Week 3: Contributor Outreach

Introduction

During week 3, in my classwork I attended a masterclass with Fiona Hayes on the importance of print luxury books and magazines and attended a masthead event at the Adelphi Building.

In my independent study I have been doing outreach to a multitude of potential participants for their opinions on the event. As Barbie was a large case study for the development of my IRP, I decided to buy the ‘Barbie: The World Tour’ coffee table book about the movie's red carpet looks and attend the newly opened exhibition in the Saatchi Gallery. 

Classwork

Masterclass: The Importance of Print Luxury Books & Magazines

With Fiona Hayes

This masterclass encouraged me to look at case studies: Inque (no advertising to avoid limiting editorial content), Cabana, Beach Culture, The Fashion Yearbook (annual review of advertising campaigns, editorials, covers). Brands releasing books include: Burberry (online flick through available), Saint Laurent, Louis Vuitton: Virgil Abloh (online flick through available). Glamour has gone digital but has announced ‘Glamour: An Extraordinary History’ as a celebration of print and its contributors. Some publishers to note that would be fit for my publication include: Assouline, Taschen, Rizzoli, Phaidon. This masterclass reminded me to consider my project size, content and audience (Hayes, 2024).

My publication is a body of work that will combat digital fatigue through escapism and indulgence. 

Bringing the Masthead to Life at the Adelphi Building

10th of July 2024

Our class went on a trip to visit the new Condé Nast Britain HQ in the Adelphi Building, London on the 10th of July for a Masthead event planned by the college to gain insight on a variety of roles in publications across Condé Nast. Speakers and notes taken from the sessions included (Condé Nast HQ, 2024):

Abigail Williamson (Senior Advertising Sales, Vogue)

• Works on advertising features that look like editorials like the Tatler Address Book.

• Encouraged students to look into graduate Training Schemes.

• She emphasised the importance of knowing the titles identities, which can help inform how I tackle my publication, a supplement of Vogue’s.

Erin McQuitty (Insight Manager, Condé Nast) & Yana Filippova (Insight Executive, Condé Nast) 

• The pair look at what numbers in research tell us.

• The pair emphasised the importance of storytellers.

Nicole Brixi (Creative Marketing Strategist, Condé Nast)

• A Condé Nast College graduate.

• She has worked adjacent to Karla Otto - a PR agency.

Olivia Marks (Deputy Features Director, British Vogue)

• Marks demonstrated the need for multiple facets of interest in her role.

• Marks says the team aims to be ahead of the cultural calendar, in order to plan for future magazine issues. Is it going to be a hit?

• She asks: Is it Vogue? Is it something the readers want?

• Exclusives are paramount for a monthly publication

• She says “three is a trend”

• Marks encourages us to familiarise ourselves with the sections of Vogue such as ‘In Vogue’

• Have you covered where criticism might come from?

• Consider why things are better suited to print vs digital

• The magazine wants to showcase women doing brilliant things. 

I found Olivia Marks' session most beneficial for my personal development within this project, as it made me ask myself vital questions in appealing to a Vogue audience, especially as they are the hosts of the Met Gala. I plan on analysing relevant magazines and coffee table books to inform this project so I will purchase a recent issue to familiarise myself with Vogue’s tone of voice, sections, photographers of choice and more.

IRP Feedback

During week 3, we received feedback on our Independent Research Project, which has heavily influenced the direction of my Independent Final Project - therefore, these results have an impact on the success of this project. On a whole, I received a 72.6% for the double module, which amounts to a First. This grade is hopeful for the upcoming IFP.

I was commended for my writing style and use of illustrations to highlight key points which is absolutely something that will be incorporated into this project. 

For my IFP I could work on the flow between pages which means clearly planning a solid contents page and working on what the different sections will entail. Other comments refer to my use of the Barbie: The World Tour coffee table book as a case study. I have since purchased the book for layout inspiration further along in the design process. Additionally, I intend to include ‘The Garden of Time’, a short story by JG Ballard within my publication as it is around 6 pages and therefore won’t take up much space to add context to the book. This means the actual story will be included, not the abridged version. 

Independent Study

Email Outreach

This week, I have been conducting email outreach to potential contributors for the publication, for a rich variety of perspectives. If they have not responded, I have followed up within a week. I have tried to remain mindful of people’s time zones, for example those in New York by sending my emails later in the day. 

