilish or Eminem are praised as “cool” for wearing baggy clothes, non-white and particularly Black people who wear them “risk being stereotyped as “unprofessional” and “dangerous”.” (Lahud-Zahner n.d) Additionally, the appropriation of Black fashion, especially “sneakers and tracksuits [which] used to be synonymous with poorer, black neighbourhoods in the US” by mainstream fashion labels such as Gucci, Balenciaga and Luis Vuitton often turn “a blind eye to the structural injustice and economic inequality faced by black Americans.” (Khopkar 2018).

Although cultural appropriation has plagued the fashion industry for many years, some designers have been working towards the popularisation of cultural exchange over appropriation. Dr Shameem Black, from the Department of Gender, Media and Cultural studies at the Australian National University, states that "the principle of cultural exchange, which involves consultation, collaboration and recognition, is a much more equal way in which it's not just one person setting the terms." Anna Robertson, founder of Australian-Ghanaian social fashion enterprise, Yevu, employs over 20 people in Ghana for above living wages to collaborate in the production of Ghanaian textiles (Dreasher 2019).

While some consumers may be indifferent to the impacts of cultural appropriation or believe these accusations go “too far” (Licsandru & Chi Cui 2019), many Millennial consumers “…wish for diversity celebration, respect and a certain level of cultural competence … [judging] cultural misunderstanding and do not accept generalizations, stereotypical or cliché depictions.” (Bucic & Harris & Arli 2012)

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Ethical Perspectives: How are Women In Leadership Viewed By Millennial Audiences?

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Ethical Perspectives: How are Women In Leadership Viewed By Millennial Audiences?

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The fashion industry is a feminised sector (McRobbie 1997). However, the industry is still male dominated with only 40% of women’s’ wear fashion brands designed by women and only 14% of the 50 major fashion brands led by women, despite women making up 100% of women’s’ wear consumers (Danziger 2019). This lack of female leadership is “striking, given that women account for the majority of those entering the workforce, often dominating brands’ entry-level creative positions and fashion schools’ student bodies.” (Pike 2016) The Millennial demographic are message conscious consumers who value ethical consumption (Bucic & Harris & Arli 2012) with most Millennials believing in gender equality and the importance of the feminist movement (YouthSight 2017). Fashion is a crucial component of political performativity (Behnke 2016, p. 18), hence fashion could be considered inherently political by design, production and exhibition. Millennials are more loyal to fashion brands that “depict their social status” and personal beliefs (Ozuem et al. 2021). Due the recent wave of progressivism and feminism over the last decade, women in the fashion industry have been celebrated for excelling in their field. As Millennials are more likely to be progressive than previous generations, they may favour underrepresented demographics when choosing who to support and purchase from in the fashion industry (Ozuem et al 2021). Therefore, having a female designer as the subject of my promo video may be appealing to Millennial audiences. However, portraying that subject as an exaggerated caricature may be viewed as damaging to women designers and female leadership in the fashion industry.

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Annotated Bibliography ( Continued Pt. 3)

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Annotated Bibliography ( Continued Pt. 3)

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Shahbendeh, M 2021, Global Apparel Market – Statistics & Facts, Statista, viewed 22 March 2021, <https://www.statista.com/topics/5091/apparel-market-worldwide/>.

This source presents data on the global apparel market. It uses up to date statistical evidence to support its claim that the industry is set to grow in value. This source, like (Danziger 2019; Pike 2016), provided valuable statistics on the fashion industry.

Smith, K (n.d), Meaning of red: explained, Sensational Color, viewed 3 April 2021, <https://www.sensationalcolor.com/meaning-of-red/>.

This source discussed the meaning of the colour red, its symbolic and religious significance. This article supports its claims using books, images and videos as evidence. From this source I learned about the colour red's connotations with authority, love and danger.

Stafford, V 2018, Factory Exploration and the Fast Fashion Machine, Green America, viewed 22 March 2021, <https://www.greenamerica.org/blog/factory-exploitation-and-fast-fashion-machine>.

This source discusses how fast fashion meets the bottom line, outsources and subcontracts production and that high demand leads to poor working conditions and gender-based violence. The article supports its claims with GLJ and H&M reports and interviews. This source gave me a better understanding of the fashion industry’s unethical practices and supported by discussion around exploitative labour in the industry.

Stanton, A 2019, ‘What is fast fashion anyway?’, The Good Trade, (n.d), viewed 22 March 2021, <https://www.thegoodtrade.com/features/what-is-fast-fashion>.

This article focuses on the detrimental aspects of ‘fast fashion’, how it pollutes the environment and encourages exploitative working conditions for factory workers. It draws on studies and interviews to support its claims. This was a useful resource for understanding and contextualising fast fashion’s real-world impacts.

The Guardian 2016, ‘Rana plaza collapse : 38 charged with murder over garment factory disaster’, The Guardian, 19 July, viewed 22 March 2021, <https://www.theguardian.com/world/2016/jul/18/rana-plaza-collapse-murder-charges-garment-factory>.

This article gives insight into tragic Rana Plaza collapse in 2013. It is a journalistic piece which provides eye-witness accounts of the destruction as well as the events which led up to the perpetrators’ sentencing. This source gave valuable information about the magnitude of this event and helped to strengthen my discussion around exploitative labour in the fashion industry.

