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MAKE UP FOR EVER

LIFE IS YOUR STAGE

CONTENTS

INTRODUCTION

CHAPTER 1MAKE UP FOR EVERBLADERUNNER 2049TARGET MARKETSBRAND PRISMVEN DIAGRAMTHE MARKETING MIXSWOT ANALYSISMAKE UP FOR EVER CURRENT PROMOTIONTHE MAKE UP MARKETMACRO-TRENDSMAKE-UP TRENDSSURVEY FINDINGSMARKETING WITHIN MAKE-UP SECTORSELF-CONFIDENCE: LIFE IS YOUR STAGE

CHAPTER 2MARKETING IDEABRAND BENEFITS

CONCLUSION

APPENDIX

FULL BIBLIOGRAPHY

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FRONT PAGE IMAGE: Edited Image, Inspired By BladeRunner 2049

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“Life is a stage where everyone performs their part. On stage, on a catwalk, on a TV show or in

daily life, makeup transforms and reveals the different facets of one’s personality”(Make up For ever, 2017)

FIG 1: Dany Sanz, Make Up For Ever

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“I dreamt of a place where makeup artists could find everything that they needed for their art as well as a collection of reliable, authentic products with professional performance.”

(Sanz, 2017)

Make up for ever are a professional make up brand, founded by Dany Sanz in 1984, in Paris. Being part of the LVMH [Moet Hennessy. Louis Vuitton] group since 1999, they have been able to be a part of a luxury body which all share ““innovation, entrepreneurial spirit, creativity and the excellence of our products and services. While these values

are shared, each House maintains its identity and its own DNA.” (Make Up For ever, 2017). With a global presence and selling to over 60 countries worldwide, they are truly a successful international brand. They work with and create make-up products for the entertainment world and strive to make “never-failing products” (Make up For ever, 2017) Their philosophy is that “life is a stage” (Make Up For ever, 2017) and the reasoning behind creating this brand for

Dany Sans was “to create my own brand, not only to produce products that meet the demands of makeup artists, but also the demands of women worldwide” (Sanz, 2017).

FIG 2: Make Up For Ever Advertisement

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Blade Runner 2049 features genetically manufactured beings called replicants, which are used as slaves. They were built to be more

than human, and although they are physically identical, they have superior strength and agility. The law does not consider replicants

as humans which illustrates an element of rebellion.

This report will enable the reader to gain insight behind the chosen brands and will illustrate the link between the two. There will be

investigation using theory into both brands to show how there will be a benefit from a collaboration, and using relevant marketing

techniques to gain the maximum reach of the target consumer.

FIG 3: Emma Stone BladeRunner Inspired Shoot

CHAPTER1

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Make up for ever are a professional make-up brand founded in Paris. Being a global brand with boutiques worldwide, each featuring a beauty school, all around the world, they are able to share their passion to educate. Boutiques are present internationally, in Canada, the USA, Singapore, Spain, South Korea, Portugal, Italy, France, Denmark and Jordan, However, there are no boutiques in the UK thus far. The boutiques offer “a backstage pass into the world where profes-sional makeup artists, creative artists and every day women discover and join in on our passion.” (Make Up For Ever, 2017) Allowing people around the globe to be inspired and encouraged to learn how to gain application techniques of a professional, and can gain insight on how to achieve a specific look. The brand’s mission statement is shown through this as it invites consumers to use their make-up as a way of showing self-expression and to discover their inner artist, and this is also done “from product development to the trusting relationship with customers” (Make Up For ever,

2017)

Being a heavily theatrical brand, Blade Runner and Make up for ever are able to create new and ellaborate looks based on rebellious replicants. Playing on the theatrical side of the brand to gain awareness in a new country, and give the make-up consumers something new to talk about.

“Fashion and clothing are forms of non-verbal communication that they do not use spoken or written

words” (Barnard, 2002)

FIG 4: Make Up For Ever Photoshoot

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Blade Runner 2049 is a film that features futuristic views, and

interesting themes arise within. Focusing on the replicants, they are

genetically manufactured beings designed to be more than human.

They are stronger than humans, yet they are undermined. A theme that is appealing throughout is the futuristic

content, it describes a future based on gadgets, holograms and flying cars.

