Taboo research book no crops

TABOO
TABOO
TABOO
H A R V E Y N I C H O L S
R E S E A R C H D O C U M E N T
D E N A S E V E R O

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CONTENT
PAST AND PRESENT
SEGMENT OVERVIEW
TARGET AUDIENCE
TEXTILE WASTE
INSPIRATION AND PROCESS
- ORIGINAL IDEA
-PEEPSHOWS
-AMSTERDAM
-TRACEY EMIN
SLOW FASHION
-REFORMATION
-MISHA NONOO
-CHNGE
-BOYISH JEANS
-JEU ILLIMITE
TABOO
EVENT LAUNCH, BROCHURE AND PR
REFLECTIVE STATEMENT
6-9
10-11
12-13
14-17
20-21
22-25
26-27
28-29
32-33
34-35
36-37
38-39
40-41
44-59
60-75
76-77
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PAST &
PRESENT
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THE PAST.
First opened in Knightsbridge in 1831, sourcing the most
desirable and edge cutting designer brands. Internationally
recognised as UK’s premier fashion retailer and premium
food and wine offer and award-wining restaurants.
One of the most famous department stores in both London
and the world, along with Harrods, Selfridges, and
Liberty, Harvey Nichols sells fashion, accessories, beauty
products, wine, and food from its flagship and chain story.
Harvey Nichols began life in 1831, when Benjamin
Harvey opened a small linen shop in a terraced
house in Knightsbridge. Four years later he expanded
into the building next door, as the business grew.
In 1841, the Nichols half of the equation came onto the
scene, when Harvey employed James Nichols. Four years
later, he was promoted to management, and joined
the family in 1948 when he married Harvey’s niece.
After the death of Harvey in 1850, his wife Anne began
a partnership with Nichols, and the store became Harvey
Nichols & Co. After the deaths of both Anne and Nichols
in 1972 and 1973, Harvey’s son Benjamin Charles Harvey
became the sole partner. He quickly set about with
further expansion, buying up an entire block between
Seville Street and Sloane Street in 1874. In 1889, he
demolished the building to create a purpose-built department
store — the building Londoners know today.
The store opened a range of new departments in
1919, including fancy lace, hosiery, and haberdashery,
but suffered in the Suffragettes’ window smashing
campaign, being bought by Debenhams in 1920.
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THE PRESENT.
Harvey Nichols has 7 stores in the UK and Ireland
– London, Edinburgh, Leeds, Manchester and
smaller stores in Bristol and Dublin including a
Beauty Bazaar in Liverpool in 2012.
International stores overseas (6), Riyadh, Dublin, 2
in Hong Kong, Doha Festival City and one in Kuwait.
Code of Conduct
Harvey Nichols is committed to sustainable and
responsible practice across all areas of its business,
ethical sourcing is an important part of the
programme.
Animal Sourcing and Principals
Harvey Nichols joined the sustainable luxury working
group and adopted the animal sourcing principles.
Committed to the sustainable and responsible
practice across all area of its business. Ethical
sourcing is important part of the programme.
H. Nichols believe that these principles should
apply throughout the animal sourcing supply chain,
including the catching, maintaining, breeding, raising,
transportation, handling and slaughter of live
animals.
Committed to ethical practices in the catching,
maintaining, breeding, raising, transportation, handling,
and slaughter of animals in our leather, fur
and exotic skins supply chains. We believe that
all such animals, while taking into account their
species’ needs, should benefit from:
Freedom from hunger and thirst, by ready access
to fresh water and a diet for full health and vigour
Freedom from discomfort, by providing an appropriate
environment including shelter and a
comfortable resting area
Freedom from pain, injury or disease, by prevention
or rapid diagnosis and treatment
Freedom to express normal behaviour, by providing
sufficient space, proper facilities and company
of the animal’s own kind
Freedom from fear and distress, by providing conditions
and treatment that avoid mental suffering
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FEMALE SEGMENTS OVERVIEW
CAREER CLIMBERS
AVERAGE AGE: 24
FEMALE BOSSES
AVERAGE AGE: 52
WANTS IT ALL
AVARAGE AGE: 31
Purchase Behaviour:
-Planned and purposeful
-They hunt down specific items
-Purchases are driven by price
In Life
-They constantly want to be
challenging and strive to be
better
-Adventurous spirit
-Spontaneous lifestyle
In Addition:
-Tech-driven and always online
-Inspiration in more likely to
be taken from real life
-Socialising is a big part of
their life
Purchase Behaviour:
-Considered
-Open-minded on new looks
-Purchases are driven by quality
In Life:
-Constantly strive for perfection
-Aspire to be young at heart,
but will stay in their comfort
zones
In Addition:
-Tech-driven and always online
-Inspiration comes from aspirational
content
-Health concious
Purchase Behaviour:
-Impulsive
-Open-minded on new looks
-Purchases are driven by convenience
and style
-E-commerce for clothing
In Life:
-They constantly want to be
challenging and strive to be
better
-Adventurous spirit
-Spontaneous lifestyle
In Addition:
-Tech-driven and always online
-Inspiration in more likely to
be taken from real life
-Socialising is a big part of
their life
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MALE SEGMENTS OVERVIEW
WELL DRESSED PROF.
AVERAGE AGE: 37
Purchase Behaviour:
-Values a better deal and are
savvy with their money
-Purchases are driven by price
In Life
-Fast-paced and busy
-Multi-tasking lifestyle
-Very ambitious to succeed
at their careers
-Striving to be well-informed
In Addition:
-Tech-driven and always
online
INDULGENT GENTLEMAN
AVERAGE AGE: 42
Purchase Behaviour:
-Value convenince over money
and will tend to indulge
-Purchase are driven by qualiity
In Life:
-Relaxed lifestyle
-Enjoy all of it’s pleasures
-Striving to be cultured
-Ambitious which got them
to the top
In Addition:
-Tech-driven but occasionally
online
-Perfectionists
-Health concious
-Socialising is a big part of
their life
MUST HAVES
AVERAGE AGE: 32
Purchase Behaviour:
-Want to be on trend
-Impulsive
-Open-minded about new looks
-Purchase are driven by
availability and aspiration
In Life:
-Fast-paced and busy
-Multi-tasking lifestyle
-Very ambitious to appear
successful
In Addition:
-Tech-capable
-E-commerce for event
tickets and info/browsing
-Health concious
-Socialising is a big part of
their life
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TARGET
DIGITAL SAVANT
AVARAGE AGE: 28
-139 million are female
-The product of China’s
onechild policy
CURIOUS TRAVELLERS
AVARAGE AGE: 32
-74 million Chinese people
live in tier 1 cities
-Regions: Beijing, Shangai,
Guangzhou and Shenzhen
NEW FEMININE
AVARAGE AGE: 28
-Regions: Saudi Arabia,
UAE, Kuwait, Qatar and
Bahrain
-Often heiresses live the
moment
Sociable and adventurous,
seeks moments that can
be shared digitallly, is a
style leader in her peer
group
Highly educared and
well- travelled, favour
international brands and
demonstrate their success
through spending habits
Progressive cool-hunters,
like personalisations and
seek out independant
designers and emerging
luxury brands
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AUDIENCE
MR INDEPENDENT
AVARAGE AGE: 24
NEXT GEN OR ‘FUERDAI’
AVARAGE AGE: 35
MUST HAVES
AVARAGE AGE: 21
-Made up of Gen Z and
Millenials
-China has 149 million
Gen Z
-118 million Chinese men are
HNW
-60% of total HNW in China
-Total asset estimated of
£740 billion
-Regions: Saudi Arabia, UAE,
Kuwait, Qatar and Bahrain