UNEP 2018, ‘Putting the brakes on fast fashion’, United Nations Environment Programme, 12 November, 22 Mar 2021, <https://www.unep.org/news-and-stories/story/putting-brakes-fast-fashion>.

This article, like (Remy & Speelman & Swartz 2016; Stanton 2019) discusses the damaging impacts of fast fashion on the environment and factory workers. This source uses existing studies and interviews, which indicate that fast fashion contributes to the industry’s textile waste problem, to support their claims. This source helped support my arguments against ‘fast fashion’.

Vézine, B 2019, Curbing cultural appropriation in the fashion industry, CIGI, ON, Canada, <https://www.cigionline.org/publications/curbing-cultural-appropriation-fashion-industry>. pp. 6.

This source discusses the impact of cultural appropriation in the fashion industry on minority designers and minority groups in general. This source provided a clear definition of cultural appropriation which gave a strong foundation for my discussion around cultural appropriation in the fashion industry. I would recommend this paper as a reliable source on cultural appropriation in the fashion industry.

YouthSight 2017, ‘What do Millennials Think About Feminism and Gender Equality? And Who Do Millennials Look Up To?’, Youth Thinking, 30 November, viewed 22 March 2021, <https://www.youthsight.com/blog/young-people-equality-and-feminism>.

This article discusses how young people feel about feminism and gender equality. Through a survey of over 1000 UK men and women aged 16 to 24, the data shows that Millennials are overwhelmingly positive about Feminism and gender equality. This article gave me valuable insight into the political mindset of my target audience.

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Annotated Bibliography (Continued Pt. 2)

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Annotated Bibliography (Continued Pt. 2)

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Masterclass 2019, Anna Wintour teaches creativity and leadership, video, YouTube, 6 September, viewed 23 March 2021, <https://www.youtube.com/watch?v=j7BkeFy_L94>.

This video is a trailer to a complete masterclass that looks at Anna Wintour's advice on leadership and creativity. It discusses teamwork, delegation and self-belief and uses the subject's anecdotal evidence to support their claims. This video proved to be a useful example of subject focused trailer advertising. It also gave me insight into the personality and attitude of a high profile fashion journalist.

Masterclass 2017, Diane von Furstenberg teaches building a fashion brand, video, YouTube, 5 May, viewed 23 March 2021, <https://www.youtube.com/watch?v=vi7Ulzo3gPw>.

This video is a trailer to a complete masterclass that looks at Diane von Furstenberg's advice on building a Fashion Brand. It discusses marketing, building good relationships with customers, how to stand out in a crowded market as well as Furstenberg's personal journey. The video uses the subject's anecdotal evidence to support their claims. This video proved to be a useful example of subject focused trailer advertising. It also gave me insight into the personality and attitude of a high profile fashion designer.

Merriam-Webster.com 2021, ‘Fast Fashion’, Merriam-Webster Dictionary, viewed 22 March 2021.

This source provided the definition for ‘Fast Fashion’ used in my research. I found this useful as it gave context to my findings.

McRobbie, A 1997, ‘Bridging the Gap: Feminism, Fashion and Consumption’, Feminist Review, vol. 1, no. 55, pp. 1.

This source focuses on women and consumption in the fashion industry as a feminised sector as well as looks at the fashion industry as an example of a field where perspective on both production and consumption are rarely brought together. Women dealing with poverty, political complacency and poor employment practices are employed to support these points. This source helped me to gain a better understanding of the relationship between the fashion industry and the female demographic. Although this is a scholarly source, it may be considered ‘out-of-date’. In my further research, it was found that this article’s findings were relevant in a modern context. I would recommend this resource to others interested in the topic.

Moore, K 2019, ‘Report shows customers want responsible fashion, but don’t want to pay for it. What should brands do?’, Forbes, 5 June, viewed 22 March 2021, <https://www.forbes.com/sites/kaleighmoore/2019/06/05/report-shows-customers-want-responsible-fashion-but-dont-want-to-pay-for-it/?sh=517b9f461782>.

This source draws on evidence from a 2019 Nosto report which showed that surveyed shoppers expressed that sustainable practices and fair wages for workers were top consumer priorities for modern fashion retailers. This article discussed how there is a disconnect between the idea of sustainable fashion and where consumers actually spend their money. This source gave me valuable insight into the ethical demands of millennial consumers.

Netflix 2020, Martin Scorsese Presents | Pretend It's A City | Official Trailer | Netflix, video, YouTube, 29 December, viewed 23 March 2021, <https://www.youtube.com/watch?v=eLEFmVC1VJc>.

This video is a trailer for a Netflix documentary that centres around the opinions and experiences of Anne Leibowitz. It explores a number of themes including New York City, real estate, challenges and social attitudes. This video proved to be a useful example of character focused trailer advertising and taught me how to build comedic undertones.

Ordun, G 2015, ‘Millennial (Gen Y) consumer behavior, their shopping preferences and perceptual maps associated with brand loyalty’, Canadian Social Science, vol. 11, no. 4, pp. 40 – 55.