Email Outreach Template

SUBJECT: Questions for Condé Nast College Dissertation

COPY:

Hi X,

I hope you're well! I really enjoyed [piece of work / meeting them].

I'm currently writing my dissertation on fashion as a form of entertainment, using the Met Gala as a case study. 

I was wondering if I could send over a handful of questions via email for a quote, to gain your perspective on [topic].

I'm looking forward to hearing more from you, thank you in advance!

Best wishes,

Gwennan

Current Participant Status

In the following spreadsheet, I have outlined a brief description of why I want them to be involved; however, only once I have received a confirmation for their involvement I will formulate a proper questionnaire. Before sending my questions over via email, I have ensured to heavily background research my interviewees to make sure my questions are individual and not repetitive to the participant and save any useful resources for further on down the line to aid in my writing process. This spreadsheet is a work in progress and subject to change.

Examples of Email Outreach

Designing Questionnaires

Sophia Rogan (Content Creator, Advocate - In Person Interview)

1. Without context, what are your initial thoughts and interpretations on the Met Gala's 2024 theme, ‘The Garden of Time’. 

[Explain the story].

1. Now that you know the story - in a world grappling with complex issues like climate change, inequality, and political division, how might the theme serve as a reflection or critique of current global events?

2. Fashion has always been a form of political expression. Are there specific eras or events you believe might be subtly referenced in the fashion choices?

3. The theme invites reflection on both the past and the future. In a time when fashion often leans on nostalgia, how do you see the theme commenting on our current societal mood? Is there a longing for the past with the conjunction of the ‘Sleeping Beauties: Reawakening Fashion’ exhibit, a focus on the present, or a vision for the future? 

4. Given the cyclical nature of fashion, do you think the theme might symbolise a turning point in the industry? Given the growing emphasis on sustainability in fashion.

5. Do you believe social media has changed the way designers and celebrities approach their Met Gala looks? If so, how?

6. With the pressure to create 'viral' moments, do you think the essence of the Met Gala's artistic expression is being overshadowed by the quest for online fame?

7. Social media platforms often distil the Met Gala into a series of easily digestible content. Do you think this impacts the storytelling guests intend to convey through their fashion choices?

8. As a viewer, do you think ‘good press’ comes with a guest’s outfit following the theme?

9. AI-generated Met Gala looks have become increasingly realistic and have even fooled some viewers online. What are your thoughts on this?

Andrew Consenza (PR Consulting for the Mark Hotel, New York)

1. It seems as though The Mark is the preferred hotel choice for guests with its close proximity to the museum. How has the hotel's relationship with the Met Gala evolved over the years? 

2. What do you personally find most exciting about the atmosphere at The Mark Hotel during the Met Gala?

3. Can you share any memorable stories or feedback from guests from the most recent Met Gala?

4. For the most recent theme ‘The Garden of Time’, were there any special on-theme additions or unique services at the hotel? 

5. Does the hotel collaborate with the Met Gala organisers or designers in any way? If so, could you elaborate on those partnerships?

6. How far in advance do attendees make reservations at the hotel?

7. What are some of the logistical challenges involved in preparing the hotel for Met Gala guests? 

8. The lobby red carpet has become iconic and synonymous with the Met Gala, why do you think this is? Are there any details the average viewer may have missed?

9. Could you tell me more about the after party experience at the hotel?

10. How has the hotel's association with the Met Gala influenced its day-to-day operations?

Megan Doyle (Sustainable Fashion Journalist)

To quickly summarise, ‘The Garden of Time’ is a short story of Count Axel and his wife, who use magical flowers to temporarily hold back an advancing mob on the horizon from destroying their home. As their ‘time flowers’ run out, they must finally face the inevitable decline of their world. 

1. What are your interpretations of ‘The Garden of Time’ Met Gala theme and what do you think the story says about the current fashion climate?

2. The story’s setting in a secluded, idealised garden can be seen as a metaphor for the fashion industry's 'bubble' of luxury and excess. How do you think this bubble is being challenged by growing awareness of sustainability issues?

3. The Count and Countess in the story cling to their ideal of beauty as their world crumbles. Do you see a parallel in how the fashion industry sometimes prioritises aesthetics over sustainability, and what might be the consequences of this?

4. The flowers in the story represent a temporary solution to an inevitable problem, do you think the fashion industry's current sustainability efforts are merely a delay rather than a long-term solution?