-Mostly entrepreneur of self
employed
Affluent young males,
favour niche brands as a
way of self-expression,
value external validation
when it comes to fashion
Wealthy creators who want to
step out of their family shadow
and make a change
Confident and influential,
free spirited, values
contemporary trends and
instagrammable experiences
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TEXTILE WASTE
WHAT IS IT?
Textile waste is all materials that have been
stated as unusable for its original purpose by the
owner. For decades, companies have chosen to
use nature, and in particular our rivers and oceans,
as a dumping ground for hazardous chemicals.
Communities living near textile manufacturing
facilities face water pollution as a daily reality.
Regulations have not always prevented the release
of toxic chemicals into the environment, particularly
in the Global South. That’s why companies
need to commit to end the release of chemicals
to stop tarnishing our rivers, lakes, lands, oceans
and people.
THE PROBLEM
If the fashion industry has the power to
influence trends, then it also has the power to
play a positive role in protecting the planet. Since
July 2011, Greenpeace has secured commitments
from international brands, retailers and suppliers
to eliminate hazardous chemicals, including help to
trigger policy changes in Europe and Asia.
Eliminating toxic chemicals is just the start.
From fast fashion to textile waste, we need the
global textile industry to be a true ‘trend setter’,
and take a stand on the environmental and human
impact of fashion.
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KEY FACTS
•Waste is at the heart of fashion – both the
physical act of discarding materials and clothes
and the ethos of junking items once ‘out of
fashion’.
•The industry pays less attention to waste than
to other ecological issues, but research suggests
better waste management could save it €4 billion
per year.
•Around 35% of materials in the supply chain
end up as waste.
•Consumer use, creates microfibre waste through
washing synthetics – nearly 35% of microfibres
polluting marine habitats come from this source.
•More garments are bought and discarded than
ever – 57% of these go to landfill.
ABOUT IT
Waste is at the very heart of fashion. It occurs all
along the supply chain, throughout consumer use,
right up to the end-of-use disposal. Underscoring
this physical journey of waste is the central tenet
of ‘being in or out of fashion’ – embedding the
notion that it’s acceptable to discard a garment
regardless of whether it is still functionally useful.
Given this, it is perhaps surprising that relatively
little attention is given to waste as a concept
in the industry, according to recent research.
If current technology were better deployed to
tackle the problem of waste, the industry could
save €4 billion per year up to 2030, the Pulse of
the Fashion Industry report estimated in 2017.
The potential for savings will be much higher if
new recycling technologies are proven at a commercial
scale
SUPPLY CHAIN
On average, 35% of all materials in the supply
chain end up as waste before a garment or product
reaches the consumer. This could be cutting
waste, un-useable stock due to last-minute design
changes, spoilage in transport, or excess stock
that is not sold on the retail market and, at times,
is incinerated by brands.
Some of this waste is difficult to avoid. Unless the
garment is designed to be ‘zero waste’, cutting
the garment from the fabric will always generate
some waste. Researchers estimate that even
with conscious effort, leftover fabric could only
be reduced to about 10% of materials used. The
bigger the production run – and the bigger the
garment – the more likely it is for leftover waste
to be generated.
It is not just fabric off-cuts. The intermediate
stages of production generate significant amounts
of water waste and ‘waste’ in the form of air
emissions. For example, the Pulse Report has estimated
that the fashion industry uses 79 billion
cubic metres of water per year in its supply chain,
most of which is released as polluted waste water.
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FACTS
• 35% of materials in garment supply chains are
wasted
• For every 100,000 people 100kg of microfibres
are released through washing clothes
• 57% of all discarded clothing ends up in landfill
CONSUMER USE WASTE
Each time a garment is washed as part of daily use,
it releases thousands of tiny fibres that find their
way through wastewater to the oceans. Although
scientists have long noted microfibre or microplastics
pollution, it is only now attracting wider public
attention.
Research shows that a chief culprit of this pollution
is clothing made from synthetics (polyester,
polyethylene, acrylic, elastane). It is estimated that
washing synthetic textiles releases almost 35% of
the microplastics (plastic particles less than 1mm in
diameter) that are accumulating in marine habitats
around the world.
Experiments using domestic washing machines
demonstrated that a single garment can produce
more than 1,900 fibres per wash – although fibre
shed varies with the type of fabric, whether it is
a blended fibre, and the use of different garment
construction techniques. The rate of shedding also
appears to differ with clothing age (1.8 times higher
for older garments) and washing machine type (5.3
times more shedding from a top-loading machine).
A study conducted for Patagonia estimated that for
every 100,000 people, up to 110kg of microfibres
would be released into local waterways daily, which is
equivalent to the pollution caused by approximately
15,000 plastic bags
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End-of-use waste
The average consumer now buys 60% more items of clothing than in 2000, but each garment
is kept for half as long as consumers discard items more quickly. These buying habits contribute
to the 39 million tonnes of post-consumer textile waste that is generated (at a minimum)
worldwide each year – primarily in the form of garments.
What happens to the discarded clothing? Four fifths go into the waste disposal stream and one
fifth goes into recycling and sorting streams.
• Of that vast majority of clothes in the waste disposal stream, roughly 70% will go to landfill
and 30% will be incinerated.
• Of the fifth destined for recycling/sorting: roughly half is recycled; 40% is re-used as second-hand
clothing; and the remaining 10% in fact ends up in the waste stream.
In terms of the bigger picture of all discarded clothing, this breakdown means that only 10%
overall is recycled, only 8% is re-used as second-hand clothing – but 57% is sent to landfill.
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INSPIRATION
& PROCESS
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ORIGINAL IDEA
THE PITCH
THE NAME ‘TABOO’
ORIGIN
I initially chose the name Taboo as the whole
idea behind this is about sustainability. I
believed that making a contradiction would
make the idea behind it stand out.
A CATWALK
6 BRANDS AND A WORKSHOP
The initial idea was to create an event
with a catwalk and a workshop to engage
people into the idea of sustainability.
For the catwalk, I was going to create
an exclusive clothing line for HN with a
collaboration of 6 sustainable brands;
including: Reformation, Jeu Illimite, Misha
Nonoo, Boyish Jeans and Jehu-Cal.
THE EVENT
AT OXO TOWER
The workshop, was to create vegan dye
for clothes. A small and easy workshop
using just vegetables.
Researching into Harvey Nichols I came across