This article profiles millennial consumer behaviour and shopping preferences. It found that millennials were mostly concerned about Price, trendiness, attachment to brand, prestige, brand reputation and quality. It used existing studies to support its findings. This source, like (Ozuem & Willis & Howell & Helal & Ranfagni & Lancaster 2021; YouthSight 2017; Bucic & Harris & Arli 2012) provided excellent statistical insight into the buying habits of my target audience.

Ozuem, W & Willis, M & Howell, K & Helal, G & Ranfagni, S & Lancaster, G 2021, ‘Effects of online brand communities on millennials’ brand loyalty in the fashion industry’, Psychology & Marketing, vol. 1, no. 1, pp. Section 5.1.

This source describes the relationship between millennial online consumers and brand loyalty. This study contributes to existing literature. Unlike extant studies, it specifically argues that customers' loyalty intentions in online brand communities depend on the individuals and context, and it categorizes loyalty into different levels. Similarly, to (YouthSight 2017) this source assisted me in profiling my target audience.

Pike, H 2016, ‘Female Fashion Designers Are Still in the Minority’, Business of Fashion, 9 September, viewed 22 March 2021, <https://www.businessoffashion.com/community/voices/discussions/how-can-fashion-develop-more-women-leaders/less-female-fashion-designers-more-male-designers>.

This author uses statistics, surveys and interviews from industry experts to investigate why women are underrepresented in leadership in the fashion industry. It discusses the idea that the industry only participates in performative gender equality and that the majority of fashion leaders are men. Similarly, to (Danziger 2019), this source presents useful statistics on the number of women in leadership in the industry compared with how many are working in entry level creative jobs. This source gave me an understanding of the industry’s attitude towards gender equality.

Pumpkin Interactive 2011, Issues in globalisation: how fair is fashion?, video, YouTube, 4 July, viewed 22 March 2021, <https://www.youtube.com/watch?v=3YAUvDmMGMI>.

Using the international fashion industry as a case study this resource asks: what is globalisation, what are the causes and what is the role played by TNC. The video explores the effects of globalisation and the pros and cons of who it benefits. The source uses footage filmed and Bangladesh and interviews with factory owners to compare working conditions of textile workers in large scale factories in Dhaka to those in small rural fair trade fashion factories. This video gave me valuable insight into the working conditions of textile workers and supported my discussion around exploitative labour in the fashion industry.

Reinhart, RJ 2018, ‘Global warming age gap: younger Americans most worried’, Gallup, viewed 22 March 2021.

This source present statistical evidence that there is a generational gap between older and younger Americans in their attitudes towards climate change. Through surveys, it was found that people under 34 years old worried more about climate change. This source supported my discussion around millennial’s attitudes towards fast fashion.

Remy, N & Speelman, E & Swartz, S 2016, ‘Style that’s sustainable: a new fast-fashion formula’, McKinsey & Company, 20 October, viewed 22 March 2021, <https://www.mckinsey.com/business-functions/sustainability/our-insights/style-thats-sustainable-a-new-fast-fashion-formula>.

This article discussion looks at the social and environmental costs of fast fashion and how it is vital that the fashion industry become more sustainable. It supports its claims with existing studies and statistics that show that textile waste has doubled since 2000. This resource provides unique perspectives on consumer habits and sustainability solutions. This source helped support my arguments against ‘fast fashion’.

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Behnke, A (ed.) 2016, The international politics of fashion: being fab in a dangerous world, Taylor & Francis, US.

This source explores the relationship between fashion and politics. It uses academic publications, historical records, published articles and discussions to support its conclusions. This source gave me an understanding of fashion’s political history and how consumers display their political leanings in the fashions they wear.

Blazio-Licorish, T & Anyanwu, O, 2020, How cultural appropriation became a hot-button issue for fashion, WWD, 3 November, viewed 22 March 2021, <https://wwd.com/fashion-news/fashion-features/how-cultural-appropriation-became-a-hot-button-issue-for-fashion-1234579968/>.

This source provides a timeline of recent instances of cultural appropriation in the fashion industry. It discusses public responses and backlash against fashion brands for their cultural appropriation and highlights injustice for minority designers. This source provided vital information about the impact of cultural appropriation in the fashion industry.

Bourn, J 2011a, Color meaning: meaning of the color orange, BournCreative, viewed 3 April 2021, < https://www.bourncreative.com/meaning-of-the-color-orange/#:~:text=Color%20Meaning%3A%20Meaning%20of%20The%20Color%20Orange&text=Orange%20is%20associated%20with%20meanings,freedom%2C%20expression%2C%20and%20fascination.>.

This source discusses the meaning of the colour orange, its pop culture and religious significance. I learned about the colour orange's connotations with stimulation, fun and childishness.

Bourn, J 2011b, Color meaning: meaning of the color purple, BournCreative, viewed 3 April 2021, < https://www.bourncreative.com/meaning-of-the-color-purple/>.

This source discusses the meaning of the colour purple, its pop culture and religious significance. I learned about the colour purple's connotations with royalty, exclusivity and arrogance.

Bourn, J 2011c, Color meaning: meaning of the color black, BournCreative, viewed 3 April 2021, < https://www.bourncreative.com/meaning-of-the-color-black/>.

