Fashion Matters

FASHION MATTERS Charlotte Marshall

FASHION MATTERS Charlotte Marshalll N0441573 Fashion Communication and Promotion Visual Awareness Lucy Norris

Contents

now

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then

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other

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References

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Bibliography

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Clothes make the man.

Naked people have little or no influnce in scoiety.

-Mark Twain

4. Azealia Banks for Wang, 2012

the now “The street is never far from Alexander Wang’s mind.” (Schneier, M. 2012) Matthew Schneier wrote, commenting on Wang’s 2012 Fall collection. Wang is directly connected to “The Now” through the culture he channels through his work. Locating his Flagship store in Soho and inspired by the people and the energy of that area, Wang’s inspiration is fresh and current, aided by the ever changing culture around him.

For Wang, The Now is channelled through the lifestyle his garments aim to portray. He is able to capture this through his use of video campaigns.

Alexander Wang’s YouTube channel boasts thousands of views, yet it is the music and fashion collaboration videos that receive the most hits, it is a “collaboration [that] captures a collision of energies” (Shackleton, H. 2009) Wang said in an

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interview with Matthew Schneier for StyleFile Blog.

He captures DownTown New York energy through people such as, Die Antwoord, Azealia Banks and Diplo and sells not only clothes but the concept of “The Now” and exciting.

Bonnie English writes in “Disassembling the catwalk”…In an interview with Martin Margiela, March 1999, Susannah Frankel, the then editor of The Independent reported that, for Margiela; “clothing is designed to be worn, when it is worn it is seen by others from close. This is not the case with a catwalk.” (English, B. 2007: 144) Wang’s T collection, doesn’t catwalk, therefore shooting the garment in motion, to music that perfectly underpins the energy of the collection, perfectly demonstrates Wang’s aim to express a culture through clothes.

5. T by Alexander Wang, Spring 2010

He used rap artist Azealia Banks for his 2012 T Fall promotion video. With black and white editing, movement that screamed attitude and lyrics that mentioned other brands; “Dolce crop top, my play clothes now, Those Céline wedges are way downtown” The campaign portrays the streets of Downtown New York as a playground for Wang and his “M.O.D” models off duty” styled cliental and the consumer buys into the Soho lifestyle Wang sells. “Dressing down”, according to Andrew Hill, in his essay “People Dress So Badly Nowadays” (2005) is the shift towards “lifestyle dress” and that is exactly what Wang promotes (Hill, A. 2005); collections straight from the streets of Soho, worn by key stakeholders within Soho culture. Wang moves away from using models, realising the power, influence and individual style people like A$AP Rocky can bring to a campaign.

For Wang, Banks “exudes a certain rawness that makes her a very unique talent,” (Wang, A. Schneier, M. 2012) this rawness can be seen in Wang’s many retail platforms; his monochrome flagship store, complete with fur hammock and the raw, striped back editorial style all his campaigns exude. His most recent Facebook post, released his Alexander Wang Spring 2013 editorial shoot images. A makeup-less, whited out model, sits with fierce and striking body language. The sharp lines of Wang’s collections and his minimal aesthetic is demonstrated in all forms of promotion and this rawness is further embedded into the brand’s DNA through the widespread broadcast of his work through social media.

Other luxury designers have also realised the retail opportunity video creates, and used it to demonstrate awareness, both socially and economically. Lanvin’s 2012 Fall film, directed by Ronnie Cooke-Newhouse, features people cast from the streets of new York. Aged between 18-82, talking about themselves, it bridges the gap between high fashion and everyday concerns. “I was interested to bring these clothes back to the street somehow, and seeing how they look on different ages, different sizes,” Alber Elbaz told WWD. (Elbaz, A. Phelan, H. 2012) Where excess expense would have been tasteless, Lanvin have demonstrated sensitivity and economic awareness through video and media. Similarly the year before, CookeNewhouse directed models, Karen Elson and Raquel Zimmermann, dancing to Pitbull’s “I Know You Want Me”. This is just one example of a luxury brand that has aimed to demonstrate a response to global recession using technology to promote this.

