OUGD505 - Product, Range & Distribution - Words and Phrases relating to Social Class & Attitudes towards Class

Achieved Status: Social position acquired on the basis of merit, reflecting personal skills, abilities, and efforts.

Ascribed Status: Social status is assigned at birth or assumed involuntarily later in life. It is a position that is neither earned nor chosen but assigned.These rigid social designators often remain fixed throughout an individual's life and are perceived by many as inseparable from positive or negative stereotypes that entail.

Background: The type of family, social position, or culture that someone comes from.

Beginnings: Someone’s background, for example the social class that they originally came from, or their first job.


Beneath: If a particular action or activity is beneath you, you think that you are of a higher social class than people who do this.


Birth: Your status or position in society according to your family or the place where you were born.


Bourgeois: Belonging to the class of people who are educated and own property, according to Marxist ideas.


The Bourgeoisie: The class of people who are educated and own property, according to Marxist ideas: can be followed by a singular or plural verb.

Class: One of the groups into which people in a society are divided according to their family background, education, job, or income.

Class-Conscious: Influenced by a strong feeling of belonging to a particular social class and noticing differences between the classes.

Classism: Unfair treatment of people because of their social class.

Classless: Not divided into social classes.

Classless: Not belonging to a particular social class.

Class Struggle: According to Marxism, a situation in which rich and powerful people and working-class people compete for political and economic power.

Egalitarian: Supporting a social system in which everyone has equal status and the same money and opportunities.

Genteel: Lived in by rich polite people and not very lively, exciting, or modern.

Hierarchical: A hierarchical society or organization is one in which differences in status are considered to be very important.

Hierarchy: A system for organizing people according to their status in a society, organization, or other group.

Inverted Snobbery: The idea that everything typical of the higher social classes is bad and everything typical of the working class is good.

Meritocracy: A system or society in which people have influence or status according to their abilities and achievements rather than because of the social class to which they belong.

Noblesse Oblige: The idea that rich people from a high social class should help peoplewho have fewer advantages.

Non-U: Not typical of the upper class.

Populist: Representing the interests and opinions of ordinary people.

Snob: Someone who thinks they are better than other people, usually because of their social class. This word shows that you do not like people like this.

Socially: Relating to someone’s social class.

Society: Relating to the parties, weddings, performances etc that rich and fashionablepeople go to.

Stratification: The division of a society into different groups.

Stratified: Divided into groups in society based on status.

Trickle-down: Relating to the belief that people at the lowest level of society or an organization always benefit from the money or advantages that people at the highest level have.

Class-Consciousness: Awareness of one's place in a system of social class, especially (in Marxist terms) as it relates to the class struggle.

Elitist: Relating to or supporting the view that a society or system should be led by an elite.

Meritocracy: A political philosophy holding that power should be vested in individuals almost exclusively based on ability and talent.

Above your Station: Higher than is suitable for your position or rank.

The Common Touch: The ability of someone important or powerful to talk to ordinary people and to understand what they are thinking or the existence of differences that cause people to be divided into different social groups.

OUGD505 - Product, Range & Distribution - Cultural Relativism Theory

Cultural relativism refers to the idea that the values, knowledge, and behavior of an individual must be understood within their own cultural context. This is a fundamental concept in sociology due its recognition and affirmation of the connections between the greater social structure and the everyday lives of individual people.

The concept of cultural relativism as we know and use it today was established as an analytic tool by German-American anthropologist Franz Boas in the early 20th century.

In the context of early social science, cultural relativism became an important tool for pushing back on the ethnocentrism that often undermined research at that time - this research  mostly conducted by white, wealthy, Western men often focussing on people of color, foreign indigenous populations, and persons of lower economic class than the researcher.

Ethnocentrism is the practice of viewing and judging someone else's culture based on the values and beliefs of one's own. From this viewpoint, we may consider other cultures as negatively in comparison to our own, however, when we recognize that the many cultures of the world have their own beliefs, values, and practices that have developed in a range of contexts and accept their differences and see that none are necessarily right or wrong or good or bad, then we are engaging the concept of cultural relativism.

It is this ideology I believe should be applied to the British Class system - identifying that a person's class may be different to our own but should not be judged as a result. It should not dictate personal or professional progression and should not be considered as a defining label.

OUGD505 - Product, Range & Distribution - Middle Class Problems by Benjamin Lee

Since 2010, Benjamin Lee has run the hugely popular @MiddleClassProb account on twitter, and in his book of the same name, Middle Class Problems, he has selected the all-time highlights.