This source discusses the meaning of the colour black, its pop culture and religious significance. I learned about the colour black's connotations with strength, authority and luxury.

Bourn, J 2011d, Color meaning: meaning of the color white, BournCreative, viewed 3 April 2021, <https://www.bourncreative.com/meaning-of-the-color-white/>.

This source discusses the meaning of the colour white, its pop culture and religious significance. I learned about the colour white's connotations with cleanliness, simplicity and perfection.

Bucic, T & Harris, J & Arli, D 2012, ‘Ethical Consumers Among the Millennials: A Cross-National Study’, Journal of Business Ethics, vol. 110, no. 113-131, pp. 115.

This source discusses Millennial engagement with ethical consumerism. It describes several sub-groups within this demographic and explores the levers that promote their ethical consumption. The source in based on a study in which the researchers took two sample groups and compared their consumption behaviours. This source assisted me in profiling and explaining Millennial buying habits and their relationship with consumption. I would recommend this article.

Charpail, M 2017, ‘What’s wrong with the fashion industry?’, Sustain Your Style, viewed 22 March 2021, pp. 1.

This source explores the ethical and environmental issues within the fashion industry. It draws on existing studies, which show that fast fashion and mal-practice are negatively impacting the environment and workers’ human rights, to support its claims. Like (Remy & Speelman & Swartz 2016; Stanton 2019; UNEP 2018), this source supported my discussion around millennial’s attitudes towards fast fashion.

Danziger, PN 2019, ‘Would More Women In Fashion Power Positions Mean More Female Customers?’, Forbes, 3 February, viewed 22 March 2021, <https://www.forbes.com/sites/pamdanziger/2019/02/03/would-more-women-in-fashion-power-positions-mean-more-female-customers/?sh=1b890fab4b0b>.

This author makes the point that despite being underrepresented in the industry, women designers know best how women want to dress and also are more in tune with how women want to shop. The author interviews journalists and fashion consultants about their opinions on the topic, uses surveys and expert opinion to support their claim. This source made me more aware of the lack of female representation in leadership in fashion. Its presentation of statistics was incredibly helpful in supporting my research.

Dreasher, L 2019, ‘A point of view: understanding the harmful impact of cultural appropriation’, The Inclusion Solution, 4 April, viewed on 22 March 2021, <http://www.theinclusionsolution.me/a-point-of-view-understanding-the-harmful-impact-of-cultural-appropriation-cultural-competence/>.

This article discusses the harmful impacts of cultural appropriation. It argues that cultural appropriation trivialises violent historical oppression, robs original creators of credit, spreads lies about marginalised cultures and perpetuates racist stereotypes. This article helped to strengthen my discussion around the harmful impacts of cultural appropriation in fashion.

Gazzola, P & Pavione, E & Pezzetti, R & Grechi, D 2020, ‘Trends in the fashion industry. The perception of sustainability and circular economy: a gender/generation quantitative approach’, Sustainability, vol. 12, no. 7, pp. 1.

This source analyses important phenomena that influence the fashion industry, sustainability and consumer behaviour. The article uses surveys to support its findings. This source was useful for profiling the modern fashion industry.

Global Labour Justice 2018, Gender based violence in the GAP garment supply chain, GLJ, viewed 22 March 2021, <https://www.globallaborjustice.org/wp-content/uploads/2018/06/GBV-Gap-May-2018.pdf>.

This document discusses gender-based violence in garment supply chains. This source outlines the abuse faced especially by female garment workers in developing countries based on comprehensive reports by the GLJ. It found that female workers face disproportionate abuse to their male counterparts due to a lack of minimum wage paying, protected job opportunities in other industries. This report gave me valuable insight into the working conditions of female garment workers in the developing countries and support my discussion of exploitative labour in the fashion industry, similar to (Hucal 2018; Stafford 2018; Pumpkin Interactive 2011).

Hucal, S 2018, ‘The hidden cost of fast fashion’, DW, 7 December, viewed 22 March 2021, <https://www.dw.com/en/the-hidden-human-cost-of-fast-fashion/a-46577624>.

This source explores how garment workers in developing countries are exploited in the fashion industry. The source cites recent court cases and related industrial disasters to support its argument that working conditions should improve for garment workers. The article provided great insight into the working conditions of garment workers in developing countries and helped support my discussion of exploitative labour in the fashion industry.

Khopkar, A  2018, ‘We need to talk about cultural appropriation in fashion’, ABC Everyday, 27 November, viewed 22 March 2021, <https://www.abc.net.au/everyday/cultural-appropriation-and-fashion/10501010>.

This article talks about cultural appropriation in the fashion industry, the effects on minority groups and the idea of cultural exchange over appropriation. The article draws on social media posts and expert opinion to discuss how the fashion industry can improve its cultural sensitivity and be more inclusive to minority designers. This article helped to strengthen my discussion around cultural appropriation in fashion.

Lahud-Zahner, C (n.d), ‘Unpack the appropriation of streetwear culture’, Anti-Racism Daily, 22 December, viewed 22 March 2021, <https://www.antiracismdaily.com/archives/unpack-the-appropriation-of-streetwear-culture-anti-racism-daily>.