Both of these themes relate to the corresponding brand, as both brands

are very theatrical and visually rich.

In the UK market, Make up for ever’s main consumer currently is the millennial Asian female, as found in a recent observation in Debenhams, Oxford Street. However, my targeted consumer is the UK millennial female, aged between 20-34 years old. The UK market for cosmetics has grown by 4%, increasing to £1,643,041 in 2016 (Nancholas, 2017). This shows the growth within cosmetics in our continent. From this, focusing on the UK consumer would be beneficial to the brand due to already having successful boutiques in other continents.

Blade Runners consumer profile is the 45-50-year-old male, with the social grade of ABC1. They have roughly £1000 disposable income spare each month. They are typically left-wing, and live in the west country, in Wales and Avon and also in Central Scotland. They also enjoy other films such as he terminator, Alien, and Star Wars. (YouGov, 2017)

As you can see the two target consumers are very different. Blade Runner has a target consumer of the 45-50-year-old male, in conjunction to the Make Up For ever target consumer of the female millennial, aged 20-34 years old. However, this brand collaboration will gain a new consumer to the Blade Runner brand and Make-up Forever will gain an interesting theatrical platform to use as a marketing technique in order to gain more awareness to the UK consumer.

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PHYSIQUE

BoldDaring

ContemporaryTheatrical

PERSONALITY

Dany SanzJessie J

SELF - IMAGE

ConfidentCommitted

Skilled

REFLECTION

TheatricalConfidence

Self Appreciation

CULTURE

Long LastingStrong Make-up“Life is a Stage”

RELATIONSHIP

Self-expressionReleasing Inner Artist

Professional

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PLACE

POSITIONING

PEOPLE

PACKAGING

PROMOTION

PRODUCT

Tangible Goods (Make-up Also provide service (Boutique Experience)

No price points shown on website International brand (international currencies)

Worldwide Brand No Boutiques in UK Thus Far

Only in UK Debenhams Concessions

Celebrity ModelsSocial Media

In-store Promotions

FamiliarContemporaryProfessional

Jessie JCharlie XCX

Main UK Competitors: Urban Decay, Kat Von DCompared with UK prices and Aethetic

FIG 7: BladeRunner Inspired Make-Up FIG 8:: Make Up For Ever Photoshoot

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WEAKNESSES

Trying to Successfully Target a New Target Con-sumer

Not Well Known to Chosen Demographic

Geo-Filters, Not New, Maybe Becoming Old?

THREATS

Brand Loyalty Already Existant to UK Dominating Brands

Will Make Up For Ever Be The Leading Brand?

Will Both Brands Gain Success?

STRENGTHS

New Consumer Base for Both BrandsGain More Brand Awareness

Allows Natural Expansion to the UK Market

Own Retail Space/Boutique

OPPORTUNITIES

Available ConsumerGrowth in Cosmetics Market

Both Contracted Brands, with Strong

Connection

FIG 9: BladeRunner Inspired Make-Up

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Make up for ever currently do not promote themselves to their full potential, using mainly only word of mouth and their social media pages. They do not use TV adverts; however, this may not be effective for their consumer. Being a millennial and paying more attention to a phone than a TV, using social media would be a more effective way to grab the consumers attention. How-ever, creating an awareness for the brand isn’t too strong within the UK. Most of the current consumers shopping in the UK are not British, found from a recent observation from the Debenhams concession in London, Oxford Street. There is evidence that the awareness of the brand is more word-of-mouth and only shopping there because there was previous knowledge of the brand. By having their own retail space, they will be able to provide more of a brand experience that is relevant to the brand values. By using their theatrical and professional background, their customers may be intrigued to find out more and have a more one on one professional experience.


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By looking at the market, it has highlighted some key trends within the cosmetics sector that has shown a growth in consumption of my target market,

millennial females. Growing up along with the internet and social media, the rise of the “selfie” culture has hit, and millennials have taken this trend and

adopted it into their everyday lives. Explained as the “uninhibited generation”, they use make up to show self-expression and as a “transgressive tool”

(Passport , 2017). Also, thanks to beauty tutorials from vloggers, it has allowed an “11% current value increase in facial make-up”, as make-up techniques

have been adopted by the mainstream consumer (Passport , 2017).