Described as 'a hilarious collection of the most agonizing real-life inconveniences faced by the iPhone-losing, polenta-burning, Eurostar-missing middle classes,' the book is divided in to subject sections - these being:

• Eating in.
• Eating out.
• Shopping.
• Quinoa. 
• Drinking.
• Work.
• Technology.
• Christmas.
• The help.
• At home.
• On holiday.
• Looking good.

The book satirises the middle-class for the dramatising of trivial matters typically experienced in first-world counties such as Britain. Examples of this and the book's content are featured below:

Ultimately, the book stereotypes the middle-class by using humorous tweets and expressions that give insight in to the privileged lifestyles of higher-class society. The books content in reality has no affect on class - for example, anyone can eat quinoa, lower, middle or upper-class persons of society. This is something I may be able to explore for my own resolution to the British class system and the perceptions created by it

OUGD505 - Product, Range & Distribution - Study Task 01: Presenting Research

Accompanying Notes:

• Introducing Subject
• Class is no longer as simple as it was in the days of programmes such as Downton Abbey, no longer a 3-strata system.
• The Queen - Essentially at the top of the class system, the most Elite.
• The Late Princess Diana (The People's Princess) - Broke down the divide between royalty and the public.
• William & Kate - Appearing more relatable, 'normal' to the public, allowing more people to identify with them despite class differences.
• The old 3 strata class system - Upper, Middle, Lower class.

The new 7 social classes of 21st Century Britain

• Elite - This is the wealthiest and most privileged group in the UK. They went to private school and elite universities and enjoy high cultural activities such as listening to classical music and going to the opera.
• Established middle class - This is the most gregarious and the second wealthiest of all the class groups. They work in traditional professions and socialise with a wide variety of people, and take part in a wide variety of cultural activities.
• Technical middle class - This is a small, distinctive and prosperous new class group. They prefer emerging culture, such as social media, and mix mainly among themselves. They work in science and tech and come from middle-class backgrounds.
• New affluent workers - These people are economically secure, without being well-off. This class group is sociable, has lots of cultural interests and sits in the middle of all the groups in terms of wealth. They're likely to come from working class backgrounds.
• Traditional working class - This group has the oldest average age, and they're likely to own their own home. They mix among themselves and don't enjoy emerging culture. Jobs in this group include lorry drivers, cleaners and electricians.
• Emergent service workers - These young people have high social and cultural capital - so they know people from all different walks of life, and enjoy a wide range of cultural activities - but are not financially secure.
• Precariat - The poorest and most deprived social group. They tend to mix socially with people like them and don't have a broad range of cultural interests. More than 80% rent their home.

Portrayal / Stereotyping of Classes in the Media

• Lower Class - The Mooreside (story of Shannon Matthews). Un-truthful representation of neighbourhood. Controversy. Negative perceptions of the lower class.
• Upper Class - Made in Chelsea. Idealising the lives of young, rich 20-something year olds from privileged backgrounds living in exclusive London postcodes. Stereotypes.

Adrian Shaughnessy - The Politics of Desire & Looting

• Questioning the role played by designers in the London Riots.
• Blame on designers for creating desirable products/packaging/lifestyle pieces.
• Consumerism.
• Responses and comments on the Article - mainly negative.

Cultural Relativism Theory

The theory that beliefs, customs, and morality exist in relation to the particular culture from which they originate and are not absolute.

Objectives for the Project

To show that wealth and class are not necessarily related/connected and that class is a mind-set as opposed to an assigned status.

Feedback

Feedback received detailed that the project should focus on the monetary side of class and the system itself rather than the Royal family.

OUGD503 - Responsive - YCN: Greenall's Gin - Evidence of Submission

OUGD505 - Leeds Public Spaces - Print Process

In attempt to step out of my comfort zone, I have decided to lino-print the Victoria Gate traditional print instead of my go-to methodology of screen print. Not only should this help me broaden my skill-set, but this process also serves as an appropriate method in reflecting the carved concrete of the John Lewis facade.

I anticipate the lino-cutting will come with relative ease as I will only be carving fine lines for both the John Lewis facade and herringbone pattern floor.

I am looking forward to this endeavour to explore alternative process and am excited to see what I can produce through this medium.