This article aims to unpack the appropriation of streetwear culture, discussing its origins in Black culture and societal stigma to its present-day mainstream appropriation where stigma against Black wearers still persist. The author uses existing articles from reliable news sources to support their argument that appropriation hurts minority groups. This source gave me insight into the social impacts of cultural appropriation, especially in the context of Black Americans and streetwear culture.

Licsandru, TC & Chi Cui, C 2019, ‘Ethnic marketing to global millennial consumers: challenges and opportunities, Journal of Business Research, vol. 103, pp. Section 2.2

This paper “reports on an exploratory interpretivist study of global millennial consumers' subjective interpretations of ethnic targeted marketing communications in a multicultural marketplace.” Its findings show that “ethnic millennials' multicultural identities cannot be primed through mono-ethnic targeted messages, whereas multi-ethnic embedded marketing communications provide a more effective access for the ethnically diverse millennial consumers in the modern society and can potentially be a viable solution towards enhanced wellbeing and lower prejudice.” This study contributes to the insights into millennial consumer behaviour and values. Through this source, I gained a deeper understanding of millennial’s attitudes towards cultural appropriation and diverse representation.

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Edith Head

Head was an American costume designer, winning a record-breaking 8 academy awards for Best Costume Design between 1949 and 1973.

Head's distinctive style and forthright personality will be incorporated into my subject's difficult and sharp persona to convey the eccentricity and particularity often associated with fashion designers.

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Anna Wintour

Wintour is a British-American journalist who since 1988 has served as the editor-in-chief and global editorial director of Vogue as well as the global chief content officer and artistic director for Conde Nast since 2020.

Her aloof and demanding personality as well as her rigid English style, earning her the nickname "Nuclear Wintour", is a major inspiration for the subject of my promo video. I shall incorporate her large glasses and sharp styling into the subject's costume design to evoke Wintour's iconic persona and convey the perceived elitism and exclusivity of the fashion industry.

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Week 3 - Research and Annotated Bibliography

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Week 3 - Research and Annotated Bibliography

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This week, I have begun researching my topic and analysing promotional videos similar to my own as well as discussing my message from various ethical perspectives. In completing this research I have found that the fashion industry has been widely criticised for its unsustainable fast fashion, exploitative labour mal-practice and reliance on cultural appropriation as well as how women are underrepresented in the fashion industry. After profiling my target audience -Millennials - I found that they are message conscious consumers who value ethical consumption and are more likely to support feminism and minority groups in retail than previous generations.

I look forward to continuing to develop my promotional video concept and  refining my message.

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Pretend It's A City - Documentary Trailer

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Pretend It's A City - Documentary Trailer

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The Pretend It's A City trailer features fast-paced editing and upbeat music that gives it a comedic undertone with expressions of strong and punchy opinions that encourage viewers to engage emotionally. These elements effectively build the subject's character, which is vitally important, especially if audiences have never heard of or have a very different impression of the subject.

Using appropriate music, pacing and dialogue will ensure that I leave the audience with a very clear understanding of who my subject is and invite them to ask "why?"

This trailer features the documentary's title via dialogue. Using this strategy will not only give my title, context but also raises the audience's awareness of the film's name.

Additionally, having a vague title such as Pretend It's A City is doubly intriguing to the viewer and  encourages them to ask questions of the product making them more likely to seek out the answers by watching the film. I shall mimic this affect by naming my product something both intriguing and divisive. To adhere to the conventions of satire, my title should divide audiences based on opinion and drum up discussion around the film.

Annotated Bibliography:

Netflix 2020, Martin Scorsese Presents | Pretend It's A City | Official Trailer | Netflix, video, YouTube, 29 December, viewed 23 March 2021, <https://www.youtube.com/watch?v=eLEFmVC1VJc>.

This video is a trailer for a Netflix documentary that centres around the opinions and experiences of Anne Leibowitz. It explores a number of themes including New York City, real estate, challenges and social attitudes. This video proved to be a useful example of character focused trailer advertising and taught me how to build comedic undertones.

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Diane Von Furstenberg Teaches Building a Fashion Brand - Masterclass Ad

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Diane Von Furstenberg Teaches Building a Fashion Brand - Masterclass Ad

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Diane Von Furstenberg's Masterclass trailer features short, snappy and attention-grabbing interview statements which quickly and simply tell the audience a story. Using this strategy in my own promo video will ensure that I make the most of my 30 second time constraint as well as convey my message clearly.

Having the interviews shot from multiple angles, gives the impression of a highly professional and visually dynamic production as well as allows the editor to put emphasis on highly emotive words or phrases. By incorporating this into my promo video, I will ensure that my audience remains engaged with the content and that my message is emphasised for greater impact.

The use of magazine covers, old photographs and shots of the clothing all help to build a strong image of the subject and who they are as an individual. As my subject is fictional, I will have to focus on effective characterisation to make the audience invest in this character. By creating fake photoshoots, logos and images of my subject, I will achieve the feeling of authenticity.

The ad places the product logo at the end of the video. Subtle brand advertising is crucial to making audiences feel like they aren't being sold a corporate ad. Because my product is a form of entertainment, the feeling of corporate influence is less apparent. However, placing the film logo at the end of the video increases suspense for what the trailer is for and where to watch the full film.