FIG

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We now live in the age of re-engagement, and there is a “general anxiety about the state of the world”

(The Future Laboratory, 2017). Businesses are more and more being seen to step in where governments

seem to be failing. Brands seem to be changing from profit-driven to community lead, from employers to

educators, from closed to collaborative, and “big companies are committed to improving their social

impact” (Mohin, 2017). Emerging trends such as going ‘beyond brand purpose’, for example, the P&G advertising campaign, my black is beautiful, which is

not selling a product, but a mind-set. Living within an age where social media and

technology take up a massive chunk of our daily lives, we have seen an emerging trend called, “the focus filter” (The Future Laboratory, 2017) It is said

that most people would rather suffer a broken bone, than a broken phone, and 32 years of your life is said to be spent swiping. We are now coming into a future

that will develop trends through technology that is responsible, with promises of the mindfulness and

tech working together. We are also seeing a trend that has come from the

increase of technology, we live in a culture of excessive living. Artificial intelligence is rising, we

are being introduced to more and more talkative tech, chatbots and digital bodies that humans can have

relationships with e.g. Gatebox, blurring the line between human and tech. This is also apparent in

the film Blade Runner 2049.

Make-up trends that are going to be coming into play from AW18/19 onwards, are relevant to my cause. Eyes will be taking the spotlight with softer contouring. Up until now, contouring has taken a shine, and been filtered down from professional uses, to being part of an everyday make up routine. There will be more glitter and multi-coloured metallics coming through, with thick heavy make-up, creating a “mask like effect”. Trends in make-up are shifting to focus on reconnecting emotionally and physically, it “taps into a mood of self-expression and rebellion at a time when people are clamouring to be heard and make an impact”


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From my survey, we can see that the targeted customer profile will be the millennial female, aged 18-30. They like to buy make up mainly in-store, so in-store experience and knowledge of the product and brand values from colleagues is key. The main competitors in the UK are Mac, Urban Decay and closely followed by more affordable brands such as Rimmel London and Maybelline. Looking at what people want from a make-up brand proved very simi-lar in survey results. These were that brands were ethical, good quality, feeling good in the make-up, not testing on animals, travel friendly, exciting, price, variety, reputation, long lasting, exciting packaging, to mention a few. 74% of the people asked did not know of the brand Make up For Ever, and 75% are not bothered if the product was endorsed by a celebrity. This has highlighted a few key areas that will need to be considered when carrying out the marketing for the collaboration.

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The digital age is taking over marketing and the cosmetics sector are at the forefront of digital marketing techniques. We are now seeing more collaborations with brands and

influencers, and there are also virtual elements to a brands website, e.g. Sephora’s Virtual Artist , which allows you to try on different shades of products. Another way that they use

social media to create effective marketing is by optimising their product launches. It is said that “Millennials are 247% more likely to be influenced by blogs or social networking sites” (Ryan, 2017) In order for beauty brands to keep on top of marketing trends, it is said that brands need to now be considering the “Phygital – the marriage of physical and digital”.

(Ryan, 2017)

“The beauty trade they developed did not depend upon advertising as its impetus. Rather, it capitalized on patterns of women’s social life -- their old customs of visiting, conversation, and religious observance, as

well as their new presence in shops, clubs, and theaters.”

(Piess, 2011)

FIG 15: BladeRunner Inspired Make Up

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Growing up in the age of social media, the millennial female can feel pressure to look perfect through their online profiles.

Social media has become a stage, you are sharing images of your public self, whilst expressing your secret self through

dress (Jackson, 2009).

“It’s like being your own paparazzo and publicist. If you spend long enough performing for your camera, you can both direct and star in the film of your own

life” (Conrad, 2014)

However, this sounds normal to the millennial female, taking selfies and living their life through their smartphones. However, there are many negative issues that has arisen from this. Social media has allowed “the endless comparison with other people’s photos online” (Mysko, 2016), allowing people to become more

body conscious and critical of their own bodies. “While social media is not the cause of low self-esteem, it has all the right

elements to contribute to it.” (Mysko, 2016).Using the two brands to collaborate and market through social

media, the correct target consumer will gain reach. By using this marketing collaboration to share a positive message that

“beauty is individual, it’s not restricted by race, shape, age and size” (Corner, 2014). Creating a positive message about body

image and self- love through social media enables the make-up forever and Blade Runner 2049 collaboration to have a

meaning behind it.