OUGD503 - Responsive - YCN: UK Greetings - Evidence of Submission

OUGD503 - Responsive - YCN: Greenall's Gin - Competition Submission Boards

https://issuu.com/stephenjdale/docs/stephen_dale_greenalls

OUGD503 - Responsive - YCN: UK Greetings - Competition Submission Boards

https://issuu.com/stephenjdale/docs/stephen_dale_uk_greetings

OUGD503 - Responsive - YCN: Greenall's Gin - Greenall's Street Party Collection

The Street Party pack brings together a range of items with Greenall’s at their very heart. From the Original London Dry Gin itself - to the personalised bunting and recipe cards, this campaign embodies and signifies what it means to be truly unapologetically British. Each item is instilled with the heritage of the Brand, as well as the British customs it has seen and been a part of creating.

Greenall’s green interpretation of the Union Jack  flag is the creative epitome of their Britishness, providing instant recognition to consumers as a part of the brand’s core identity. Iterations of this have been created and featured on the Limited Edition packaging and bunting to bring vibrancy to the campaign.

The Greenall’s crest, being the embodiment of their brand heritage, authenticity and over 250 years of stories as Britain’s oldest gin distillery, is featured on all campaign items/products. This provides reassurance to consumers of the Brand’s smooth taste credentials and superior quality.

Greenall’s dark green is their key brand colour alongside lighter green Pantone which brings to life the vibrancy of the social occasions that Greenall’s is at the heart of, with white as a secondary colour - The Street Party campaign creatively makes use of each of these colours to create a new, exciting and vibrant campaign that is still recognisable as authentic Greenall’s.

As a mandatory requirement of the brief, the Greenall’s Original London Dry Gin logo features on all campaign items. This additionally ensures each and every product is recognised as being part of the Greenall’s brand, which is important considering the introduction of new designs.

Founded in 1761 by Thomas Dakin, Greenall’s gin has been at the forefront of British gin for gin lovers through the centuries.158 years later, 1919 saw the Nation come together in celebration of the signing of the Treaty of Versailles. It was here that the Street Party became a tradition that would become a staple of British culture. 

With this campaign, Greenall’s invites the Great British public to share in their celebration of British heritage, pride and their 100% ownable Original London Dry Gin by throwing their own Greenall’s Street Party. Each and every item within the campaign has been created with complete consideration of not only the brand’s history and heritage, but also its ambitions and motives for the future and target. 

The campaign provides millennials with a new means of celebration and social occasion through contemporary, vibrant and bold designs that also capture the essence of the Greenall’s brand - which is to provide products that can be at the heart of good times and social, responsible drinking occasions. 

OUGD503 - Responsive - YCN: Greenall's Gin - Production - Street Party Pack Box

All items featured within the Greenall’s Street Party campaign would be available to buy as a pack - to allow for the brand to be at the heart of the celebrations it inspires - though the Greenall’s Original London Dry Gin in Limited Edition packaging is the lead campaign product and would therefore be sold separately for the duration of the campaign. 

The box features Alice’s street party-scene illustration across each side as the staple visual of the campaign, while the top simply bears the Greenall’s crest and single juniper berry botanical illustration to encapsulate the identity of the campaign. Inside is a bright tone of green in contrast to the limited colour exterior.

A band bearing the Greenall’s Original London Dry Gin logo surrounds the box and sits beneath the Greenall’s crest - providing the pack with brand familiarity due to its part as the core Greenall’s identity while ensuring the heritage of the brand is clear. In contrast to the box design itself, the band also supplies a strip of surrounding Greenall’s colours that contrast the contemporary monochrome illustrations that feature on each side of the box. 

Additional Party Pack Pieces

In addition to the other pieces that are a part of the Greenall’s Street Party pack, further items could be introduced such as paper plates, cups and napkins bearing the brand’s core visual aids depending on success and/or demand of the campaign following introduction to market. 

OUGD505 - Leeds Public Places - Victoria Print Compositional Exploration

Below are three potential traditional print designs which celebrate Leeds textile heritage through the John Lewis diagrid facade, the twisted aluminium fins of the car park, and the herringbone floor - all of which reference weaving and fabric, instilled with the context of Leeds' textile heritage.

The first simply features the three elements with the name and date of opening, however feel this looks too separate, with the visuals not working together. Additionally, it makes no mention of the shopping centre's endeavour to celebrate the city's past textile-roots.

For the above composition, I engaged with a more interconnected approach, overlapping visual elements in a collage style aesthetic. I also added a clear sentence affirming the shooting centre's architectural celebration of Leeds' textile heritage. This appears to work more effectively in creating a unified, balanced visual.

Further developing the previous design, here I provided more context to the design through a heavy border inside which are the names of the surrounding streets of Victoria Gate, however, I believe this over complicates the design and appears to make focal visuals of the print lack space to breathe.