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“Wearing fashion involves the Audience's participation in the Communicative process”

“Wearing fashion involves the audience’s participation in communicative process” (English, B. 2007; 151) a direct result, Bonnie English associates with fashion moving from simply fashion shows to art performance. Wang is constantly changing the interior of his monochrome store, in New York; most recently covering the cage frame within the studio with a space-age inflatable silver igloo, which he broadcast on his official site.

Live streaming fashion shows have become the new phenomena in terms of fashion embracing technology. In 2010 Burberry became the pioneers of the first live streamed, 3D catwalk show.

Broadcast to over 100 million users, according to Burberry’s CEO Angela Ahrendts, and with running commentary from twitter users as Burberry appeared as one of the top ten trending topics on Twitter (Amed, I. 2012). The show was crowned a huge success.

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Today, the fashion council boasts that 70% of the shows at London Fashion Week 2012 were live streamed, (Chilvers, S. 2012) including Alexander Wang’s, yet Topshop, the only highstreet retailer to show at LFW, took this one step further.

London Fashion Week 2012, saw Topshop partner with Facebook and turn their runway collection into “social entertainment” (Chilvers, S. 2012) The high street trend setter, developed technology to allow their customers to experience their Topshop Unique Show, through a combination of live streaming and e-commerce. Topshop and Facebook engineered pioneering website software that enabled viewers to customise the catwalk collection by capturing the item with the on screen camera, where viewers were then able to share, shop and pre-order. Chief marketing officer Justin Cooke, when interviewed by Simon Chilvers, for the guardian, commented saying “We want to take the energy and the excitement of our iconic Oxford Street store to millions of people all over the world through Topshop.com,”(Chilvers, S. 2012).

8. Topshop #whosthatgirl, 2012

Topshop is a statement of British fashion, and a brand that has fully embraced “Fashions capability to seduce popular culture” (English, B. 2007) and has done so through a multitude of media resources.

Accessibility has been the key to Topshop’s success. It’s use of media and retail platforms, similarly to Wang, has created a lifestyle into which the customer buys into. Through social media sites such as Tumblr and Instagram, Topshop promotes the inclusion of its customers, posting daily pictures and updates.

Topshop is hugely accredited in terms of creative technology; with over 1.9 million people visiting topshop.com every week, (Chilvers, S. 2012) online media is a huge part of Topshop’s DNA. Stickyeyes, an independent search marketing company, carried out a survey to evaluate the spread of online social media within high street competitors.

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Here the extensive volume of Topshop fans, is broken down by social media type, and coverage. To be second only to ASOS, an online fashion brand, is a huge achievement for Topshop. Their high level of repeated interaction and consumer engagement encourages participation.

. The #WhosThatGirl campaign launched in December 2012, featured a teasing series of an anonymous female celebrity. Topshop posted Instagram and Pintrest pictures of her and various clues about her over Twitter. On December 4th the mystery face was revealed as Kate Bosworth, with the video of “winter wonderland” having now received over a million hits on youtube. “It’s social, it’s commerce and it’s entertainment all rolled into one.” (English, B. 2007) The mass market Topshop has to appeal to means there is far more demand on the brand to reach and target its consumer. Its website boasts ever changing graphics, trend alerts, wish lists and competitions. INSIDE OUT, is Topshop’s award winning blog; one of the top blogs for contemporary fashion culture and the external influences of music, photography, artists and events. It features the hottest new British talent within art, music and design. Topshop’s love affair with Diana Vreeland, Delilah and polaroids, seeks to inspire and indulge the reader in the culture and lifestyle surrounding Topshop, by releasing posts from the “Topshop girls”, under blog subtitles such as behind the scenes, and on our playlist, the consumer is involved.

Through INSIDE-OUT Topshop is responsible for a real fashion alliance. Similarly to Azealia Bank’s Dolce crop top lyrics for Wang’s campaign, INSIDE-OUT has links to other fashion blogs, this association with Topshop and the alliance it creates in supporting one another, in turn supports the fashion industry through media resourses. They are a huge support to up and coming designers through their sponsorship of NEWGEN, providing the media coverage new talent strive for. A launch platform for new talent through schemes such as NEWGEN, Topshop has provided the media coverage and the launch platform for designers such as Meadham Kirchhoff, Sophia Kokosalaki, Louise Goldin.