“To me, taking a selfie is like playing dress-up. I might put on nicer clothes or do my hair, but it’s also about the psychological benefits of working through

your insecurities. I look good and I know it.” (Tatum, 2014)

“Selfies, give a face to the digital world, they allow the person behind the account, the profile and the email to have a face.”

(Hartley, 2017)

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CHAPTER2

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Make up for ever has slowly started to break the UK market, found in concessions exclusive to Debenhams. They have started to gain consumer interest for this region. They do not yet have their own retail space in the UK. Using the film Blade runner 2049 as a marketing platform, there is an opportunity to launch their first UK Bou-tique. With an opening night, including a make-up show inspired by replicants, followed with the opportunity to learn the looks from the show by the make-up forever professionals, and can purchase products before they go on sale to

the general public.The film Blade Runner 2049 and the replicants featured fits with Make-up forever and the opening of a boutique in the UK. Marrying the two together, there is a correlation between dramatics, theatre, bold colours and rebellion. Themes

from the film relate to strong, long lasting make-up that is already promised by the brand, but also the idea of rebellion, bold make-up looks that make you look ‘more than human’, pushing the everyday norms of make-up and being

rebellious and creative.

FIG 17: Make Up For Ever Boutiquet

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“When something is rare, it’s alluring–true whether you’re talking about precious gemstones or a pristine edition of the first issue of Action Comics. And psychologists have long known that you can make a consumer good more desirable

by making it appear rare.” (ConversionXL, 2017)

In the modern era of technology, “There’s never been an easier way to find out what the marketplace is thinking about you, your company, and your products” (Jackson, 2009). With research into the millenial female, it has highlighted that the best way to market to them is through social media and online, as they believe that “technology has helped them connect with people they care about” (Morrison, 2015). Millenials make up “Fifty-eight percent of mobile shoppers” (Jenkins, 2014). Through using social media as a platform for marketing not only the collabortation but the launch event, it will reach the desired consumer.

The launch night will be invitation only, this will evidence the scarcity of the event. Millenials being on social media will be encouraged to go, as the event being invitation only will create an element of ‘FOMO’, FOMO, standing for ‘Fear of Missing Out’, is defined as a “pervasive apprehen-sion that others might be having rewarding experiences from which one is absent. It is characterized by the “desire to stay continually connected with what others are doing.” (ConversionXL, 2017).

This will be executed using a Snapchat Geo-filter. This illustrates methods of Guerrilla marketing. Throughout three key tourist spots in London, using a hologram that will be walking around amongst the crowd, wearing the rebellious make up looks of the replicant by make up for ever. This will create interest within the crowds in London, as “Millennials are snapping pictures and videos more than ever, so much that we feel like if we are going out and not taking pictures to be uploaded later, it’s almost like we didn’t even go” (Ebbert, 2016). This will then enable the invitation to be unlocked once the consumer applies the Geo-filter to their smartphone screen. The photo can then be shared through social media, and will have a knock-on effect on their fellow peers.

FIG 18: BladeRunner Film Shot

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By having a heavily followed London based celebrity to also be a part of this, they can share to their followers, and will enable the marketing to gain a wider reach. The chosen celebrity that endorses both brand values is Jessie J. A music artist, which appeals to the target demographic, and has an eye for dramatics. By doing this, it will enable the brand to have gained an influencer which already has a large fan base to promote and share opinions with. By using the “RACE” theory to analyse this, it has evidenced that using Jessie J as an influencer, in general and for this event, will prove successful as “Social marketing allows consumers to feel more connected to the company” (Barnard, 2002).

Reach: Will they support the brand and do they have expertise that their followers will value?Jessie J has already been used for Make-Up forever campaigns in the past. There is support and awareness for the brand and the brand values on her part, therefore promoting this through a social media page will convey the correct message and aesthetic. By being a music artist that likes the experiment with her looks, Jessie J can be seen as a reli-able source for finding out opinions on make-up. Jessie J’s fans will trust the opinions shared and appreciate the posts as they understand the industry in which she works, and the message behind the professional make-up brand.