the OXO tower, owned by HN and next to the
river. Known for their bar and food and also
their private venue for events. Knowing about
this, I wanted to launch the event at OXO.
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FEEDBACK
For my formative review, my feedback was not the best. It
was not a complete disaster but it was not good either. I
was told by the client and tutors that there was too much
going on and that I was losing track of the brief. It got to
a point, where all the ideas flatlined into one.
I was told that if I wanted to carry on with the idea,
that I had to focus and pin-point the main thing. Then, I
followed it with everything else and organised it. In my
head, everything was clear or so I thought but I was not
quite understood, perhaps I was not delivering properly.
After days of trying to sort out the order of the event
details and what my main focus was I decided to
completely change the idea, to an extend. I kept the
clothing line and developed from there.
WHAT HAPPENED NEXT?
The following week after the Formative Review, we had one-on-one tutorials with our tutor,
Tony. Discussing the ideas with him, the sound of taboo for the name of the project sounded
quite promissing. One thing lead to another and by looking up the actual meaning of ‘taboo’,
peepshows came to mind. The whole idea of peepshows made me think, I started doing
research on the Red District of Amsterdam and Peepshows.
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P
E
E
P
S
H
O
W
S
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WHAT WE KNOW
THE BEGINNING
The term Peep Show comes from Peeping Tom, the sneaky
Coventry tailor who, disobeying the proclamation of the
count, made a hole in the shutters to see Lady Godiva
riding naked through the streets of the city.
The Peep Show, also known as a peep show box or raree
(rarity show), can be traced back as early as the 15th
century in Europe with Leon Battista Alberti.
Another example, known as the perspective box, can be
found in the 17th century so-called “Dutch Golden Age
painting” where, through the manipulation of perspective,
was created an illusion of three-dimensionality usually
within a room.
But the most well-known form of Peep Show, born from
the need to satisfy their tastes with the sense of sight,
was mobile. The spectator, through one or more spyholes,
could look into a wooden box, inside which followed each
of the images that were driven by the travellers.
WHAT IS INSIDE?
The interior of the boxes, to simulate the theatrical scenes,
was richly decorated. While the images passed before
the viewer’s eyes, some actors recited to the rest of the
curious public what was happening in the mysterious box.
The Chinese Peep Show, which caught on in the 19th
century, was known as ‘pulling foreign picture cards’. In
respect to the classic Peep Show, it foresaw that the general
public was entertained with puppet shows or images
of the strange, the exotic and the out-of-the-ordinary.
In Ottoman Syria there existed a form of Peep Show called
Sanduk a ‘wonder box’ that the walking was carrying on
his back. In this case, on the box were six holes through
which viewers could observe backlit scenes illuminated
by a central candle.
These boxes generally showed contemporary stories or
scenes of paradise and the invalid.
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Other common subjects of Peep Show worldwide, presented
animals, far-off landscapes, classical theatre scenes,
masks, ceremonies or court festivals, figures in transformation
such as from angels to devils, and-of course- pictures
of indecent scenes.
In 1894 the first machines that reproduced slides of naked
women’s movement were built. A few years later, during
the early years of ‘900, even Thomas Alva Edison, the
inventor of the light bulb, made some movies depicting
erotic situations in common contexts.
Subsequently, starting from this idea, in 1972 in New
York the first live Peep Shows opened. Unlike the classic
striptease, the viewer could see women in dishabille
through windows. Though less common, the Peep Show
still came to be used inside certain establishments. The
female performer, placed in the center of a circular stage
around which were arranged the private cabins, strips
and often has sexual relations with another artist. The
viewer enters the money in the machine and the window
is opened for a predetermined time.
CARNIVAL IN GRANVILLE, WEST VIRGINIA 1938
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D
I
S
T
R
I
C
T
L
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G
H
T
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E
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ABOUT
De Wallen is the largest and best known red-light district in Amsterdam. It consists of a network of
alleys containing approximately three hundred one-room cabins rented by prostitutes who offer their
sexual services from behind a window or glass door, typically illuminated with red lights and blacklight.
Window prostitution is the most visible and typical kind of red-light district sex work in Amsterdam.
What I really liked about the red light district, is
the look of it and combination of neon lights inside
the booths. I want the interior of the booths to resemble
the red light district, almost as if you travelled
all the way to Amsterdam inmediatelly without
leaving Harvey Nichols, but also add a touch of elegance
with the classic cabaret/burlesque style. Add
some red velvet to it and silk with a glimpse of gold.
A
M
S
T
E
R
D
A
M
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TRACEY EMIN
Tracey Emin came to prominence as one of the loose grouping of contemporary artists popularly referred to as YBAs
(Young British Artists). This group of artists, also including Damien Hirst, Sarah Lucas and Angus Fairhurst, often
exhibited together and collaborated.
Emin’s work is uninhibited in the way it absorbs and reflects her personal life- whether in seminal installations such as
Everyone I Have Slept With 1963-1995 and My Bed, her early performances and videos such as Why I Never Became
a Dancer, or her writings. Emin has always been inspired by expressionist painters Edvard Munch and Egon Schiele,
although her work is also explicitly feminist.Viewing her work generates a experience of intimacy as a result of Emin’s
emotional honesty in reflecting on meaningful moments from her life.
Tracey Emin was born in London in 1963, and today she lives and works in London and France. Her work takes many
different forms of expression, including needlework, sculpture, photography, drawing, painting, video and installation.
WHY HER?
I love they way Emin portrays her work, with such feeling and expression. She is very erotic to an exretnd, and her work
has always caused me curiosity. I remembered her neon work and I instantly knew it worked perfectly with my idea.
- I want to collaborate with her and use her neon quotes for Harvey Nichols display windows.
I like seeing the glass half empty, so I thought of using her words but with a different mean to hers.
‘Never Again’ - Tracey Emin
Due to the fact that her neon work is based about love, the way I could potentially use this quote in a sustainable
way, is ‘never again burn down the waste stock’ ‘never again pollute our waters’
Essentially, I would like to collaborate and use Emin’s neon work and display them on the windows at Harvey Nichols
in a certain way that shall be explained further on.
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FASHION