Tess Davenport (Founder of In Print We Trust) / Georgie Lunn (Content Creator at In Print We Trust)

1. How do you personally view the relationship between fashion, pop culture, and entertainment? 

2. Social media has the power to catapult brands into the spotlight, especially when showcased at events like the Met Gala. How has social media influenced the success of IPWT?

3. The Met Gala celebrates specific themes that reflect cultural moments and artistic movements. How do you approach designing pieces for IPWT that resonate with cultural themes and trends?

Zoe Souter (Previously Bookings Editor at British Vogue, Host of Vogue Education Presents)

1. In your experience, how crucial is it to secure the right mix of talent for high-profile events that can translate to the success of events such as the Met Gala? 

2. How do the guests invited to major fashion events like the Met Gala influence public perception of the event, and how does that tie back to the brand of Vogue?

3. When curating a guest list / speakers / talent, how do you ensure it resonates with the target audience while also reflecting current trends and cultural moments?

Chloé Janssen (Account Director & UK Division Lead)

1. What makes the Met Gala stand out from other high-profile events in terms of cultural significance and media attention? 

2. In your opinion, what is the significance of talent or brands attending the Met Gala?

3. What are your thoughts on the ‘good press’ that comes with executing a Met Gala theme well?

Hannah Clayton (BSc in Applied Psychology at University of Wales Trinity Saint David)

1. From a psychological perspective, what do you think drives the public's intense fascination with celebrity events like the Met Gala? What needs or desires does this fulfil for the audience?

2. Why do you think celebrities use their fashion choices to construct or communicate their brand or identity?

3. The Met Gala is one of the most-watched events in the entertainment industry. What psychological impact does this level of scrutiny have on the celebrities who attend?

4. What are your thoughts on the pressure to look perfect and adhere to certain beauty standards at the Met Gala?

5. What do you think being invited to and attending an exclusive and high-profile event like the Met Gala symbolises for the individuals involved? 

6. What psychological needs do you think are fulfilled by being seen at high-profile events? Could there be long-term impacts on how celebrities view themselves and progress in their careers?

7. How might the group dynamics at the Met Gala, where celebrities are surrounded by their peers, influence their behaviour and fashion choices? What role does the need for acceptance play?

8. Do you have any other thoughts on how fashion and entertainment are linked psychologically?

Jodie Chan (VP Global Marketing and Communications)

1. We see Herrera’s signature red shown in Shakira’s sculptural rose cape, what does ‘The Garden of Time’ symbolise for the brand through this look? 

2. How does dressing influential women like Shakira reflect Carolina Herrera’s brand philosophy of celebrating women of the arts?

3. What was the creative process like in constructing Shakira’s dress for her first Met Gala?

Problems Encountered

I have received a number of responses from participants which will add substance to my IFP, transcripts will be attached in my appendices of assignment 2.

So far, I have only been able to conduct 1 face-to-face interview with Sophia Rogan (Content Creator & Advocate) regarding the theme's reflection on our current global state, the growth of the Met Gala with social media and the impact of AI. I am pleased as this fulfils my quota for the brief I set myself in assignment 2 for conducting 1 interview. I have created a transcript of this interview. 

Additionally, I received a Launchmetrics report on Met Gala 2024 data insights which has helped me formulate a best dressed list based on data as opposed to my personal opinion. This list is composed of factual data and MIV (media impact value). However, as the list is only composed of 5 of the top attendees, some who’s positioning I agree with, the remaining 5 people in the top 10 list can be based on my personal opinion as a member of the general public and fashion industry.

(Launchmetrics, 2024)

Most professional participants will opt to answer questions online. I was extremely excited to secure an interview with a PR Consultant from The Mark Hotel and prepared questions I was genuinely intrigued to learn about. I imagine due to confidentiality purposes only 4/10 were answered, something to work with but not its full potential. I have strong research skills and flexibility therefore, I hope to answer any of my other questions through using my saved resources along the way and looking deeply online.

For this reason, in future when sending my questions over email, I will send around 3 vital / key questions to the interviewee for a better opportunity of receiving a yes, and answer any additional questions within my body of work using secondary research sources. I understand 10 questions can be slightly over demanding via email and asking only 3 will hopefully give richer responses. This is an approach I conducted in the Fashion Journalism module so should be successful when utilised again. 

