FASHION MATTERS the now, the then, the other
FASHION MATTERS the now, the then, the other
ANNA LEWIS N0994906 FASHION PROMOTION AND COMMUNICATION FCP1 VISUAL AWARENESS LUCY NORRIS FASH10105
CONTENTS 1
INTRODUCTION
2-7
THE NOW
8 - 12
THE THEN
13 - 16 THE OTHER 17
CONCLUSION
18 - 23 REFERENCES 23 - 28 BIBLIOGRAPHY
Influences from the past and the effects on the present is absolutely central to the fashion design and promotion process. It underpins the brands ideas and determines the techniques they employ to put them together. I plan to research into 'The Now', looking into what makes brands from both luxury and high street creatively credible and which forms of media, technology and retail platforms they engage with and how this defines each brand and finally how their visual DNA affect the brand. Furthermore, I will compare this with 'The Then' and how the fashion design, visual advertising and visual communication of a luxury and high street brand has been influenced by the past and what messages do their past driven narratives deliver for the brand and its customer.
fig 1
1
T H E NOW
fig 2
The Prada logo came from the idea of ‘anti-status’ and ‘reverse snobbery’ that Prada originally represented when Miuccia was creating Tote bags (Stylesequel). The serif font makes it appear traditional, relating to its long heritage, and has made Prada one
Prada prides itself on its product quality, with a special focus on durability and attention to detail, as well as a strong emphasis on style and brand rejuvenation (Andreas 2011). Miuccia Prada gains inspiration by what is happening at the time of creating her collections, depending on her mood, places she sees, art and architecture, therefore constantly evolving the brand and giving the consumer something new (Orlow, 2012). Looking through collections on ‘Style.com’, the eclectic taste often expresses a very maximalist style, mixing vivid colours, textures and proportions, but usually including
of the most easily recognisable brands in the fashion industry. Famous for its idea of ‘inward-directed luxury’ (Labellush, 2012), Prada doesn’t use vivid, flashy logos on their products. Their understated approach to luxury branding is playing on the idea that it can only be recognised by those who are ‘in the know’ (Elisabeth, 2011). According to Kamprad (2012), there are only about 250 Prada-owned shops worldwide, keeping in with the idea of Prada being exclusive.
a black or white blocked colour to bring back the sophistication of the brand.
fig 3
2
Rem Koolhaas was taken on by Prada to develop a new retail concept for the brand with the creation of three big stores in the US, including an
Offering this new technology to the consumer creates an exciting and
‘epicentre’ store, which would offer the consumer a whole new experience of shopping. In contrast with
intriguing experience making the customer feel that ‘in the know’
Prada’s typical high-profile store on fifth avenue, the New York epi-
sensation that Prada, as a luxury brand, represents. It also provides information for the consumer that
centre is based in SoHo, an area known for its art galleries and an attraction for young, fashionable
may have not been accessible beforehand, making the products become more appealing and making the whole experience more personal to the individuals needs and wants.
consumers. Originally the former Guggenheim store, it goes back to Miucca’s love for the art and design world and the impact of art, as an inspiration, has had on her work. This is then communicating to the consumer that Prada, as a brand, is creatively credible current climate.
within
the
Submerged into the display system of the store are electronic screens
fig 5
However, incorporating new technology into the store has also been a high factor of engaging the consumer. The dressing rooms feature high-tech installations, with ‘magic mirrors’ used to allow the customers to see themselves from both front and back at the same time, with integrated time-delay function
an to
that show related displays of catwalks or videos of Pradas’ involvement in sport or the arts, showing the consumer Pradas’ diversity and Miucca’s inspiration (Curtis and Watson, 2007).
fig 6
capture and replay movements. Fitted with a radio frequency identity antennae, the dressing room is able to register specific products brought into the room and subsequently
fig 4
displays the item on a touch screen. The customer can then request additional information or browse through alternative collections (Curtis & Watson, 2007).