Act: Can they encourage consumers to share their opinions?By using social media as a platform to become more connected with consumers, Jessie J has the power to promote Make-up Forever, and can urge her followers to share their thoughts not only with herself but with their peers. By doing this, they may feel a connection to the influencer and want to be associated with this brand first.

Convert: Can Jessie J convert followers to customers?Being able to share an opinion with fans, may lead to product sales. By using specific products and doing live videos of how it is applied and allowing the consumers to see instant results, will enable the consumer to purchase that exact product, as there is evidence of it being true to its description.

Engage: Can Jessie J build a strong customer relationship and turn a first-time consumer into a loyalist?With Make-up forever being an innovative and theatrical company, endless looks can be created. For certain events throughout the year e.g. Halloween, Christmas, Festivals in Summer, there are endless experimentations and new looks that can be achieved. By realising a new look through Jessie J’s promotion, it will allow the consumers to engage with the brand, and can see that their products are for multi-use. When the consumer then buys for the first time and experiences the professional make up that is promised to last, they will then have more of a reason to continue to buy from them.

FIG 19: BladeRunner Hologram JOI

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BLADERUNNER 2049 RELEASE DATE

LIFE IS YOUR STAGE EVENT DATE

5th October 2017

14th October 2017

MAKE UP FOR EVER: SOCIAL MEDIA EVENTS

Start Posting BladeRunner 2049 Replicant Looks On Instagram

Jessie J Influencer Marketing: BladeRunner Inspired Looks and Product Reviews

Snapchat GeoFilter Invitation Launch; London (Picadilly Circus, Oxford Street & Leicester Square)

Snapchat GeoFilter Invitation Ends; London (Picadilly Circus, Oxford Street & Leicester Square)

Life Is Your Stage Event

DATES

14th September 2017 (1 Month to Launch Date)

21st September 2017

7th October 2017 08:00AM (1 Week to Launch Date)

8th October 2017 08:00AM (6 Days to Launch Date)

14th October 2017


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A collaboration suggests that both brands participating must receive a gain from it. For Make-up forever, marrying the brand values of innovation and using the film Blade Runner, allows them to tap into the futuristic trends starting to arise

now, and push beyond competitors. By having a launch night to open their first UK boutique, it will evidence that the brand promises above and beyond what other leading brands currently do. By using Blade Runner, the element of theatrics is brought through and highlights to the UK consumer what their make-up can do,

and how it can be challenged. By having the message of being a strong a beautiful being and that nobody is perfect, allows the consumer to be

experimental, and allows their true self to be shown through their make-up. Blade Runner therefore gains a new and younger demographic, this has already been

attempted through using Ryan Gosling as the main actor in the film, but extending this further will need the help from this brand collaboration.

To conclude, the collaboration for Blade Runner and Make-up Forever will allow both brands to gain more awareness, for Blade Runner to gain a new and younger

demographic, and for Make-up Forever to build on their UK consumer market. The theatrical brand marries with the film well, to enable dramatic and rebellious looks to be

created, pushing the norms of make-up and promoting self-love and empowering the millennial woman.

By having a launch event using the Blade Runner themes, it will allow the attitudes of theatrics to be carried through, the consumers can explore and see the brands and their

values first hand, and can be shared through social media. By using social media to gain the consumers interest is not only relevant to the target consumer, but is also using future technology trends for marketing to enable Make-up

Forever to be ahead in the make-up market against competitors. This report has evidenced and highlighted the reasons as to why this collaboration is

beneficial to both brands and how and why it will be successful.

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APPENDIX

FULLBIBLIOGRAPHY

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LIST OF CITATIONSMake Up For ever, 2017. Philosophy. [Online] Available at: https://www.makeupforever.com/int/en-int/brand/philosophy/philosophy[Accessed 04 Nov 2017].

Sanz, D., 2017. Dany’s Life. [Online] Available at: https://www.makeupforever.com/int/en-int/brand/danys-life/danys-life[Accessed 04 11 2017].