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10. Topshop. British Fashion Council. NEWGEN

"The best brands can do these days is to meet customers halfway with a constant stream of connective innovations based on these shared passions and put them out there in the right places for customers to find and soclise‌� (Clifton, R. 2009)

Topshop is defined by its on trend, up to date grasp of current British culture through social media.

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11. Westwood, SEX 12. Westwood & Malcolm

the then Although hugely prevalent today, street style fashion first became apparent in post war youth subculture. This bold and expressive movement away from conformity was to have significant repercussions for the fashion industry in terms of styling, marketing and power.

In England 1978, the extremist political views of the unemployed youth, together with the impact of economic recession were demonstrated through fashion. The industry’s response to these socio-political issues emphasised “fashions effectiveness as a visual arts tool for communicating socio-political ideas and inciting revolution.” (English, B. 2007) Having succumbed to the voice of the street, the British punk movement was born.

Punk, a statement of anti-fashion, a rebellion against conformity, was designed to shock and “disrupt the complacency of wider society.” Westwood pioneered fashion directly influenced by researching gang cults among the young (Mulvagh 1992, see English, B. 2007) her D.I.Y style and anti-establishment reputation, became synonymous with political uproar and revolution. Westwood is hugely passionate about consumerism, global reformation and climate awareness, this she made clear through her fashion.

Along with Malcolm Malaren and the media attention generated by Johnny Rotten and the Sex pistols, Punk was a huge part of “popular media” and Westwood took full advantage in true punk style. “BE RESPONSIBLE DEMAND THE IMPOSSIBLE”. The slogan T-shirt has become a staple of Westwood designs.

The image of Queen Elizabeth with a safety pin through her nose has become a part of British history, other designs such as her “DESTROY” T-shirt, featuring a swastika and a crucifix, have both enraged and empowered the British public. Clothing speaks to both strangers and observers (Finkelstein, 1996:79, see English, B. 2007)) a powerful trait that has stood the test of time. (English, B. 2007) Punk was an early manifestation of deconstructionist fashion, and both this and the power of the slogan were important components of late twentieth-century postmodern style and continue to be seen in the work of contemporary fashion designers such as Rei Kawakubo and Martin Margiela.

Rei Kawakudo continues to be inspired by the fabric manipulation and garment reconstruction of the punk era.

Kawakudo would produce fabric with deliberate flaws, boiling, shredding, and dropping fabrics in acid to produce a distressed decon/recon aesthetic.

“Kawakubo’s creative cross-fertilization with punk’s dowager, Vivienne Westwood, has yielded some career highs” according to Tim Blanks (2011). For his Men’s Spring 2012, “Tailoring for Punks” was the running theme, with his collection featuring zips and slashes, pinstripes and checks.

Wang, Spring 2010 saw him use the heritage of the American Dream as the inspiration for his ready to wear collection.

His modern take on “decon/recon”, looks to revaluate the cliché American dream, using the traditional American football, tan leather and leather threading throughout the collection but through reconstruction and alternate interpretation Wang has created something new from the old.

Westwood continues to create headlines with her slogan t-shirts. September 2012 saw Westwood hand out “I’m Julian Assange” tshirts with her face on in support of the Wiki-leaks founder, whilst outside the Ecuadorian Embassy in Knightsbridge.

(Beckford, M. 2012) 6

13. Backstage Climate Revolution, 2012

Westwood’s most recent campaign “Climate Revolution”, debuted at the closing ceremony of the Paralympics. Driven by the urgency and immediate nature of climate change, she broke the rules of the Paralympic games and sewed CLIMATE REVOLUTION into her outfit, revealed to over one billion people watching. In an interview on Climate Revolution blog Westwood says “To join the revolution you need a weapon.

Information is the best weapon.” (Westwood, V. 2012) Westwood has been informing the nation for decades, and continues to be passionate.

The Slogan Tshirt has been fully embraced by American Apparel, who have been the driving force behind campaigns such as “Legalise Gay” and “Legalise L.A”. American Apparel is a brand that prides itself on a passion for industry, equal rights and the American dream.