3
Miuccia’s constant changing ideas and evolving of the brand can be
The style, colour scheme and themes from this collection were
seen through looking change and diversity
the her
then translated through the website. The strong, black
collections, from vivid blocked colours and geometric shapes, inspired by the digital age, to
background of the catwalk is used in the sidebars of the site and the minimal use of vivid red,
feminine flower prints and pastel pinks inspired by dreams and
like the lipstick of the models, is mi nimally used as bullet
nostalgia (Syle.com), constantly offering something new and expressing the maximalist style
points on the website side bar. The main focus is on the photograph on the website, mixing
that the public consumer yearns for from Prada. With the constant
photography and illustration, creating the dreamlike, nostalgia
revision of the brand, the promotional techniques need to adapt with new advertising
theme that the collection is inspired by and translating this to the consumer.
at in
campaigns and approach used on the Prada website. The Prada S/S 13 collection was described by Miuccia Prada as ‘Dream is forbidden, nostalgia is forbidden, to be sweet is not good.’ Miuccia’s collection here was described as yearning for a more innocent and embracing traditional femininity and womanhood (Phelps, 2012).
fig 7
4
The website offers easy access to the latest videos of catwalks
The new approaches to the promotion of the show is exploring new media
shows, Pradas’ products, Prada events, the Prada book and
platforms that the consumer access and therefore feeding
information on projects that Prada is getting involved in, with easy drop down bars and pop up screens
needs of the consumer in the current technology and digital age. Prada has also worked hand-in-hand
that keep in theme with the rest of the site. For Prada to keep
with LG to create the new stylish smartphone that is tailored to a
current and up to date with the consumers needs, the brand involves itself in collaborations
fashion-conscious audience (Prada.com). This gives Prada a new edge, telling the consumer the
to keep it fresh and new. Richard Haines, a former menswear designer
brand is contemporary and modern, with it being amongst the slimmest
now fashion illustrator and blogger, collaborated with Prada to create smudged charcoal
smartphone available, and by using other platforms, that will appeal to their target audience, will
drawings, representing in various forms the setting of the F/W 2012
express Prada’s luxury desirable visual DNA.
can the
and
menswear show space. Instead of the common use of fashion photography documentation, Prada decided to take a new direction. This was then taken further when Prada launched a new app and a web section on Prada.com, allowing visitors to take an interactive tour inside the virtual setting of the catwalk show. fig 8
fig 9
5
As
a
relatively
new
brand,
Cos
has
become
recognisable
for
its
minimalistic and timeless fashion. The brand rarely follows trends but instead plays with proportions and shapes to create classic pieces. This creates a relationship with its loyal customers, as they know what to expect from the brand and will invest in a piece knowing it will be long lasting. The label wants to translate to their audience that they focus on a simple, classic style and therefore avoid using extravagant advertising campaigns. The latest advertising campaign for their 2013 S/S collection uses pale, slim, emotionless looking models, that do little more than stand in a white room wearing Cos’s collection. The use of a piano with a very slow tempo coincides with the little movement happening in the video.
fig 11
The desaturated video then gently fades out into white, showing the minimalistic Cos logo. There is no attempt to try and communicate a lifestyle or aspirational need for the consumer. Instead, they rely on the idea that they have a loyal customer base who know what to expect from their products (Cos SS/13 Lookbook).
fig 10
6
The minimal, stripped back aesthetics that Cos represents is translated into
platforms are usually seen in high-end fashion marketing, standing out against
the website, typography and colour schemes, reflecting the geometric shapes
other their
and desaturated colour scheme of the clothing. Unlike most other fashion retailers, Cos does not conform to the
investing in a luxury brand at highstreet prices (Portas 2011). Arriving onto the high-street scene only 6 years
traditional layout for the website, but has an usual design that scrolls up and
ago, the swedish chain owned by the H&M group, has developed to 11 shops across
across, with large imagery contrasting with small, grey text, reflecting the way the brand plays with volume and
Britain. The store design is also minimal, with open, clean spaces and a general colour scheme of white and grey.
proportion in their clothing. logo is barely visible,
The Cos almost
In their flagship store on regent street, there is a strong use of wood, glass and
transparent, using only a grey colour and a san serif font in century gothic as its smooth-edged simple style reflects
chrome throughout the interior, reminiscent of such artists as the Bauhaus but with a modern, clean twist.
minimalism. The Cos magazine on the website contains a series of still life
Displaying rails of their understated, monochrome clothing, the store presents
photographs that are a collection of inspiration, collaborations and Cos related stories. This allows the viewer
the consumer with signs like ‘Stop! If you’re male you may want to turn left’. Although there is little use of new
to discover more about the brands ideologies and visual inspiration as they
technology, these signs create a connection between the brand and consumer
rarely express this due to their minimal approach to advertising. There is a constant aspirational freshness and
making the experience more personal. Being part of the H&M group, the Cos values and ideas are an entire contrast
purity in the approach to design that is taken from the clothing but then
with that of H&M. Entering the market at an economical meltdown, Cos has offered
manifests in the store design, website and all other platforms that Cos use to engage with the consumer. These strong
the market timeless, classic pieces that are on trend compared to H&M who focus on fast fashion and an almost
visual codes that Cos embraces across the
fig 12
highstreet retailers and making consumer feel as though they’re
‘jumble-sale’ feel (Anon).