Beginning the Writing Process 

After the session in Week 2 with Lauren Cochrane (Senior Fashion Writer at The Guardian), I feel more comfortable doing outfit descriptions. This meant that over the weekend, when it may be considered impolite to email potential participants, I tackled this obstacle. 

Barbie 

The use of Barbie as a case study heavily informed my IRP, so I decided it made the most sense for this project to continue my learning of this particular brand universe. 

Barbie: The Exhibition at the Design Museum

Date: Tuesday 9th of July 2024

I decided to visit the newly opened exhibition at the Design Museum. The Barbie exhibition shows another facet of fashion as entertainment as a subject that appeals to all age groups and can now be considered a historical phenomenon with its conversion to a museum exhibition in London. 

The Barbie doll has been a feminist icon since its release, promoting ideas of women in the workforce, diversity, representation all while remaining an aspirational force for children to personify their own ideas and reflecting modern mainstream and cultural trends. For example, through collaborations with resonating fashion houses in popular culture such as Dior. The Barbie logo is ever changing to meet the needs of its audience, which is something the publication could adopt to fit the Met Gala theme, year by year. 

In a male-centric world this shows the appeal and market for female-focused novelties “architect and furniture designer Charles Eames noted that toys and games are the preludes to serious ideas” (The Design Museum, 2024). The exhibition continues to add, “In the early 1950s, Ruth identified a gap in the market for a fashion doll designed to resemble an adult woman… Dolls of the 1950s tended to look like babies, socialising young girls to expect marriage and motherhood as their eventual life path. Handler realised that an adult-bodied doll, with a glamorous, 'grown-up wardrobe, could offer a new and more flexible way for children to play” the Met Gala is an event for which celebrities get dressed up, a perfect source for aspirational purchasing, promoting their tagline ‘You Can Be Anything’ (The Design Museum, 2024). 

The exhibition also acknowledges Barbie as a cultural reference point, with even the 70s Sunset Malibu Barbie Doll influencing trends that have filtered down to the present day. Much like the Met Gala, “Barbie has kept pace with fashion…  a creative outlet for many children, dressing Barbie has inspired the careers of notable fashion designers including Martin Margiela and Jeremy Scott”, who’s designs can still be seen on the Metropolitan Museum of Art’s steps in the present day (The Design Museum, 2024). 

The exhibition places a heavy emphasis on the importance of fashion for Barbie, as more than just clothing, “it’s about the joy of getting dressed, the creative act of styling an outfit, and the thrill of new. Fashion is both an individual and a social activity, and a key outward marker of a person’s identity” (The Design Museum, 2024). 

The Barbie: The Exhibition space also showcased its own sleeping beauties, archival doll looks referenced and reimagined in the Barbie movie by costume designer Jacqueline Durran, now Oscar-nominated for their work in the film. 

The Barbie universe presents real world roles as a wardrobe stylist, art director and more in the present day for jobseekers.

(The Design Museum, 2024)

‘Barbie: The World Tour’ by Andrew Mukamal and Margot Robbie

• Cover is a doll’s wardrobe arrangement with a collage at the back of highlights from the press tour

• Could do a special thanks to my contributors in my book

• Foreword has a signature from Edward Enninful to show the books association with high fashion and Vogue

• In conversation interview with the stylist Andrew Mukamal and Margot Robbie

• Photography: Contact sheet layout, collages to establish a mood, polaroids, double page spreads, some black and white imagery mixed in with coloured images, rails of clothing

• Hand painted pink font for heads mixed with a classic magazine font for the sell as well as handwritten elements on top of imagery

• Use of designer sketches next to real life creations

• Use of negative space 

• Afterword from Greta Gerwig

• Credits and acknowledgments at the end

The book has inspired me to think about the brand identity of the book and use similar fonts such as: Chalkduster Regular, Bodoni Moda, Didot and Boston Angel.

Additionally, the book will encapsulate a luxurious monochromatic colour scheme. A pop of colour could include an emerald green to coincide with the green carpet on the Met steps. 

In addition to this book, I planned on reading My Favourite Dress by Gity Monsef, Robert de Niet and Samantha Erin Safer as suggested by my tutor. However I am unable to find copies of the book online that are in stock or have a delivery time of less than 6-7 months.

