The Transformation of a Charity Shop into a Specialist Fashion Store

More than ten years ago, a Guardian columnist observed a growth in the charity shop sector due to an increase in the number of such outlets on the high streets of towns and cities in the UK. The Guardian more recently reported on a new charity store image evidenced by brand-new charity fashion boutiques being launched by Oxfam in London. This new mode of charity store sold selected re-styled and re-designed items created by young designers from the London College of Fashion. The article stated that ‘the charity was taking its first step towards a more fashion-conscious image: away from the slightly battered shoes and oversize floral skirts it's known for and into the world of designer one-offs and couture accessories’ (Freeman, 2008). It is unquestionable that charity shops have the potential to offer good value fashion to people on a budget as well as attracting fashion-conscious customers. However, if the charity shop is to make the most of this opportunity then certain retail practices are in need of change. The aim of this research was to explore the current trend of UK charity retailers upgrading towards a new target market through the launching of specialist fashion stores and to examine effective strategies for charity shops to achieve up-market fashion retailing. Three retail models from the literature review were used and the research makes use of illustrated visual evidences to demonstrate the performance of charity shops compared to up-market fashion stores. Structured observations, photography and semi-structured interviews were used to develop a new ‘Mannequin Model’ to provide a strategy for charity shops wanting to move into the mid-upper levels of the fashion market. A synthesis representation of localisation and specialisation was found to have potential for launching a specialist fashion outlet in the charity retail sector

What If (Dublin)

Raby developed three ‘What If...’ exhibitions with Dunne (RCA), asking what role design can play in imagining possible futures and raising social, cultural and ethical questions, building on 20 years’ practice in Critical Design theorised inter alia in Dunne and Raby’s Design Noir (2001), Hertzian Tales (2005) and Speculative Everything (2013). Raby’s research included concept development, extended collaboration with exhibitors to develop their contributions, and devising the engagement strategy: all three required localised approaches to audiences, circumstances and commissioning hosts. Extensive investigation was needed in synthetic biology, nanotechnology, surveillance technologies and the domestication of natural phenomena, working with scientific partners at Imperial College and Cambridge University. ‘What If…’ Dublin (2009) comprised 29 projects envisioning hypothetical futures and was reviewed in Irish broadsheets (Examiner, Times, Independent), Wired and New Scientist: ‘the exhibits…address questions on scientific or medical ethics that must be asked in our bio-technological age’ (http://www.newscientist.com/blogs/culturelab/2009/12/post-2.html). Exhibits were also shown at the Art Institute of Chicago, Israel Museum, MoMA and Ars Electronica Center. About 1.8 million people pass the windows of the Wellcome Trust building in London annually, making them an important means of science communication. Wellcome commissioned a changing ‘What If…’ exhibition of 15 themes over 15 months (February 2010 – March 2011). Raby reconceived the design strategy with exhibits engaging at different distances, from passing buses to close-up study. The third exhibition, for the Beijing International Design Triennial (2011), explored the impact on future life of novel technologies through 58 projects in 130 exhibits from 36 designers (12 from China), for a diverse audience. The exhibition and related symposium at Tsinghua University were supported by the British Council. The Triennial was visited by approximately 500,000 visitors and featured widely, e.g. China Central Television, People's Daily, New York Times (all 2011) and Zhuangshi journal (2011 and 2012)

Attributing scientific and technical progress: the case of holography

Holography, the three-dimensional imaging technology, was portrayed widely as a paradigm of progress during its decade of explosive expansion 1964–73, and during its subsequent consolidation for commercial and artistic uses up to the mid 1980s. An unusually seductive and prolific subject, holography successively spawned scientific insights, putative applications and new constituencies of practitioners and consumers. Waves of forecasts, associated with different sponsors and user communities, cast holography as a field on the verge of success—but with the dimensions of success repeatedly refashioned. This retargeting of the subject represented a degree of cynical marketeering, but was underpinned by implicit confidence in philosophical positivism and faith in technological progressivism. Each of its communities defined success in terms of expansion, and anticipated continual progressive increase. This paper discusses the contrasting definitions of progress in holography, and how they were fashioned in changing contexts. Focusing equally on reputed ‘failures’ of some aspects of the subject, it explores the varied attributes by which success and failure were linked with progress by different technical communities. This important case illuminates the peculiar post-World War II environment that melded the military, commercial and popular engagement with scientific and technological subjects, and the competing criteria by which they assessed the products of science

Maintaining authenticity: transferring patina from the real world to the digital to retain narrative value