ECO
SUSTAINABLE
BRANDS
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Reformation puts sustainability at the core of everything
we do. We invest in green building infrastructure
to minimize our waste, water, and energy footprints.
By providing on-the-job training and opportunities for
growth, we also invest in the people who make this
revolution possible.
ENERGY-EFFICIENCY
We source electricity offsets from 100% wind power
suppliers and use LED lighting and Energy Star-rated
appliances in our offices.
RECYCLING
We recycle, compost organic wastes, and recycle or donate
our textile scraps whenever possible. Zero waste
is our goal. Right now, we recycle about 75% of all our
garbage. Our goal is to reach over 85%. Every little
thing adds up.
FABRIC
To keep our supply chain as sustainable as possible, we
make sure our suppliers take social and environmental
standards seriously. By sourcing locally when possible,
and screening all of our suppliers, we minimize environmental
impacts and ensure there’s no unfair or unsafe
labor that goes into making our clothes.
REF FIBER STANDARDS
Up to 2/3 of the sustainability impact of fashion happens
at the raw materials stage - before the clothes
have actually been made. Fiber selection also affects
how you’re going to wash the garment, and potentially
recycle it one day - both important factors to consider
when it comes to the environmental impact. That’s why
we have Ref standards, or basically different classifications
based on their combined social and environmental
impact.
FIVE CATEGORIE:
A–Allstars
Natural fibers that are rapidly renewable, plant-based
and have a potential for circularity.
B–Better than most
B fibers are almost all natural or recycled fibers.
C–Could be better
Fibers in the C category are better alternatives than
more commonly used fibers, but not as innovative.
D–Don’t use unless certified
D’s require certifications for raw material cultivation
(i.e. organic), animal welfare, traceability or wet processing
(i.e. Bluesign)
E–Eww, never
E fibers are too environmentally or socially intensive,
and don’t meet our sustainability criteria. We’ll only
source these fibers if they are necessary for specific
fabric construction and performance and we try to use
<10%.
Our goal is to make 75% of our products with A & B
fibers.
FABRICS USED
-TENCEL
-TENCEL X REFIBRA
-TENCEL Modal
-Linen
-Recycled cotton
-Organic cotton
-Recycled cashmere
-Alpaca
-Deadstock & vintage
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“Less Waste. More Personal.
A Wardrobe for Women on the Go.”