Likewise, having the first 6 seconds of the video without music tricks audiences into thinking they are not watching an advertisement but just a regular YouTube video. This  keeps audience's attention for longer as ad without music are less recognisable and thus more intriguing to viewers.

Annotated Bibliography:

Masterclass 2017, Diane von Furstenberg teaches building a fashion brand, video, YouTube, 5 May, viewed 23 March 2021, <https://www.youtube.com/watch?v=vi7Ulzo3gPw>.

This video is a trailer to a complete masterclass that looks at Diane von Furstenberg's advice on building a Fashion Brand. It discusses marketing, building good relationships with customers, how to stand out in a crowded market as well as Furstenberg's personal journey. The video uses the subject's anecdotal evidence to support their claims. This video proved to be a useful example of subject focused trailer advertising. It also gave me insight into the personality and attitude of a high profile fashion designer.

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Anna Wintour Teaches Creativity and Leadership - Masterclass Ad

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Anna Wintour Teaches Creativity and Leadership - Masterclass Ad

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Anna Wintour's Masterclass trailer features a combination of talking head interviews, b-roll behind the scenes footage and archival footage to mimic the conventions of a documentary film. I will incorporate these elements into my short promo video to adhere to documentary conventions and build a strong identity for my subject as well as make my video visually dynamic.

Use of an attention grabbing statement within the first 6 seconds ensures that audiences' are engaged from the start of the video. This is an advertising strategy that I will incorporate into my video. However, I will use a more divisive statement to adhere to my mockumentary format. By using the title of my fictional documentary, I will not only provide context to the film's title but boost audience recognition of the product.

Cuts to bold stylised text fonts, give a chic and modern feel that exemplifies the sophistication and exclusivity of the fashion industry. I shall incorporate these font types to make the documentary feel authentic in its ridiculousness as well as to quickly describe the product's purpose. I will also add positive critic quotes to justify to audiences the quality of the product.

The ad's use of inspirational piano music conveys the sophistication and refinement of it's subject, Anna Wintour. This strategy appeals to audiences emotionally while also encouraging them to view Wintour as an aspirational figure. I shall use this tool satirically to gain my audience's emotional investment and showcase the documentary's various themes.

Annotated Bibliography:

Masterclass 2019, Anna Wintour teaches creativity and leadership, video, YouTube, 6 September, viewed 23 March 2021, <https://www.youtube.com/watch?v=j7BkeFy_L94>.

This video is a trailer to a complete masterclass that looks at Anna Wintour's advice on leadership and creativity. It discusses teamwork, delegation and self-belief and uses the subject's anecdotal evidence to support their claims. This video proved to be a useful example of subject focused trailer advertising. It also gave me insight into the personality and attitude of a high profile fashion journalist.

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What do millennial audiences criticize about the fashion industry?

Fast-Fashion/Sustainability

Cultural Appropriation

Labour Exploitation

(https://www.afr.com/life-and-luxury/fashion-and-style/why-the-fashion-industry-is-out-of-control-20160419-goa5ic) (https://www.forbes.com/sites/rebeccasuhrawardi/2019/01/16/the-big-issues-facing-fashion-in-2019/?sh=4e9db93623a9)
(https://www.researchgate.net/publication/323366423_Fashion_Criticism_Unraveled_A_Sociological_Critique_of_Criticism_in_Fashion_Media)

How are female designers viewed by the female millennials?

Fashion is Political:
"Clothes make the man. Naked people have little or no influence in society." (Mark Twain, 1927) Fashion is a crucial component of the political performativity (The International Politics of Fashion, Being Fab in a Dangerous World, Andreas Behnke, 2016, p. 18, https://www.google.com.au/books/edition/The_International_Politics_of_Fashion/FJykDAAAQBAJ?hl=en&gbpv=1), hence, fashion could be considered as inherently political by design, production and exhibition.

Millennials are Concious Consumers:

https://onlinelibrary.wiley.com/doi/full/10.1002/mar.21466

Male Domination in Fashion Industry:
The fashion industry is male dominated with only 40% of women's wear fashion brands designed by women and only 14% of the 50 major fashion brands are run by women despite women making up 100% of consumers (https://www.forbes.com/sites/pamdanziger/2019/02/03/would-more-women-in-fashion-power-positions-mean-more-female-customers/?sh=60f22bec4b0b)

Due to the rise of progressivism and feminism over the last decade, women in the fashion industry have been celebrated for excelling in their field. Millennials and Gen Z are more likely to be progressive than previous generations  Thus, they may favor under represented demographics when choosing who to support and purchase from. Hence, having a female subject in the promo video may be favorable to millennials audiences. However, portraying that subject as an exaggerated caricature may be viewed as damaging to women designers and female leadership in the fashion industry. https://onlinelibrary.wiley.com/doi/full/10.1002/mar.21466

How can I change their minds?

https://www.forbes.com/sites/pamdanziger/2019/02/03/would-more-women-in-fashion-power-positions-mean-more-female-customers/?sh=60f22bec4b0b

How are disagreeable or aggressive women in leadership viewed by audiences?

Would people take the documentary seriously? Parody of real fashion designers?