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14. New Model Army, Westwood

The founder of American Apparel, Dov Charney, has created a brand produced solely “in the U.S.A”, winning him retailer of the year 2008.

American Apparel’s huge youth following makes them the perfect retailer to launch campaigns, appealing to the Hipster market they target, a market unafraid of controversy and sexual liberation.

Legalise L.A, launched in 2008, is about “recognizing, celebrating and embracing the diversity of Los Angeles, “that’s so essential to the city’s success” When asked why American Apparel care about immigration reform?

Charney answered simply: “humanity”; adding his own self-interested answer after he referred to his love for the city and the jobs he has created for thousands of immigrants.

15. Legalize GAY

16. NOW OPEN. American Apparel Campaign

“We love L.A. We want to stay here

Yet Charney has a very obvious and widely … At last count we had 3,608 people working at successful advertising strategy. He’s exploits sex as our downtown factory, 500 at our off-site a selling tool, having previously used porn stars facility… and another 3,405 everywhere else” as models. The provocative poses and nudity are (Charney, D. 2008) – A huge proportion of whom to generate headlines and attention. Yet recent are immigrants. His Legalise Gay Campaign, research by the Chartered Institute of Marketing through the use of Slogan T-shirts received the found almost half of the 1,00 men and wommost media attention, using seductive en asked believed women are… regularly and campaigning and transgender models. inaccurately stereotyped in advertising.” (Benady, American Apparel is renowned for its A.) The survey of found that nearly a third did controversial advertorials. Its over sexualised not enjoy looking at such adverts and that their ad campaigns have sparked hundreds of purchases were not influenced by them. complaints, several lawsuits and numerous ads It is widely considered that sex is an outdated banned by Advertising Standards Authority. Most marketing tool. In fact nudity in adverting can be recently, in December 2012, American first traced back to the 1930’s, in which a apparel had an ad banned for the sexualisation Woodbury’s Soap advert picturing a naked of a child. The advert featured a young girl, with women reads “nature’s source of beauty for the her legs up, with her knickers in clear view. Other skin” yet it is Calvin Klein who are considered the complaints talk of nudity, gratuitous images and pioneering company behind marketing sex, and exploitation of under 16’s. began doing so back in the 80’s and 90’s.

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the other In 1980, Calvin Klein, debuted their first provocative campaign on a billboard in Times Square. The advert featuring Brooke Sheilds and was designed to relaunch Klein as a contemporary brand aimed at a youth market. With sex as the selling point, Klein’s sales surged to over two million pairs of jeans a month, generating revenues of over $100 million in under 12 months.

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17. Moss, 1996, Calvin Klein Campaign

Yet the ad featuring Shields, then 15, brought along built-in controversy. The actress had recently starred in the film “Pretty Baby” in which she played a child living in a brothel, Klein was criticised for underage sexualisation. (Oreilly, T. 2012) Yet it is Klein’s embrace of the fashion industry’s “Heroin Chic” trend that is critised as having the greatest socio-cultural implication on popular culture.

Popular culture is highly influenced by celebrities and cultural moments that “constitute the everyday lives of the majority.”

“Heroin Chic”; a trend, hugely associated with Kate Moss; the glamorisation of makeup-less faces, dark eye circles and “waif” thin models, is an industry trait that can still be seen in adverting today. The early nineties saw the rise of Moss as a muse for photographers such as Mario Sorrenti and Craig McDean. Sam McKnight adds, “And suddenly this little, unknown, fresh-faced... girl appears, with a new breed of photographer, …it was a new wave, and it kind of changed fashion forever.” (Fox, 2012) Calvin Klein launched Kate Moss as the face of his 1993 Obsession campaign; thin, naked, and makeup-less. The campaign received numerous complaints that “condemned [the fashion industry] as immorally glorifying drug use with the potential to corrupt and destroy innocent youth” (Rosser, E. 2010) Through his article ‘The Visual Culture of Narcotic Addiction’ (Hickman, T. 2002) Timothy Hickman writes that he believes heroin chic was merely founded upon a social tradition already prevalent within western culture. For decades fashion icons have been associated with addiction, icons such as Marilyn Monroe and Edie Sedgwick. Hickman concludes that “If a visual language of narcotics addiction did not exist within society then it could be argued that the viewer would not immediately identify the model as appearing to be a heroin addict” He reiterates strongly through his article that none of the models featured display any physical signs of substance abuse and that the fashion industry is merely representing this through photo manipulation and “visual language” to only “illustrate narcotics addiction” in fashion and mainstream culture.