THE BIG PICTURE
MN believes that the future of the fashion industry
will look radically different than it does today. Aims
to help build that future by pioneering on-demand
manufacturing practices, maintaining a commitment to
sustainability and female empowerment, and investing
in the power of community and personal connection.
ON-DEMAND
On-Demand is a method of manufacturing in which
goods are only produced when they are required,
rather than in large batches.
Most fashion companies produce large quantities of
inventory, a practice that reduces per-piece production
cost but often leaves them saddled with excess
product at the end of the season. This extra product
is put on sale, marked down repeatedly, and if
consumers still won’t buy, it’s dumped in landfills or
burned, adding significant pollution to our planet.
When you place an order with MN, you aren’t getting
an item that’s been sitting around poly-bagged
in a warehouse for months. You’re getting something
made specially for you and only you in a vetted, ethical
factory one garment at a time.
SUSTAINABILITY
WASTE REDUCTION:
Fashion waste doesn’t only come from excess product
- excess fabric can be a significant polluting factor as
well. To reduce fabric consumption MN sources deadstock
fabrics, excess rolls of material that mills have
left over after their busy seasons. For fabrics that MN
uses across multiple styles she utilises greige goods,
undyed yarns that then MN dyes in small batches to
give it more flexibility and ensure less waste.
LONGETIVITY:
Nonoo’s intention is for her designs to last for years,
even decades, before being discarded. Committed to
pursue the level of quality and attention to detail that
will enable her clothes to wear well, and her minimalistic
approach lends itself well to pivotal wardrobe pieces
that stand the test of time. She also intentionally design
clothes that can be styled in multiple ways and for
diverse occasions, allowing them to be worn repeatedly
without losing their sense of freshness.
ETHICAL FACTORIES:
Non-negotiable, Nonoo only works with factories that
conduct business in an ethical way, paying a fair local
wage, with strict no child labor policies, and providing
good lighting, ventilation, breaks, and all other basic
elements of a healthy work environment. Nonoo employees
visit Nonoo’s factories themselves to ensure
that these practices are carried out, in addition to
considering third party accreditations.
POLY AND SYNTHETIC MATERIALS:
Actively working on reducing the amount of plastic in
her supply chain, from removing plastic packaging to
finding alternative materials and substituting recycled
poly where possible. However, she has chosen to continue
to utilize poly and some other synthetic materials
in the weave of some of her clothing, as it increases
the durability and comfort of the garments. Nonoo’s
clothes are designed to be worn many times over the
course of a woman’s busy life, and the fabrications
must be able to withstand the wear and tear of a hectic
schedule with ease.
Nonoo offers a variety of pieces made with sustainable
and biodegradable fabrics, such as silk, cashmere, and
cotton.
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SHIRTS ARE MADE WITH
100%
ORGANIC COTTON
CONVENTIONAL COTTON
On average, it takes more than 700 gallons of water
to make in t-shirt from conventional cotton. This is the
amount of water one person would drink over 2 and a
half years.
By choosing oraganic cotton for CHNGE’s initial line,
CHNGE used zero harmful chemicals or pesticides while
also saving over 500 gallons of water for every shirty
they have produced. CHNGE has also used 62% less
energy, and has 70% less acidification potetial than
conventional cotton shirts.
CHNGE, also offsets all their carbon emissions from
their productions and use, (washing and drying) to
make the shirts 100% carbon neutral.
0%
HARSH CHEMICALS
305
HARMULF PESTICIDES AVOIDED
500
GALLONS OF WATER SAVED
62%
LESS ENERGY
70%
LESS ACIDIFICATION POTENTIAL
100%
CARBON EMISSIONS OFFSET
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Why are jeans so bad for the environment?
Jeans use up to 1,800 gallons of water to
make one pair. Thats about 500 billion gallons
of water just for the jeans sold in the
USA every year. Boyish jeans only use 1/3
the amount of water that regular denim
uses and recycle all the water so no water
is polluted in our process.
Boyish Jeans is a collection of sustainable women’s
denim founded by California native, Jordan Nodarse.
Designed in Los Angeles, each collection is centered
on vintage silhouettes with a modern update, all available
at an attainable price point. Inspired by the stylish
women who often describe their personal style as
“Boyish”, the brand utilizes men’s fabrics and fits tailored
for a woman’s body when creating all collections.
Boyish focuses on product quality, fit, and authentic
washes to create styles reminiscent of your favorite
pair of vintage jeans with an updated, fresh design and
feminine fit.
At the core of all Boyish collections lies a deep commitment
to leaving as little impact on the earth as
possible. Therefore, Boyish utilizes ethical and sustainable
practices when developing and manufacturing its
products. All jeans are produced with sustainable fabrics
through a completely environmentally-friendly and
cruelty-free process.
Boyish Jeans’ efforts in sustainable fashion include
working with ethical factories, using less harmful chemicals
during the dyeing process, utilizing one-third of
the amount of water typically needed to produce a pair
of jeans, and working exclusively with recycled fabrics
and materials for everything put out by the brand.
From hangtags and hardware to the polybags they are
shipped in, everything put forth by Boyish Jeans is
thought through to ensure there is minimal impact on
our environment.
Doing its part to reduce waste in one of the most
polluting industries in the world - fashion, Boyish Jeans
aims to set the standard for production practices and
encourage others to join in the movement. A brand
that feels good to buy and even better to wear, the
only impact Boyish leaves on the planet is good jeans.
38