Are polka dots popular?

"The polka dot trend has been an integral part of the fashion industry."(https://platform.almanhal.com/Files/Articles/12336)

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Diane von Furstenberg Teaches Building a Fashion Brand | Official Trailer | MasterClass

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Pretend It's A City - Anne Lebowitz Documentary Trailer

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Pretend It's A City - Anne Lebowitz Documentary Trailer

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Martin Scorsese Presents | Pretend It’s A City | Official Trailer | Netflix

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Anna Wintour Teaches Creativity and Leadership | Official Trailer | MasterClass

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Hello Hahndorf Candlemaker,

My name is Jessica. I am a student at the University of South Australia currently studying a Bachelor of Film and Television. My Digital Media course requires me to produce a 30 second promotional video for a business of my choice.

Through my research, I found your business. Over the years, my family and I have fallen in love with your beautiful handmade candles and German folk art.

Being of German descent myself, I would love to interview you about your products, the candle-making process and the story behind Hahndorf Candlemaker as well as showcase some of your whimsical wares in a short promotional video. I am especially interested in purchasing some of your gorgeous Peeling Candles as I believe they would film beautifully.

I understand that your time is valuable. I will only require 30 minutes of your time for a quick interview and to film some of your products and your storefront.

This video will be for academic use only and will not be uploaded to any public platform without your written permission.

I would greatly appreciate your time and help, I am absolutely in love with your store and its history.

You can contact me via my mobile:

I look forward to hearing from you,

Jessica Böttcher

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What does a candle symbolise?

Warmth

Romance

Rustic

Relaxation

Natural

Spiritual

Mystery

Whimsy

Fantasy

Security

Peace

Non-Scholarly -
https://www.candledelirium.com/blog/candles-brief-history-of-symbolism/

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Week 2 - Summarising Promotional Message

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Week 2 - Summarising Promotional Message

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Product/Service -   A Mockumentary Promotional Video satirising the fashion industry in the style of a Masterclass Ad for a streaming service.

Message -   "Buy Ethically. Buy Sustainably"/"The Fashion Industry is Unethical and Unsustainable"

Audience -   Female Millennials aged 25 to 40 with interests in fashion, sustainability and ethical production. According to a report from eMarketer, "Millennials watch more TV on-demand through Netflix than they do on live TV", this makes people aged 25 to 40 prime target audiences for a Netflix-style mockumentary.  As this documentary centres on a female lead, it is assumed that woman would be more likely to engage and identify with this product. Woman are also a driving market demographic when it comes to engaging with and buying into fashion. Hence, the female millennial demographic is a valuable target audience.

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This week I began summarising my message and identifying my target audience. I initially chose to centre my promotional video around the Hahndorf Candlemaker, a local artisan business, targeting South Australian women with expendable income aged 30 to 45 who appreciate local, handmade non-toxic candles and folk-art. I had sent a professional email of inquiry to the business' administration (Hahndorf Candlemaker Inquiry Email) to ask for permission to film their products and store. However, my proposal was rejected.

Instead, I have decided to promote a fictional documentary trailer about a fictional fashion designer in the style of a Masterclass online advertisement. I wanted to convey the sophistication and polish of their ads coupled with Scorsese's punchy and character driven Pretend It's A City in a video of my own. I feel that this concept will give me much more creative freedom as I won't be restricted by the terms and conditions of a real-world business. This concept will also provide me with many strong examples of captivating documentary advertisements across many platforms which will assist me in my research.

Production costs and time requirements for the promotional video will also be low due to the sit-down conversation aspect of the concept and will rely more on editing and camera placement than production value to achieve emotional engagement.

My research should encompass the psychological impacts of colour, music and font types, the psyche of my target audience as well as how similar ads successfully call audiences to action.

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What impact do colours/music have on the audience.

Message?

Target Audience?

What are the points of difference of my business/product

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The First 5 Seconds: Creating YouTube Ads That Break Through in a Skippable World:

https://www.thinkwithgoogle.com/consumer-insights/creating-youtube-ads-that-break-through-in-a-skippable-world/

Try no music or muted music in first 6 seconds

Don't place brand in first 6 seconds unless it is incorporated in the action, view click off if they know it is a brand.

Choose the right tone (emotional, humorous)

6 ways brands innovated with their video marketing strategies in 2016 ways brands innovated with their video marketing strategies in 2017:

https://www.thinkwithgoogle.com/marketing-strategies/video/2017-brand-video-marketing-strategies/

Focus on fist 6 seconds of video to tell story (don't cut down, build up)

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What need to show/say in promo to make audience take action?

Consider product from audience perspective.

What do my target audience already know, think or feel about my product?

How to get attention in first 6 seconds?

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Hello (Business Name),

My name is Jessica. I am a student at the University of South Australia currently studying a Bachelor of Film and Television. My Digital Media course requires me to produce a 30 second promotional video for a product, business, or message of my choice.

Through my research I found your business. I would love to interview you about your products/services/promote your products and message (Explain why drawn to business).

This video will be for academic use only and will not be uploaded to any public platform without your written permission.

If you are interested, I will send you an additional email to discuss further details about dates, times and the types of questions that may be asked.