Critique confirmed this and as a result I will be printing the middle composition. 

OUGD503 - Responsive - YCN: Greenall's Gin - Production - Bunting

If there is one thing that truly makes a street party - its bunting. Even before the first recorded street party in 1919, Britain had a long held history of residents dressing streets for national occasions, using flags, garlanded material, and later bunting - the staple decoration of street parties made of strings of triangular pennants.With this Greenall’s personalised bunting, the truly authentic contexts of both Greenall’s and the British Street party are clearly celebrated.

Initial bunting designs explore a series of iterations of Greenall’s key brand visual: the green interpretation of the Union Jack, providing consumers with visual familiarity through colour and concept.

When taken to critique, all those involved noted that they felt the lighter bunting design with white ground beneath the green union jack was the most favourable design - light and bright for the summer   street party season. Feature of the brand’s logo and crest ensures parties making use of the street decoration are is instilled by the heritage and history of Greenall’s.

In addition to the original bunting design is an additional design, this being a triangular crop of Alice's street party illustration - this being the staple visual of the campaign and representation of campaign intentions. The Street Party scene illustration is the visual embodiment of this Greenall's initiative, and through its feature brings cohesion across other campaign products via consistency of visual presentation.

OUGD503 - Responsive - YCN: Greenall's Gin - Recipe Cards

A key part of the Great British Street party is the unity of community that it inspires - most typically manifested through the making of produce to serve and share at the event. 

The Greenall’s recipe cards feature the brand’s key colour scheme and visual details shown on the limited edition packaging to maintain campaign cohesion. The featuring of Alice’s botanical illustrations provide relevant visual representation for the recipe cards as of their context in regard to showing the ingredient of gin. It serves as a motif for further ingredients and inspires the natural methodology of baking by hand as opposed to shop bought produce.

Also featured on three of the cards are Alice’s cocktail illustrations featuring a free flow of watercolour, demonstrating the fresh vibrant flavours found in Greenall’s cocktails.

Alice’s Street Party Scene illustration here shows an ideal vision of what the recipes can be a part of if made.

The recipes included in the Greenall’s Street Party Pack have been chosen as quintessentially British with a Greenall’s twist.

The set of 6 includes 3 easy-bakes: 

Gin and Lemon Drizzle Cake

Although the exact origins of the Lemon Drizzle are unknown, the cake is said to be derived from the pound cake, which was first baked in England around 1700. A pound of each ingredient was used to make a simple, heavy cake to feed large groups of people - perfect for street street parties.

Gin and Tonic Cheesecake

While many cakes have a long history dating back to ancient Greece and Rome, where flat heavy 'cakes' were sacrificed to gods, the earliest documentation of a cheesecake most similar to that we know today is found in 'Forme of Cury' - an English cookbook from 1390. On this basis chef Heston Blumenthal has argued that cheesecake is an English invention.

Gin and Lime Jelly

Gelatin desserts, referred to as jelly in Britain, are desserts made with sweetened and flavored gelatin. This kind of dessert is first recorded by Hannah Glasse in her 18th century book The Art of Cookery, of which was a best seller for a century after its first publication. The book is considered as by far the most popular cookbook in eighteenth-century Britain.

And 3 Greenall’s original cocktails:

The classic G&T, a Mojito and a Basil Smash.

The notion of baking with Greenall’s gin presented in the recipe cards is sure to capture the mind’s of British millennials looking for new ways to make memories - with Greenall’s at the heart of their endeavours (as desired by the brand). Each recipe featured on the cards has firm British origins, reinforcing the quintessentially British heritage of Greenall's.

Printed on 300gsm bright white satin stock for a sleek, contemporary finish that is wipeable - providing functional cards less prone to damage when surrounded by ingredients.

OUGD505 - Product Range Distribution - Media Representation of the Upper Class: Made in Chelsea

Made in Chelsea, often abbreviated to MIC, is a BAFTA award-winning, structured-reality television series broadcast by E4 in the United Kingdom. The programme chronicles the lives of affluent young people in the West London areas of Belgravia, Kings Road, and Knightsbridge as well as their travels to other locations including Dubai, Finland, Marrakech, Verbier, Saint-Tropez, Venice, New York, Barbados, Los Angeles, Las Vegas, and the South of France.

