PROJECT STATEMENT

Participants involved in the questionnaires, interviews and focus groups were made aware of the subject matter and gave permission for their answers to be used as findings. They were informed that any questions they did not understand or feel comfortable answering could be left unanswered. Participants in the questionnaires and focus group had their identities kept anonymous but agreed that their names, gender, sexuality, and ethnicity could be disclosed. Those in the interviews agreed that their identities could be public and that their answers and names would be used in the essay as advocates of and professionals in the creative industries and LGBTQ+ Inclusivity community. Models involved gave permission for their images to be used and those models involved in the feedback focus group session also agreed for their names to be used and to have it recorded and transcribed. General imagery within the designs of the patches which may have been deemed offensive, such as the depiction of spliffs, were not distributed to or seen by anyone under the age of 18. All participants were aware of the imagery before being involved. 

The foremost point made about gender in my essay is that it is fluid in nature, and that there is a diverse gender spectrum. Gender as a construct and concept is reiterated by many theorists, including that of Judith Butler and Ian Burkitt, and what is drawn from this is the idea that gender is symbiotic and fictional. This sense of narrative in gender is closely played on in the On The Loose designs, with the depictions of illustrated characters. There is a randomness to their qualities, in an almost childlike humour,  a reference to the freedom we have as children around gender, and the fact that it is not until later in this stage that we learn what gender is and begin adopting its stereotypes and behaviours - as Kesslar and McKenna point out, we learn these cultural rules in childhood. The motif of fruit is not only used as subtle sexual innuendos, an element which could be interpreted as rebellious by the viewer, but as a nostalgic pointer to childhood and a playful aesthetic. 

Burkitt also mentions intersex individuals, asserting that their agency outside of a gender proves they are people. Individuals are consistently given the spotlight throughout the brand's visuals and outputs, ensuring that the viewer recognises this individual for who they are, their style and that without gender categorisations normally seen in fashion videos and branding, they are still a person.

The essay points out that most mainstream fashion houses produce clothing for women and men respectively, while branding continues to utilise gender associated colours, types, and visuals. Throughout the process of this brand's development gender associations and stereotypes have been recognised and understood, and as result the elements of colours, type, visuals and so on were separated from their associations and used in a free, progressive way. For example, pink has heavy feminine connotations in the fashion and branding worlds, however it is a prominent colour in the visual identity of On The Loose. This pink was used for its vivid, playful quality, for a target audience that appreciates bright, fun designs. Ben Pechey's comment on creating garments for the individual's needs rather than avoiding gender was essential in understanding this. 

Points in the essay around successful gender inclusive brands and designers also enabled the direction of the brand On The Loose. Similar to JW Anderson's new lines "function[ing] as two sides of the same coin," the patches and prints are designed and produced for any individual and there are no specifications around designs being for particular genders. The patches do not approach the subject in the gender-neutral androgynous nature either. In the essay this is discussed as a direction taken by many fashion houses and brands as they attempt to appeal to consumers who want inclusivity. A significant conclusion is that confusing androgyny and gender neutrality with fluidity and inclusivity can have a harmful effect on non-binary individuals. Rather than attempting to appeal to individuals of all genders, as these labels have done, On The Loose is designed with a specific target audience in mind, and looks to understanding the individuals in this target audience. The logo design and typefaces used also disregard all branding stereotypes around type and their gender associations, and instead are created and chosen to reflect the brand's style and ethos. As the visual identity is made for everyone, the logo easily lends itself to appealing to everyone who is within the target audience researched. One gender neutral approach that is used however, is one discussed by Magalhaes in the essay, of aesthetics driven by functionality. This is evident in the packaging, which is simple and acts as a mere branded transparent container for the patch and print designs. Such packaging however was also created in response to strong findings in questionnaires and interviews that allowing the product to speak for itself is an appealing direction to most young, aware individuals. 

Overall, this project was heavily founded in the research done within the essay. This includes understanding gender theories, how gender is constructed and created, and the perspectives and views of those on the gender spectrum who are not cis-binary individuals like myself. It was essential that I reached out to a variety of people for a truly inclusive project, from start to finish, and I consistently returned to these findings and analysis to create designs and a visual identity which was appropriate and appealing to an inclusive target audience. The findings on existing gender inclusive brands and fashion lines also showed me the successes and failures, what to be inspired by and what to avoid. 

The essay itself does a successful job in presenting theories and case studies and analysing towards a conclusion around the question of gender inclusivity in the design industries. It gives suggestions on how this may develop and what should happen for this progression. 

The practical side was more challenging without the facilities to experiment with physical ideas. Using paints and digital manipulation was the extend of experimenting at home, however planned trips into university meant I was able to use the scanner which was vital to the development of the patches with the illustrations.