This research is concerned with utilizing new technologies to harvest existing narrative, symbolic and emotive value for use in a digital environment enabling "emotional durability" (Chapman, 2005) in future design. The projects discussed in this paper have been conducted as part of PhD research by Rosemary Wallin into 'Technology for Sustainable Luxury' at University of the Arts London, and visual effects technology research undertaken by Florian Stephens at University of West London. Jonathan Chapman describes vast consumer waste being "symptomatic of failed relationships" between consumers and the goods they buy, and suggests approaches for designing love, dependency, and even cherishability into products to give them a longer lifespan. 'Failed relationships' might also be observed in the transference of physical objects to their virtual cousins. Consider the throwaway nature of digital photography when compared to the carefully preserved prints in a family album. Apple often use a skeuomorphic (Hobbs, 2012) approach to user interface design, to digitally replicate the patina and 'value' of real objects. However, true transference of physical form and texture presumably occurs when an object is scanned and a virtual 3D model is created. This paper presents three practice-based approaches to storing and transferring patina from an original object, utilizing high resolution scanning, photogrammetry, mobile applications and 3D print technologies. The objective is not merely accuracy, but evocation of the emotive data connecting the digital and physical realm. As the human face holds experience in the lines and wrinkles of the skin, so the surface of an object holds its narrative. From the signs of the craftsman to the bumps and scratches that accumulate over the life of an item over time and generations, marks gather like evidence to be read by a familiar or a trained eye. According to the time and the culture these marks are read within, they will either add to or detract from its value. These marks can be captured via complex 3D modelling and scanning technologies, which allow detailed forms to be recreated as dense 3D wireframe, but the result is often unsatisfying. 3D greyscale surfaces can never fully capture the richness of patina. Authentic surfaces require other qualities such as colour, texture and depth, but there is something else - more difficult to define. Donald A. Norman expands on the idea of emotion and objects by describing three 'levels’ of design "visceral, behavioural and reflective". Visceral is based on "look, feel and sound", behavioural is focused on an object’s use, and reflective is concerned with its message. New technology is commonly seen in terms of its ability to increase efficiency, but this research has longer-term objectives: to repair or even rebuild Chapman's 'broken relationships' and enable ‘emotionally durable' design. The PhD that has formed the context for this paper examines the concept of luxury value, and how and why the value of patina has been replaced by fashion. Luxury goods are aspirational items often emulated in the bulk of mass production. If we are to alter behaviour around consumption, one approach might be to use technology to harvest patina as a way to retain emotional, symbolic and poetic value with a view to maintaining a relationship with the things we buy

Visual persuasion with physically attractive models in ads: An examination of how the ad model influences product evaluations

This paper examines the prevalent advertising practice of visually juxtaposing an anonymous, physically attractive ad model and a product in terms of its effects on the attitude toward the product. In this appeal, in which there are no explicit verbal claims about how the two objects are connected, we argue that the physically attractive model sets in motion a process in which emotions and the attitude toward the ad model serve as mediating variables, and that this process ultimately results in an impact on the attitude toward the product. Three empirical studies were made, with stimulus images from the fashion industry, and the findings indicate that emotions and the attitude toward the ad model indeed contributed to the product attitudes. The findings also indicate that images comprising physically attractive ad models produced higher product attitudes compared to a visual display of only the product.Attitude toward the ad model; attitude toward the product; physical attractiveness; emotions; appraisals

The role of photograph aesthetics on online review sites:Effects of management- versus traveler-generated photos on tourists’ decision-making

Tourists searching for information about destinations on online review sites areconcurrently exposed to two different photograph aesthetics, professional (produced by destination managers) and amateur (generated by travelers). While the former is glossy and sharp, the latter is often grainy and overexposed. Although aesthetics are important factors in tourist decision-making, the effects of the exposure to both types of photo aesthetics remain largely unexamined. This research investigates how both types of aesthetics, either singularly or in combination, affect a destination’s visual appeal and tourists’ booking intentionsthrough four controlled experiments (N = 1282). Our results show that despite the ‘messy’ beauty in amateur aesthetics, photos with professional aesthetics make a depicted destinationappear more visually appealing, ultimately driving booking intentions. However, the negative effects of amateur aesthetics are mitigated when (i) viewed by risk-averse tourists, (ii) presented alongside positive reviews, and (iii) accompanied by a greater number of professional photos

Reassuringly British: consumer engagement with domestic products and brands

Purpose –This paper investigates consumer engagement, evaluation and beliefs of domestic products and the influence of such associated attributes communicated via domestic COO labelling within the United Kingdom.Design/methodology/approach – A visual ethnographic approach utilising the methods of autophotography and photo elicitation interviews was conducted to explore consumers’ interaction with thedomestic COO label and provenance advertising.Findings – The results of photo elicitation interviews revealed both positive and negative cognitive, affective and normative implications of domestic provenance labelling of influence emerging within consumers.Research limitations/implications – The findings are applied to the context of the United Kingdom, with contextual limitations acknowledged of doing so. Convenience sampling limitations are also acknowledged.Practical implications – The findings provide UK-based FMCG manufacturers and retailers insight into the associated attributes of domestic brand and products interpreted by consumers, communicated via a COO label, to assist in their purchasing strategies.Originality/value – This paper seeks to contribute towards the understanding of provenance labelling influence on consumers for products within the FMCGs sector, whilst specifically commenting upon attributes of reliance and influence that may assist navigation of changing priorities and national sentiments