39

40
“UNLIMITED GAME”

Production
All of our fabrics are dead stock, not produced for
production.
Each Jeu Illimite piece is produced in small quantity
batches. Each product bio will show detail of production
& quantity.
All Ready-to-Wear is made locally and ethically in Los
Angeles.
Our trimmings such as buttons & zippers are dead
stock & sourced locally in Los Angeles.
All of our leather goods use dead stock leathers.
Packaging
Our Jeu Illimite zip bags & poly bags are Recyclable &
Reusable.
Our Jeu Illimite embossed craft paper hang cards are
bio-degradable.
Shipping Packaging
Our packing slips are placed on bio-degradable paper
cards. Please remove the printed packing slip stick from
the card to recycle.
Our poly bags & cardboard boxes are 100% recyclable.
Please remove the printed packing slip stick from the
bag to recycle.
Our white bubble mailers are made of paper & plastic
bubble wrap - to recycle please separate the shipping
label and bubble wrap from the paper exterior.
All of our work environments are ethical.
41

42

TABOO
43

44

WHAT IS TABOO?
Taboo consists on an exclusive clothing line at and for
Harvey Nichols, formed by five different sustainable brands.
Each season, from A/W to S/S, these brands will change in
order to create new pieces for the future new collections
of Taboo.
The five brands being; Reformation, Misha Nonoo, CHNGE,
Boyish Jeans, and Jeu Illimite.
Taboo’s main focus is to make Harvey Nichols not only
youthful but also sustainable. The goal is to attract the
new target audience into the stores.
For Taboo’s first collection, each named brand will design
an outfit with 5 items of their own creations.
WHAT’S NEXT?
In order to give this clothing line the attention it deserves,
there are a few steps following to make it big.
- PEEKABOO
- TRACEY EMIN COLLABORATION
- PR CAMPAIGN
- EVENT
45

PEEKABOO
WHAT IS PEEKABOO?
Peekaboo, is an installation at Harvey Nichols’ lowest floor.
It is a circular shape. Within, 5 booths, a booth for each of
the brands of the Taboo collection. Each booth will be decorated
like a vintage peepshow booth, red silk and velver
and also a stage. All booths will have an arc on the side
wall, creating a connection from booth to booth; giving
space for a moving track where mannequins will be placed
on. Each booth will have a mannequin or a animatronic
mannequin, depending on the ocasion. Normal mannequins
will stay during the season, where as the animatronic mannequins
will only be on show whenever there is a new
collection coming out. For each collection there will be an
event and with it, an animatronic mannequins dancing on
a stage.
PROCESS
I used sketchup software to create Peekaboo. Started by
creating an elipse for the base and worked my way up.
Added colour to give an illusion as to what the colour are
and added a spiral staircase to show the viewer the way in
and out of this unique peepshow.
In centre of the pentagon, you have windows into the
booth for the customer/viewer to watch the show.
On the track, which goes around in a circle connecting all
booths, mannequins will be placed. For the event, an animatronic
mannequin will give the spectator a show. Each
mannequin will have an outfit by one of the collaborating
brands and will dance different coreographies to make the
show more entertaining. These dancing mannequins will
dance around Peekaboo on the moving track so the audience
does not have to move to peek on the different
brands.
Peep Windows
Moving Track
Elevated, on top of the
stage. Once events are over,
tracks are removed and mannequins
are placed on stage
on a fixed pose.
46
Entrance/ Exit

PEEKABOO
‘Animation made on Fuse of the Misha Nonoo outfit.
This represents what the animatric mannequins would
look like’
47

EXTERIOR
Entrance/ Exit
Black wall with neon signs/quotes
from collaborating brands and how
they are contributing in sustainability.
48

INTERIOR
Opened doors where the
moving track goes through
Staff access point to Peekaboo.
Through this door, the staff will
be able to access the mannequins
and change them and/or arrange
them.
49
Peep Hole/ Windows
Here is well the audience
will be sitting.

ANIMATRONIC MANNEQUINS
50

ADM UK LTD.
The Cyberquin journey began 20 years
ago with founder Darren Saunders’ vision
to develop a novel marketing tool to
revolutionize the visual merchandising
industry.
ADM UK Ltd manufacture dynamic animatronic
display models for visual merchandising
and marketing applications.
Our Cyberquin product range includes
male and female running, walking, cycling
and skiing mannequins with a range of
different finishes and head designs to
represent the customers brand.
We collaborate with our customers to
design exclusive and customised animatronic
models and displays.
We offer in depth consultation throughout
the development process to ensure
all design objectives are meet.
We consult in depth with our customers
to understand their exact design concept
and market positioning and create
bespoke animatronic Mannequins to suit
the unique identity of the brand.
51

52

INSIDE THE BOOTH
53

FOR CHNGE:
The facts below, will be designed to look neon and will
be placed on one of the walls indicating that the booth
behind it, is for CHNGE.
0%
HARSH CHEMICALS
305
HARMULF PESTICIDES AVOIDED
500
GALLONS OF WATER SAVED
FOR REFORMATION:
‘Electricity offsets from 100% wind power
suppliers’
‘We recycle, compost organic wastes, and recycle
or donate our textile scraps’
‘We invest in green building infrastructure
to minimize our waste, water, and energy
footprints’
62%
LESS ENERGY
70%
LESS ACIDIFICATION POTENTIAL
100%
CARBON EMISSIONS OFFSET
54