(Mukamal & Robbie, 2024)

Flat Plan

After my tutorial with Hannah, she encouraged me to physically create a 200 page flat plan for my magazine with Post It notes. I created a colour coding system so I had an understanding of how the content will be distributed and which pieces of work have a further level of importance. 

I was apprehensive and unsure of the relevance of this as I had already created a contents list and had an idea of what I wanted the publication to look like in my head, but having these visualisations physically in front of me was really beneficial as I felt I had a solid understanding of the task ahead - especially with having a physical object as opposed to a document on screen that I could refer back to and amend easily. This activity significantly increased my confidence as I knew exactly where things would go in the magazine so I could plan content accordingly.

Tasks & Further Reading

Graphic Design Inspiration

(TYPE01, 2024)

Looking at the following graphic design inspiration encouraged me to look at alternative fonts and colour pairings for the curation of my coffee table book. 

Packaging

Despite making a physical book, I won’t be making any brand packaging as part of this project as this is not a business or marketing proposal - only submitting a PDF of what would be the content for the printers (to turn into a physical object) as I did in my Fashion Journalism module. If this were a real-world project, I would invest into creating real-life merchandise for the publication. The caption does include the hashtag #printisnotdead which is a key influence for the creation of my physical body of work (Williams, 2024). 

(Williams, 2024)

Time Management

Ideas that I felt aligned with how I feel at this moment in time are (Donnelly, 2024):

• Parkinson’s Law

  • Longer deadlines results in increased procrastination.

  • Set shorter deadlines to boost productivity and waste less time.

• Hofstadter’s Law

  • Everything in life takes longer than expected.

  • Always be generous when making time bound plans.

• 5 WHYs Framework

  • Asking “why” multiple times helps you dig deep into problems.

  • Use this framework to find the root cause of complex or difficult issues

• Brandolini’s Law

  • Lies are always easier to spread than facts (referring to the AI mockups of Met Gala outfits)

  • Don’t become overwhelmed by lies and rumours, stay focused.

Key Takeaways

• Luxury books have a place in the lifestyle sector with works by Saint Laurent and Louis Vuitton still attracting large volumes of customers.

• A publication having distinct branding and tone-of-voice is key for consistency. 

• Planning ahead can ease work-related anxiety.

• Be proactive and organised in approaching people for collaboration. Be mindful of their time by being concise with asking questions. Do plenty of background research.

• Back up statements with data.

Reference List

• Condé Nast HQ (2024). Lecture: Bringing the Masthead to Life at the Adelphi Building. BA (Hons) Fashion Communication & Industry Practice. London: The Adelphi Building, 10 July 2024. 

• Donnelly, C. (2024). “10 Mental Models to Change the Way You Think…” [LinkedIn]. 14 July 2024. Available at: https://www.linkedin.com/posts/donnellychris_10-mental-models-to-change-the-way-you-think-activity-7216434677346152448-Y6QU/?utm_source=share&utm_medium=member_ios [Accessed 28 July 2024]. 

• Hayes. F. (2024). Masterclass: The Importance of Print Luxury Books & Magazines. BA (Hons) Fashion Communication & Industry Practice. London: Condé Nast College of Fashion & Design, 10 July 2024. 

• Launchmetrics. (2024). Met Gala 2024 Data Insights [Online]. Available at: https://www.launchmetrics.com/resources/databriefs/met-gala-insights [Accessed 10 July 2024]. 

• Mukamal, A. & Robbie, M. (2024). Barbie: The World Tour. New York: Rizzoli International Publications.

• The Design Museum. (2024). Barbie: The Exhibition [Wall Didactic]. London: The Design Museum, 9 July 2024. 

• TYPE01 (2024). “Featuring the work of Zin Nagao…” [LinkedIn]. 14 July 2024. Available at: https://www.linkedin.com/posts/type01_type01-graphicdesign-typography-ugcPost-7214671824398204928-0P4i/?utm_source=share&utm_medium=member_ios [Accessed 28 July 2024]. 

• Williams, J. (2024). “Behind the scenes of Both creating their bespoke ‘Ice Cream Envelopes’...” [LinkedIn]. 14 July 2024. Available at: https://www.linkedin.com/posts/josh-williams-137537120_colorplanenvelope-experience-brand-ugcPost-7216349829227016192-Wor2/?utm_source=share&utm_medium=member_ios [Accessed 28 July 2024].