I would greatly appreciate your time and help, I am absolutely in love with your store and your mission.

Thank you for your consideration,

Jessica Bottcher

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Create a promotional video for a product or message of your choice.

I am feeling confident and eager. I am excited to start exploring different possibilities and finding something I am especially passionate about. I have produced a similar project in the past - making a Positive Body Image Awareness video. I already have several ideas that I can draw on for this project, including promotion of a small and unusual business or a fictional invention.

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1. Adelaide Haunted Horizons (Permission Needed)
2. Small Vintage Fashion Houses
3. Eye Implants (An evil corporation invades a small town where people can only see in black and white and gives them colour lenses that block out the fat that they are taking over the town with goo monsters)
4. PetSpeak Collar (allows pets to talk, do we want to know what they are saying? Cat tries to take over the world, human invents technology, cat ties up human and is trying to sell to other humans for their pets)
5. Connect with local artist and promote their work
6. Overcoming Perfectionism (Mental Health Awareness)
7. AWL promotion
8. Ayers House Historical Promotion
9. Old Adelaide Goal Historical Promotion
10. Z Ward Historical Promotion
11. Street Artist Promotion
12. Adelaide City Promotion (things to do, response to Melbourne politician)
13. Central Market Promotion
14. Funeral Home (the importance of the 'good death')
15. Interview Grandfather about this life in WWII Germany (A website where people share life stories. Everyone has a story, Stories live everywhere, listening to others)
16. Supporting local business
17. A fictional artist
18. Fictional Movie Trailer
19. The Grim Reaper tells his story (Death is not so bad?)
20. A Family of Hitmen promote their services (Murder, it's in the family)
21. Cat gives philosophies on life (mental health)
22. Egg that answers all the questions of the universe
23. Adelaide Ghost Tour Promotion
24. The David Roche Foundation Promotion
25. An intergalactic student exchange programme
26. Hahndorf Candlemakers Historical Promotion
27. A True Crime Trailer (Who stole the cookie from the cookie jar?)
28. Alphabet St. Magazine Promotional Video
29. Fictional Tailor Ms. Alphabet's Atelier (Masterclass)
30. Fictional Documentary Trailer (Jazz Singer falls from grace)
31. Advertise a fictional festival
32. Assassin Academy Promotional Video
33. Boutique Jewellery Promotional Video
34. The Elevator Society (Secret Society)
35. Fictional Rock Band Documentary
36. Hell Lawyers (Lawyers to get you out of Hell, murdered somebody but claim it was self defence, listen to Nickleback unironically, still think that Wakanda is a real country? Hi, we're the Hell Lawyers...)
37. Soft Focus- Sparkly Eyes Glasses
38. Monster for Hire
39. Personal Theme Song Composer (TS plays when you enter a room)
40. NASA's new spaceship city Promotional Video
41. The Quiet Place (go to a quiet white room with snap of fingers)
42. NerdAlert (hire a nerd to do anything you don't want to do)
43. Imaginary Friend Agency (are you an intangible being, find work here)
44. Sidekick Agency (Need a Sidekick?)
45. Café Create (A cafe for Artists)
46. Fairy Godmother Agency
47. App that introduces you to a new artist everyday (curated service)
48. The Cat's Pyjamas (pyjamas for cats)
49. The At-Home Stenographer
50. Pet Bio-dome (Therapeutic Dome for sleep, healing and relaxation)
51. Save The Texas Prairie Chicken Awareness Video
52. At-Home Compactor Recycling System (Maximises the amount of material to be recycled)
53. Connect with Community Awareness
54. Connect with Nature (Escape to Nature)
55. The benefits of pet ownership
56. Luxury Furniture Company
57. Birwood Auto Museum Promotional Video
58. Train and Tram Museum Promotional Video
59. Aviation Museum Promotional Museum
60. Online Curated Florist Service
61. Hahndorf Gelato Business Promotional Video
62. Online Custom Pizza Delivery Service
63. Online Custom Salad Bowl Delivery Service
64. Online Stationary Store (Write a beautiful letter online and have the physical letter delivered to a loved one)
65. Design your own jewellery online store
66. Bonsai Kits
67. Heal by Scent (scent infused soaps, candles, jewellery for health, happiness and healing)
68. Design own Perfume Online Store
69. Have a designer piece custom painted by artist
70. Ultimate Curated High Tea/Afternoon Tea Box Experience
71. Pet Jewellery
72. Guided Meditation Streaming Sevice
73. Luxury Soap and Toiletries Monthly Curated Box
74. Origins Tour (Online Service that designs trips based on your genealogy and ancestry, gives guided tours and historical background)
75. Fairy Ball (annual invitation only festival event)
76. Spa Treatment Curated Boxes (That celebrates traditional skincare  methods and ingredients from around the globe)
77. Celestial Watch App
78. Grazing Table Catering
79. Online Cobbler (design your own shoes)
80. Custom Phone/Gaming Console Case Online Store (Design your own
81. Indoor Plants To You (Monthly Curated Box)
82. Get away drivers for hire
83. Alien Zoo
84. Universe 2 (Earth is dying, Travel to New Universe)
85. Study Support Group (Videos to inspire and help you study)