WHAT IS THE DESIGN?
The outside walls of Peekaboo will be completely
black. The idea for this walls is to have
in neon lights the selected quotes of Tracey
Emin’s neon work (that will be used on the window
displays) along with each brands selected
quotes of their sustainable facts.
OUTSIDE THE BOOTH
FOR MISHA NONOO:
‘Nonoo’s intention is for her designs to last for years,
even decades’
‘Quality and attention to detail’
‘Nonoo only works with factories that conduct business
in an ethical way’
55

WINDOW DISPLAY
The window display at Harvey Nichols will be simple but efficient to attract
customers into the store.
There will be 5 windows to promote Taboo. On each window a Tracey Emin
neon quote that can be interpreted in other ways than just her own. To
the right, ‘Never Again!’, this quote can be interpreted as never again use
plastic per say. These quotes will create curiosity between the viewers,
not only because of the quote but also because of the way is displayed.
The window glass will be tainted in black, and there will be peep holes
scattered all around the window at different heights.
What the viewers will see its a projection with three scenes/slides. First,
the neon quote followed by the Taboo logo and then ‘Basement floor’
which will indicate the floor Taboo is located in store. There will also be
cabaret music within the window display, creating even more curiosity.
56

TABOO
BASEMENT FLOOR
57

LOGO MOCKUPS
Above, 4 mockups of the Taboo logos. Experimenting
with Photoshop to create the neon illusion.
58

E E K A B O O
P E E K A B O O
P
0 0 5 9 6
C O M E O N I N , T H E P E E P S H O W I S A B O U T T O
S U S T A I N A B L E L I V E P E E P S H O W S , F R E E D R I N K S A N D
C O M M E N C E
M O R E . . .
T A B O O
T A B O O
0 0 5 9 6
2 7 - 1 1 - 2 1 H A R V E Y N I C H O L S , K N I G H T S B R I D G E
MOCKUPS
These are some eco-friedly tags for the Taboo collection,
there isn’t a set selected yet, but I think I am leaning more
towards the second one. I quite like the neon colour mix
between them, it gives the design more edgyness to it.
To the right, a mock-up of the event ticket.
T I C K E T N O .
59

60

EVENT LAUNCH
& BROCHURE
61

TABOO
H A R V E Y N I C H O L S
D E N A S E V E R O
62

PEEKABOO
H A R V E Y N I C H O L S
D E N A S E V E R O
63

TABOO
YOU,
HAVE BEEN INVITED TO THE EXCLUSIVE, THE ONLY,
HARVEY NICHOLS’ PEEPSHOW.
A NEW COLLECTION IS BEING LAUNCHED.
KEEP YOUR EYES WIDE OPEN,
YOU WILL NOT WANT TO MISS THIS
ONLY AVAILABLE 5 DAYS
AT HARVEY NICHOLS LONDON
SATURDAY 27TH NOVEMBER 2021
SATURDAY 04TH DECEMBER 2021
SUNDAY 05TH DECEMBER 2021
SATURDAY 11TH DECEMBER 2021
SATURDAY 18TH DECEMBER 2021
64

SCHEDULE
SATURDAY 27TH NOVEMBER 2021
Session One - 11h-13h
Session Two- 16h-18h
SATURDAY 04TH DECEMBER 2021
Session One - 11h-13h
Session Two- 16h-18h
SUNDAY 05TH DECEMBER 2021
Session One - 11h-13h
Session Two- 16h-18h
SATURDAY 11TH DECEMBER 2021
Session One - 11h-13h
Session Two- 16h-18h
SATURDAY 18TH DECEMBER 2021
Session One - 11h-13h
Session Two- 16h-18h
The previous spread, shows the cover of the Taboo/Peekaboo event invitation/brochure.
To the left, we have the invitation descriptiion and above
the schedule for it.
I decided to keep the black and white theme and pop some colour with
some of the neon quotes.
65

ITINERARY
11:00
VIEWERS WILL PRESENT THEIR TICKETS AT THE
COUNTER ON THE BASEMENT LEVEL WHERE PEEKABOO
IS LOCATED.
11:15
THE BAR WIILL OPEN, VIEWERS WILL BE ALLOWED TO
ONE FREE DRINK.
11:30
VIEWERS WILL BE GUIDED AND SEATED IN PEEEKABOO.
11:45
THE SHOW BEGINS.
12:15
THE SHOW ENDS AND PEOPLE WILL BE GUIDED OUT OF
PEEKABOO.
12:30
BAR WILL OPEN AGAIN AND VIEWERS WILL BE ABLE
TO ENJOY THE EXHIBITION AS WELL AS LOOK AROUND
THE BASEMENT FLOOR.
13:00
BAR WILL SHUT AND PEEKABOO WILL CLOSES ITS
DOOR.
66

COLLECTION PRICE LIST
MISHA NONOO
Friday Cami
Blixton Jacket
Kiki Pants
Mary Jane Style Heels
New York Handbag
REFORMATION
Perfect Vintage Top
Veda Bad Leather Jacket
Cynthia Relaxed Jeans
Bianca Sunglasses
Sienna Boots
JEU ILLIMITE
Sonia Button-Up
Classic Blue Denim
Jaques Linen Blazer
Cherie Mini Bag
Natalie Plexi-Globe Heels
£90
£400
£236
£160
£70
£32
£505
£140
£100
£295
£180
£60
£320
£240
£50
BOYISH JEANS
Dylan Storm Blue Top
The Harvey-Royal Wedding
Bailey Midnight Cowboy
Wave Eco-Denim Cap
White High Top Converse
CHNGE
Have A Vasectomy Crop
Power Of Love Sweater
Violet Love Peace Pants
Ribbed Beanie
Kid Not Guns Waste Backpack
£48
£94
£168
£89
£60
£33
£40
£60
£25
£114
To the left, we have an itinerary of the event, step-by step. Easy to read,
matches the theme and easy to follow.
Above, we have the collection price list. Prices go from 2 digit number to
3, depending on the brand.
67