7
fig 13
such as the pearls or the interlocked double-C logo, to symbolise Chanel’s heritage and enduring value. Chanel grew up with the skills of needlework through living in a monastery, where she became influenced by the simple lines of the nuns religious garb, an inspiration that can be seen in her fashion designs later on. The abbey in which she lived had paved floors and tiled walls featuring patterns and motifs, like the five point star, moons and crosses, which have been significantly reflected in the stitching, beading and jewellery of Chanel’s designs (CharlesRoux).
T H E THEN Chanel is a label defined by elegance and simplicity created by the french couturier, Gabrielle Bonheur ‘Coco’ Chanel. Contributing numerous elements to women’s fashion with the little black dress, Chanel No.5 perfume and
fig 15
popularising the look of sun-tanned skin, creating a new beauty into a traditional viewed society. Although Chanel was ahead of her time with her innovative thinking, much like any other fashion designer, much of her ideas originated from the past and her personal experiences which still influence Chanel designs and ideas to this day. Chanel as a brand uses mutability each season as an important element to appeal to its consumer but consistently includes familiar symbols related to Chanel,
fig 14
8
fig 16
As her first love as well as financial backer, Arthur ‘Boy’
‘Fashion should express the place, the moment’ Chanel
Capel’s clothes, made of jersey, inspired Chanel to use this
explained, which the brand still reflects today with the S/S 13
material for women. In an era where jersey was used for mens underwear and where the women’s
collection, designed by Karl Lagerfeld, inspired by icebergs and apocalypse using wind-
clothing consisted of corsets, petticoats and frills, Chanel’s
turbines as props for the setting (Blanks, 2012). These
Chanel gained access to Parisian high society through the wealthy
idea of creating clothing that was relaxed and comfortable, made of the low cost material jersey,
themes are current issues, with global warming a key subject in todays climate, and therefore
officer, Balsan, who introduced her to attending fashionable
was innovative and revolutionary for the time. The jersey allowed
making the fashion express the moment. Another material Chanel
races where women were wearing floor-length ornate dresses. However, inspired by the
Chanel to drape easily, and so became a fundamental material throughout her career. During the
popularised was tweed, which she was inspired to use after visiting scotland on fishing
masculine attire, Chanel wore riding trousers and a mans vest
WWI, Chanel was inspired by the mens uniforms, with the simple
trips. She used tweed in her suits which has became one of
that she assembled herself to create an eye-catching outfit. This masculine style was shocking
and practical lines of their suits, and went on to create suits for women made of jersey in
her most styles.
to society at the time but has become the centre of the Chanel
a similar style. The designs became popular at the time, as
brand’s chic style to this day but also astonishingly changed the way of the entire fashion
women realised corsets were impractical for the jobs they were now having to undertake, and
industry. According Prescott (2010), Chanel
found that Chanels’ designs, that featured shorter skirts and
to CA was an
independent, daring and talented woman who critisised the women’s elaborate hats and outfits at the
square lines, provided movement that the war activities demanded.
enduring
signature
more time
races, labelling them ridiculous and inspiring her to change this. fig 17
9
In 1919, Chanel reached the peek of her career with her vision, and relocated her couture house
Coco Chanel died in 1971, and with no prepared successor for the brand was taken on by Karl
to 31 Rue Cambon in Paris where the centre of the House of Chanel remains today. The building
Lagerfeld, a brand that depended entirely on the visual vision of its founder. Like Chanel, Karl
consists of a faceted mirrored spiral staircase that Chanel designed herself, which meant she was able to see what was happening on every
Lagerfeld knew how to be of his own time and inputted his own style and creative abilities, but keeping alive the elegance and refinement of
floor. The wallpaper and screens feature her favourite flower, the Camellia, which she often
the brand (Picardie, 2010). Incorporating signature Chanel details such as tweed fabrics,
used in her fashion designs (Anon, 2008). It’s been said that the love for the Camellia flower originated from her response to Alexandre
pearls, gold chains and the double-C logo to make it recognisable to consumer but reinvigorating them into a youthful and
Dumas’s novel ‘La Dame aux camelias’, a narrative describing a tragic lover who dies of
contemptuous style to keep the brand current. His clothes can be seen to reference the past
consumption. The white camellia appears in her fabric prints, the diamonds and pearls of the jewellery and embossed on buttons, perhaps
but are never exactly pining for the past, with elements of influence from the anticipation of the future (Murphy, 2008).