I watched the first episode of the programme to identify the portrayal of class and evaluate the stereotypes featured. The programme opened with a narrated introduction to the programme which immediately sets the tone of the show and it's apparent 'reality' content:

“You may have heard rumours that Chelsea is an exclusive world of royals, aristocrats and playboys. Where the gossip is as startling as the prices. Well it’s all true, and I’d know. I’m Caggie Dunlop and this is my world. You might say that we’ve got it all, but having whatever you want can make choosing that much more tricky. In Chelsea the truth is more fabulous than fiction. This is our life.”

From the outset, the programme establishes the upper-class tone-of-voice that is undoubtedly to run throughout the show's lifetime. This 'reality' representation of the upper classes shows superiority in class, with a certain pride attached to it - celebratory of the middle and upper class lifestyle. The show's winning of a BAFTA from the people’s choice category also shows the power and popularity of the television show. However, what is televised is a range of exaggerated stereotypes of the south, which undoubtedly impacts viewer's ideologies of the demographic. Although London is largely populated by working class people, the Made in Chelsea lifestyle and ideology creates the illusion that London as a whole is dominated by the middle and upper classes, this exacerbating division not only between the diverse population of the city itself, but of the north and south of the country as a whole.

Viewers believe that these representations are genuine and true, when in actual fact the scenarios and story-lines featured on the programme are to some extent dramatised and structured for the audiences own entertainment and appraisal.

'Reality' television programmes such as MIC create perceptions and ideas of people, classes, and the locations they are set in, impacting dramatically on how people view these. It has a significant power over our own ideas and ultimately our views of social classes, often creating aspirational views which are for most unattainable.

OUGD505 - Leeds Public Spaces - Victoria Gate: Print Development

Having researched the architecture of Victoria Gate and visiting the shopping centre for reference and primary source images, I now feel ready to begin producing visuals.

Considering the architecture, I feel the parts which stand out most, to me, are the facade of john lewis, the twisted aluminium fins of the car park and the herringbone grey floor within the shopping centre.

With this in mind, I have began creating simple visuals representative of these elements to feature on the A3 traditional print. These are featured below:

Though only simple line drawings, I believe they carry a likeness to the architecture of the shopping centre which in true-to-life form is heavily 3 dimensional / has extensive depth.

OUGD503 - Responsive - YCN: Greenall's Gin - Limited Edition Bottle Label

Printed on self-adhesive transparent acetate, the limited edition bottle label bears a simplified variation of the box design for consistency within the street party campaign materials. The transparency of the label featuring Alice’s street party illustration and botanical

flourishes creates a clean, contemporary and pure aesthetic due to the clear gin inside. The label additionally features the other most important features of the box design, including the brand logo and crest of heritage.

OUGD503 - Responsive - YCN: Greenall's Gin - Production - Limited Edition Bottle Box

In celebration of Greenall’s coming together with the street party to communicate an authentic ideal of British heritage, the Limited Edition packaging brings together the familiarity of the Greenall’s visual language through colour and identity with Alice’s street party scene illustration to enhance the individuality of the packaging and communicate a new limited-time concept for the Nation to get 

involved in.

The packing uses Greenall’s dark green and lighter green Pantone colour to ensure familiarity of the brand is not jeopardised. This, in addition to Alice’s minimalistic line drawing creates a light, contemporary design perfect for the summer - when street parties are primarily held.

The new box design uses both Greenall’s typeface Futura and a script typeface to maintain visual cohesion with the brand’s existing identity. It also features an iteration of Greenall’s green

interpretation of the Union Jack - the creative epitome of the brand’s Britishness - and Alice’s

botanical illustrations for additional context.

Further features of the packaging include light green foiling, used on both Greenall’s crest and the ‘Limited Edition’ detailing to ensure the brand‘s heritage, authenticity and superior quality is clearly communicated to consumers.

The box has been printed on 300gsm bright white satin stock for a strong form and sleek finish that appears vibrant and contemporary - in keeping with the Greenall’s brand ambitions to appeal to target millennials.

OUGD503 - Responsive - YCN: Greenall's Gin - Alice's Illustrations

The following illustrations have been created by my collaborative partner Alice. Street parties are a great part of British culture and provide opportunity for communities to come together to celebrate national occasions.

As Street Parties are our chosen theme, we want to create an atmosphere of joy and celebration through communities. Alice's illustration features characters young and old to show the unity street parties bring. It consists of a limited colour scheme, emphasising the detail of the line work, and gives a nod to our personalised Greenall’s bunting which draws the composition together. The combination of line illustration, characters and colours bears an appropriate blend of traditional Greenall’s with a contemporary edge that has the potential to successfully capture millennials and beyond.