Make up For ever, 2017. History. [Online] Available at: https://www.makeupforever.com/int/en-int/brand/history/history[Accessed 5 Nov 2017].

Make Up For ever, 2017. Philosophy. [Online] Available at: https://www.makeupforever.com/int/en-int/brand/philosophy/philosophy[Accessed 04 Nov 2017].

Barnard, M., 2002. Fashion as Communication. 2nd Edition ed. London: Routledge.

Nancholas, T., 2017. Cosmetic Industry in Figures. [Online] Available at: www.ctpa.org.uk/document.aspx?fileid=2990[Accessed 10 Nov 2017].

YouGov, 2017. YouGov Profiles. [Online] Available at: https://yougov.co.uk/profileslite#/Blade_Runner/demographics[Accessed 21 12 2017].

Passport , 2017. Colour Cosmetics in the United Kingdom. [Online] Available at: http://www.euromonitor.com/[Accessed 04 Nov 2017].

The Future Laboratory, 2017. Trend Talk. Nottingham: The Future Laboratory.

Mohin, T., 2017. The Future Laboratory [Interview] (1 Nov 2017)

Ryan, R., 2017. Digital Marketing Trends Overtaking the Beauty Industry. [Online] Available at: https://www.launchmetrics.com/resources/blog/digital-marketing-trends-overtaking-beauty-industry[Accessed 18 12 2017].

Piess, K., 2011. Hope In A Jar: The Making of America’s Beauty Culture. s.l.:University of Pennsylvania Press.

Jackson, T., 2009. Mastering Fashion Marketing. Basingstole: Palgrave Macmillon.

Conrad, P., 2014. BBC Radio 4: 21st Century Mythologies, London: BBC.

Mysko, C., 2016. Positive body confidence – how social media can affect body image. [Online] Available at: https://www.dove.com/uk/dove-self-esteem-project/help-for-parents/talking-about-appearance/positive-body-confidence-how-social-media-can-affect-body-image.html[Accessed 16 12 2017].

Corner, F., 2014. Why Fashion Matters. 1st Edition ed. London: Thames & Hudson.

Tatum, E., 2014. Selfies and Misogyny: The Importance of Selfies as Self-Love. [Online] Available at: https://everydayfeminism.com/2014/04/selfies-as-self-love/[Accessed 12 12 2017].

Hartley, C., 2017. The Use and Importance of Selfies. [Online] Available at: https://www.weareimpression.co.uk/use-importance-selfies/[Accessed 12 12 2017].

ConversionXL, 2017. 18 Scarcity Examples That Can Boost Sales. [Online] Available at: https://conversionxl.com/blog/scarcity-examples/[Accessed 19 12 2017].


Morrison, K., 2015. Survey: 90% of Millennials Believe Technology Creates More Opportunity. [Online] Available at: http://www.adweek.com/digital/survey-90-of-millennials-believe-technology-creates-more-opportunity/[Accessed 19 12 2017].

Jenkins, J., 2014. The Future of the World in 9 Facts (Hint: It’s All About Millennials). [Online] Available at: https://www.fool.com/investing/general/2014/01/08/the-future-of-the-world-in-13-truths-hint-its-all.aspx [Accessed 19 12 2017].

Ebbert, C., 2016. 5 Reasons Why Millennials Are Obsessed With Pictures Snaps or it didn’t happen.. [Online] Available at: https://www.theodysseyonline.com/5-reasons-why-millennials-are-obsessed-with-pictures[Accessed 21 12 2017].


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LIST OF ILLUSTRATIONSFRONT PAGE IMAGE: Ramírez, A., 2018. Adry Ramírez Pinterest. [Online] Available at: https://www.pinterest.co.uk/pin/533676624579474093/[Accessed 03 01 2018].

FIG 1: Sanz, D., 2017. Make Up For Ever LookBook. Available at: Sanz, D., 2017. Life is a Stage. 1st Edition ed. New York: Rizzoli.

FIG 2: Escentual, 2018. MAKE UP FOR EVER Professional Paris. [Online] Available at: https://www.escentual.com/make-up-for-ever/[Accessed 09 01 2017].