symbolising death, a strong aspect of her past with the death of her mother and lover, Boy (Charles-Roux, 2005). Coco also used black as an essential colour, which at the time women avoided, as it represented death and mourning. However, going against social tradition, Chanel became the figurehead for using black and is now a staple in most women’s wardrobes today, as well as a key colour within Chanel’s current collections. During the 1920’s and 30’s, she made the black colour even more popular with ‘the little black dress’ which featured a white collar, much like that she had to wear during her childhood at the abbey, and has remained fundamental in fashion today. fig 18
fig 19
10
fig 20
Known for its fast-fashion(Anon, 2007), H&M offer the consumer fashion that is receptive to trends but also offers fashion pieces that commit to longevity (Petro, 2012). It is a swedish brand created in 1947 by Erling Persson, who was inspired by the USA and the way in which they combined a high turnover of garments at low prices, opening Hennes, a womans clothing shop, that later became Hennes & Mauritz (Jones, 2007). H&M have developed over the years from a woman’s clothing store into a worldwide clothes and cosmetics retailer for men, women and children (Jones, 2007). As a brand, it has remained with the concept of chic fashion at a low budget price (Anon, 2012), and therefore the clothing is inspired by the current trends of the time. H&M offers two main collections each year, one in spring and one in fall, and then offers sub-collections in each season to allow the brand to refresh its look constantly. The main collections are commonly traditional, timeless pieces compared to trendier items with shorter term styles in the subcollections, offering the consumer a choice (Petro, 2012).
fig 21
11
fig 22
hroughout the production of H&M garments, it has always ensured it avoids any source of products from countries that have very poor human rights. As a brand, H&M represents very political driven ideas which reflects in clothing they produce. For example, being a brand that appeals to a young consumer, H&M launched Fashion Against AIDS collection, to raise funds and create awareness about HIV/Aids among young adults (H&M, 2012). One of the FAA collection created from a variety of artists and illustrators, inspired by colours and patterns from around the world, with colourful african trims and graphic black and white Maori prints, reinventing global tribes into a 21st century context (H&M, 2007). Developing into a global brand since 1947, H&M has had to adapt to different styles as well as gaining inspiration from different cultures. A breakthrough for H&M came in 2004 when they became the first highstreet store to collaborate with guest luxury designers, the first being Karl Lagerfeld. The ‘Lagerfeld for H&M’ collection, incorporating the black and white classical Lagerfeld styles, was sold out within hours of the release. It allowed H&M to reinvent itself but also holding on to the quintessential H&M style that audiences look for.
The next to collaborate with H&M was Stella McCartney, once again reinventing H&M style with a ‘feminine, sensual and cool theme’ (Wettergren, 2010). The brand have since gone onto collaborate with designers like Victor & Rolfe, Roberto Cavalli, Comme des Garcons, Jimmy Choo, Lanvin, Versace and Maison Martin Margiela (Wettergren, 2010). This vast sellection of designers, each offering a distinct style and design, have become H&M’s inspiration to reinvent and have ensured the brand is new and exciting for the consumer. H&M have also collaborated with designers to reflect certain trends or eras. Teaming up with Finnish retailer, Marimekko, offered the consumer designs and patterns inspired by the 1950’s, 60’s and 70’s (Trendhunter, 2007). The collection consisted of full length skirts, much like the 50’s, and graphic patterns inspired by the 60’s and 70’s (H&M, 2007).
12
Fashion and Art work parallel in inspiring each other. Luxury brand Rodarte founded by designers
was and
sisters, Laura and Kate Mulleavy, in Los Angeles. Having no professional training in fashion with Laura studying
design, English
literature and Kate majoring in art history, the designers became obsessed with crafts. The sisters shared a love for art and have used this as a focal point for their design inspiration, with collections referencing art works like Van Gogh’s Starry night (Santlofer, 2012). The collection consisted of nipped-waist dresses with swirling sunflowers, in bright yellows, golds, greens and turquoises, almost using the dresses as a canvas to portray the art inspired designs. The sisters explained that they were attracted by the greens and purples of the disney film Sleeping Beauty, as the sisters also share a love for
THE OTHER They then wanted to incorporate inspiration from artworks and researched into colours they found were similar to that of the film. Using Van Gogh’s postimpressionist pieces, they transformed fifties style prom dresses into a piece of art (Phelps, 2011). When creating a collection, the sisters choose the colours they want to use and pick over 100 images they feel portrays a particular narrative, and often explore a dark, sophisticated form of beauty.