68

INSTAGRAM PR
To the left, we have a mock-up of the Harvey
Nichols’ official instagram page. For this
mock-up, I added an extra ‘highlight’ - T.
The T stand for Taboo and its highlight at
the launch event, where the attendees tag
Harvey Nichols.
The feed’s theme is black, dark, myterious.
there is Tracey Emins neon work, that can
be interpreted in various ways. There are
peep-holes, that only reveal the mannequins
heads.
The middle row, we reveal Taboo and Peekaboo.
Also, in the centre, a peep-hole with the
eye looking through and a slogan that says,
‘Come and Peek’.
69

The following animations are made on Fuse. I taught myself this programme
in order to achieve a 3D visualisation of what the bionic mannequins would
look like. I included this ‘naked’ mannequine as I decided to make the
brochure more interactive. The mannequins that are wearing clothes, will be
printed in acetate paper so it can be layered on top of this one, making
the brochure more exciting and entertaining.
70

Using Fuse was very restricting thats why I could not do the original outfits
I had in mind. Fuse is not an official programme and it is still on ‘tryouts’.
The clothes were limiting hence the outfits look quite plane. I could
not change the style, so I had to work around it. I tried to research how
to customise clothes but in order to do that, I would have to be doing a
different course, as it is not that easy and quick todo.
For Misha Nonoo, I decided to go simple yet elegant, a full black outfit with
pops of colour on the shoes and handbag.
71

Reformation was a struggle, there were so many items I would have liked
to use but as I said fuse was quite restricting. I ended up going for a black
and white casual outfit, matched with a pair of sunglasses and a nice black
leather jacket.
72

For Jeu Illimite, I knew from the very beginning that I wanted to include
in the outfit the white blazer jacket. I paired it with a white light-feeling
shirt and high wasted jeans. For the shoes and bag, I had to add them
separately, as fuse does not do accesories like bags and does not do heels
either.
73

For Boyish Jeans, I had the same issue as Misha Nonoo or any of the other
ones. I had to base my outfit arround Fuse. Also, Boyish does not do shoes
so I had to use converse (from the sustainable line -life is too short to
waste) to finish my outfit. I tought of converse, as I know that Harvey
Nichols supplies them in store. This is more casual and comfortable style
outfit matched with a denim cap.
74

For the last mannequin, we have CHNGE. I believe this is my favourite
outfit, even though is not my style. This outfit is more street style, more
relaxed. CHNGE, does not do shoes either so I finished off the outfit with
another style of converse from the same line mentioned before. I was not
able to double layer either, unless, it was a fixed item like a t-shirt and
jacket, which I used with the other mannequins. I had to add on the side,
the sweater and backpack, to give the the idea of what the complete look
would look like.
75

76

REFLECTIVE STATEMENT
I believe an overall reflective statement
is needed. I will be honest, I did struggle
quite a bit with this unit. When we started
this unit, I was messy. My ideas did not
make any sense, if I was to go through
my formative review, I would not have a
clue what was going on. In a way, I happy
it was going great to begin with. When
I got my tutor’s and client’s feedback,
I was very frustrated and I do not even
know why. I made sense, of course they
where going to say to structure and
make it bigger, I do not blame them. I
was so wrapped up in my head with the
initial idea that I lost the plot of it.
The same day of the feedback I had to go
work, and I remember I started going on
about it and how I was not understood.
It wa a quite evening at the pub and I
stood next to a customer and started
talking about ideas. How my tutor and
I talked about Taboo subject and then
I had a lightbulb moment. Inspiration
striked, finally.
I was very impulsive with this new idea,
I wanted to do what seemed impossible
with my IT skills. For Taboo, I went
further than I could have ever imagined.
Through the past term, I had a few
things in mind. I was not mentally there.
Having to go to Hospital almost every
two weeks and undertaking surgery in a
foreign country was scary really. Through
the recovery period I did not do as much
as I could have done, but I was not feeling
great and I could not get myself out
of bed.
After I was fully recovered I got back on
track, I cracked a programme that was
a nightmare to work with, Fuse Beta. It
kept crashing every time. I was really
getting on my nerves and it was stressing
me out. But, as I said, I managed. I
taugh myself many things throught this
unit and I am proud of it. I managed to
create some weird intallation, that I was
not even sure if it was going to work.
Pleased to say now that, I think it does.
Things started to fall into place and without
the help from the tutors and the IT
teachers, I do not know if would have
made it.
A week before we broke up for christmas,
I got my results from surgery and it
could have not been better news. I felt a
weight had been lifted of my chest. I got
so excited and happy that I was enjoying
doing the project for the first time.
Now, its the last week before submission
and I feel happy and good about
this. I have pretty muched finished the
books and outcomes. I do not think I feel
stressed but I think I am, maybe its the
fact that this is it. The final year and that
I am scared I will not be accepted on the
MA course I want to do after graduating.
This is it, it is done now and no matter
what, I am proud of my work.
77

D A R E T O P E E P ?
78