In addition to the main Street Party scene illustration, Alice produced botanical drawings following research into Gin and it’s ingredients - such as juniper berries. These hand rendered botanical features embrace the purity of the gin as well as accentuating the nature of street parties and the delicate craft of distilling. The traditional style of illustration aptly connotes the ‘Quintessentially British’ visual language of Greenall’s as a brand. 

Continuing in the same illustrative style of line work and limited colour, Alice also created Cocktail illustrations featuring a free flow of watercolour, demonstrating the fresh fruity tastes found in Greenall’s cocktails, alongside fine black outlining.

These illustrations also pick up on trends within the realm of cocktails and quintessentially British custom by featuring drinks within jam-jar glasses. 

With these illustrations I can begin to design the elements to be featured in the Greenall's Street Party Pack.

OUGD505 - Product, Range & Distribution - The Great British Class Survey

On 2 April 2013, analysis of the results of the Great British Class Survey were published online. The survey, which researched the social structure classes of the United Kingdom, was developed in collaboration with academic experts. The results released were based on a survey of 160,000 residents of Britain, the majority of who lived in England and described themselves as 'white.'

Class as a multi-dimensional construct is defined and measured according to the amount/kind of economic, cultural, and social capital reported. Economic capital being income and assets, cultural capital being the amount and type of cultural interests and activities reportedly engaged with, and social capital being the quantity and social status of friends and family, as well as personal and business contacts.

With the 3-class analysis apparently out of date, the survey culminated in the introduction of a new 7 strata system, accordingly providing a more accurate representation of classes of society in 21st century Britain.

The Seven Social Classes of 21st Century Britain

1. Elite - This is the wealthiest and most privileged group in the UK. They went to private school and elite universities and enjoy high cultural activities such as listening to classical music and going to the opera.
2. Established Middle Class - This is the most gregarious and the second wealthiest of all the class groups. They work in traditional professions and socialise with a wide variety of people, and take part in a wide variety of cultural activities.
3. Technical Middle Class - This is a small, distinctive and prosperous new class group. They prefer emerging culture, such as social media, and mix mainly among themselves. They work in science and tech and come from middle-class backgrounds.
4. New Affluent Workers - These people are economically secure, without being well-off. This class group is sociable, has lots of cultural interests and sits in the middle of all the groups in terms of wealth. They're likely to come from working class backgrounds.
5. Traditional Working Class - This group has the oldest average age, and they're likely to own their own home. They mix among themselves and don't enjoy emerging culture. Jobs in this group include lorry drivers, cleaners and electricians.
6. Emergent Service Workers - These young people have high social and cultural capital - so they know people from all different walks of life, and enjoy a wide range of cultural activities - but are not financially secure.
7. Precariat - The poorest and most deprived social group. They tend to mix socially with people like them and don't have a broad range of cultural interests. More than 80% rent their home.

Further Findings 

• Further findings from the survey detail that the elite are more obsessed with class than anyone else, with around 6% of the population being in this tier. That said, 22% of the people who took the survey turned out to be in this social group. 
• 25% of the population are estimated to be in the established middle class, however 45% of the survey respondents got this result. 
• This in comparison to the precariat -who make up 15% of our society but less than 1% of them took the quiz as it is presumed that they found the survey 'intimidating.'

Elites are concentrated around London and the South of England, as shown on the map below.

The darkest areas, which correspond to concentration of elites, are mainly in London and the South of England. However, not all people in the South are classed as elite. Towns like Swindon, Slough and Crawley have relatively low proportions of elites, but have clusters of wealth not too far away. 

Further North, and in to Wales and Ireland, the clusters become pink, meaning that less people there are classed as elite. 

The elite are more likely to have gone to university than most - but so are emergent service workers.

The young and cultured, but financially insecure, emergent service workers are very likely to have gone to university - with a higher proportion of graduates in their class than any of the others (except those at the very top of society). Most graduates are in the established middle class, however surprisingly enough, some of the most financially insecure people in the country have a university degree. The graph does also show that it is possible to be in the elite group without a degree and while getting a good degree can affect which class people are likely to end up in, not going to university does not mean a person has no prospect of moving up. 

It also appears that people in high-salary jobs, whose parents were also in high-salary jobs, get paid more - with people in the same job getting paid more or less depending on their parents' professions. People whose parents were in high-salary jobs seem to get paid more in the top industries than those whose parents were not in high-salary jobs.

OUGD505 - Leeds Public Spaces - Victoria Gate: Primary Source Images