FIG 3: Anders, C. J., 2012. Emma Stone pays tribute to Blade Runner with stunning photoshoot. [Online] Available at: https://io9.gizmodo.com/5938314/emma-stone-pays-tribute-to-blade-runner-with-stunning-photoshoot[Accessed 09 01 2018].

FIG 4:Sanz, D., 2017. Make Up For Ever LookBook. Available at: Sanz, D., 2017. Life is a Stage. 1st Edition ed. New York: Rizzoli.



FIG 7: CatoMertens, 2016. Underdork. [Online] Available at: https://www.wattpad.com/23918388-underdork-chap-ter-one [Accessed 07 01 2018].

FG 8:Sanz, D., 2017. Make Up For Ever LookBook. Available at: Sanz, D., 2017. Life is a Stage. 1st Edition ed. New York: Rizzoli.

FIG 9: Braided Lashes, 2018. Braided Lashes. [Online] Available at: http://braided-lashes.tumblr.com [Accessed 09 01 2018].



FIG 12: InspireFirst, 2012. Fashion makeup Photography. [Online] Available at: http://www.inspirefirst.com/2012/fash-ion-makeup-photography/ [Accessed 10 01 2O18].

FIG 13: Sanz, D., 2017. Make Up For Ever LookBook. Available at: Sanz, D., 2017. Life is a Stage. 1st Edition ed. New York: Rizzoli.

FIG 14:Kim, E., 2018. 9 Lessons Irving Penn Can Teach You About Photography. [Online] Available at: http://erickimphotography.com/blog/2016/09/08/9-lessons-irving-penn-can-teach-you-about-photography/[Accessed 05 01 2018].

FIG 15: VidalLondon, 2018. Blade Runner Inspired Makeup. [Online] Available at: http://makeup.vidalondon.net/blade-runner-inspired-makeup/ [Accessed 07 01 2018].

FIG 16: McDean, C., 2018. art + commerce. [Online] Available at: https://www.artandcommerce.com/artists/photogra-phers/Craig-McDean [Accessed 10 01 2018].

FIG 17: Make-Up Forever, 2017. Make Up School. [Online] Available at: https://www.makeupforever.com/int/en-int/learn/make-school/make-school[Accessed 04 Nov 2017].

FIG 18: AOIROSTUDIO, 2017. A Peek inside the Cinematography of Blade Runner 2049. [Online] Available at: http://abduzeedo.com/node/83635 [Accessed 07 01 2018].

FIG 19: Renwick, F., 2017. Here’s How ‘Blade Runner 2049’ Created That Crazy Hologram Threesome Scene. [On-line] Available at: http://www.esquire.com/uk/culture/news/a18144/blade-runner-2049-ryan-gosling-joi-hologram-three-some-scene/[Accessed 07 01 2018].


FIG 21: Escentual, 2018. MAKE UP FOR EVER Professional Paris. [Online] Available at: https://www.escentual.com/make-up-for-ever/ [Accessed 09 01 2017].


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BIBLIOGRAPHY

BOOKS


Bickle, M., 2010. Fashion Marketing: Theory, Prinicple and Practice. New York: Fairchild.

Corner, F., 2014. Why Fashion Matters. 1st Edition ed. London: Thames & Hudson.

Gladwell, M., 2002. The Tipping Point: How Little Things Can Make a Big Difference. London: Abacus.

Groning, K., 2001. Decorated Skin: A World Survey of Body Art. London: Thames and Hudson Ltd.


Piess, K., 2011. Hope In A Jar: The Making of America’s Beauty Culture. s.l.:University of Pennsylvania Press.

Posner, H., 2015. Marketing Fashion. 2nd Edition ed. London: Laurence King Publishing.

Sanz, D., 2017. Life is a Stage. 1st Edition ed. New York: Rizzoli.

Stephens, G., 2004. Fashion: From Concept to Consumer. London: Pearsons.

WEBSITES

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AUDIO/VISUAL RESOURCES

Conrad, P., 2014. BBC Radio 4: 21st Century Mythologies, London: BBC.

LECTURES/SPEECHES

Mohin, T., 2017. The Future Laboratory [Interview] (1 Nov 2017).

The Future Laboratory, 2017. Trend Talk. Nottingham: The Future Laboratory.

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