film. fig 23
13
An evening collection
dress within incorporated
the red
hand-dyed fabric evoking blood in water and slashes of black to add a graphic edge, reflecting the dark side of Japanese horror films (FIT, 2008). By experimenting with their favourite interests allows the consumer to feel as though they have become part of their world and the intricate
fig 24
detailing of every collection appeals to women as they feel
These images could be a variety of inspirations, not just art, from tornados to Japanese horror films as
as though they are buying it to feel beautiful, almost purchasing a piece of art they
their influences also originate from imagery, film literature and nature (Crawford, 2012). The
can wear (Seno, 2010). As a relatively new brand, Rodarte
combination of a love for art and film means their collections change constantly, developing designs that ‘are beautiful, but wearability is subjective’
only have a minimal selection of ad campaigns, with their first being released in 2009.
said Laura Mulleavy (Voguepedia, 2008), crossing over the boundary between art and fashion. Within film,
The ads express a sense of narrative to reflect their
the sisters share a particular interest in Japanese horror films, with the fall 2008 collection expressing a gothic darkness with streaks of red
textural, collections.
art
inspired
colour and korn knits (Santlofer, 2012).
fig 24
14
street
American Apparel appear to be a style, american based brand,
with its tag-line ‘Made in Downtown LA’, but within production the brand uses local production, ethical staffing, organic sourcing and issue conscious products (Fawkes, 2007). Highlighting their ethical input in fashion with the launch of collections like ‘Creative Reuse’, which reused materials for accessories and intimates, American Apparell have strongly promoted the DIY movement (Grady, 2010). They highlight the fact they are a sweatshop-free brand and have joined together with the Environment Textiles to recycle all of American Apparel’s cutting and fibre scraps to avoid them being dumped in landfills (Financial Times, 2002). Furthermore, the brand have also teamed up with the Cleaner Cotton Campaign, purchasing 30,000 pounds of their cleaner cotton and using it in their iconic T-shirts, promoting this to their consumer through different media platforms (Environmental Leader,
fig 25
2008). With American Apparel known for its edgy style and youthful audience, this then creates an awareness among the young consumer, the next generation, and therefore creating a higher demand for ethical and organic clothing for the future (Anon, 2008).
fig 26
15
fig 28
"We are continuously expanding on environmental initiatives, and applying advancements in materials and processes that have a positive impact on our community, leading the way to a cleaner L.A.," said Roian Atwood, American Apparel’s director of environmental programs, with the installation of solar electric systems on the roof of their downtown LA factory (Anon, 2006). The brands’ manufacturing has been described as ‘vertically-integrated’ (Sims, 2006), meaning the work conditions involve fair pay and employment rights as well as safety protections and health benefits for the workers. This fair approach to the workers needs creates a positive impact on the brands identity and therefore appears more desirable for its customer base.
Becoming a vocal advocate for environmentally friendly practices and innovations in sustainability, has allowed the company to become a positive associated label as well as highlighting an important issue. However, this could be seen as tokenism on behalf of American Apparel. The large press coverage of the sexual harassment lawsuits created negative views surrounding the brands values. With them being associated with malicious behaviour, sexual assault and harassment against their employees (Hines, 2012), American Apparel could
fig 27
then turn this around with positive promoting of their ethical and environmentally friendly input on fashion.
16
TO CONCLUDE Fashion brands, whether they be luxury designer companies or high-street fashion stores, both explore the past for influences to create narratives to drive their ideas. This adds depth to the creative the visuals of a brand while adding a sense of nostalgia. Looking through the past of a brand builds understanding of how the visual codes have developed and evolved to create the brand it is today. However, to remain current and appealing to the modern consumer, the brands develop their ideas into ‘The Now’ with modern technology and different promotional techniques across the media platforms. Luxury brands proved to have a greater depth of history and a variety of influences on their work, and were able to express their clothing and ideas through modern technologies that a high street brand are unable to offer. However, high street stores are able to attract their consumer with the attraction of on trend, quality products at low prices. Luxury and highstreet brands both proved to cross over into neighbouring cultural verticals to widen their audience base further with collaborations with politics, music, film, photography and art, which could allow brands to reinvent their labels and express their other influences.
17
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18
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19
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