Yet, according to a 1996 Partnership for a Drug-Free America report, its implication on popular culture saw teen-age heroin users increase from 22,500 to 40,000 in the preceding 5 years. There is no evidence to suggest that Calvin Klein had any implication in these figures, although popular culture was widely aware of the influence drugs had upon fashion promotion.

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Kate Moss & Topshop Collection.

Rihanna & Chris Brown Rihanna & Drugs Swinging from the Chandelier

Kate Moss is widely considered the face of heroin chic, and has carried this association with her throughout her career.

In 2006, Kate Moss signed a £3 million deal with Sir Philip Green to design her own clothing range for Topshop, causing Jane Shepherdson to quit instantly.

Shepherdson, who is widely credited with the reformation of Topshop, feared that the involvement of Moss would tarnish Topshop’s reputation. In 2005 Moss was photographed allegedly snorting cocaine, whilst dating renowned drug addict Pete Doherty. It was her association with drugs that Shepherdson feared would have implications for the brand. Once the story was published, fellow highstreet retailer H&M dropped Moss from their 2005 Stella McCartney collection. It is the socio-political implications and the associations individuals can have upon their market that retailers have to consider. In 2007, Green declared Moss as the key to Topshop’s sales figures increasing by 5.2%, reaching £1.86 billion. (Anon. 2007)

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It was announced only days ago, that Rihanna will debut her collection for River Island at London Fashion Week this year that will go on sale in stores on March 5th. Yet it could be argued that Rihanna is widely associated with cannabis, posting photos of herself on twitter smoking weed and famously wearing a Fresh Jive “How to roll a joint” t-shirt. It is a “dream come true” for the singer, yet associating with Rihanna could generate negative press for River Island. The celebrity culture has, and always will have, an influence on society, as role models and idols, bringing with them association of their style and personality.

Fashion brands will continue to collaborate with celebrities.

Fashion is said to be defined by three main sources. Firstly Popular culture and endorsement of celebrities. Secondly high culture and the influence of elite activities, such as art, architecture and design. Art in fashion can be seen in collaborations such as Louis Vuitton and Yayoi Kusama , Lacoste Live! and Micah Lindberg and Marni's and Brian Rea. Designers are able to capture the emotions of the artist through the influence of colour, print and artists’ signature style. And finally, Subculture, and the impact of the street, which through the development and promotion of social media has become hugely influential. “To observe the street is of equivalent importance [as to keep] updated with fine arts and as well the pop culture. None of these three cultures lives in isolation and each may influence the development of the other and equally they influence the fashion environment.” (Murek, D. 2010) Ultimately “fashion is determined by the culture of the street” (English, B. 2007); evolving and moving from social-cultural changes such as modernization, technological innovation and artistic movements. Theses social and cultural movements have come to define fashion. “Fashion is connected to our lives, reaching beyond clothing and into the way we choose to live our lives.”

(Murek, D. 2010)

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Swinging fom the chandelier http://www.google.co.uk/imgres?q=moss+topshop&start=183&um=1&hl=en&sa=N&tbo=d&biw=1241&bih=567&tbm=isch&tbnid=n1y1rk-nH9Z7gM:&imgrefurl=http://www.fanpop.com/clubs/kate-moss/images/1877765/title/kate-moss-topshop-range-photo&docid=b3nZtY-PFVwtHM&imgurl=http://images1.fanpop.com/images/photos/1800000/ Kate-Moss-Topshop-Range-kate-moss-1877765-490-715.jpg&w=490&h=715&ei=thYAUbGXKqaa1AWbpYDoDA&zoom=1&iact=hc&vpx=545&vpy=24&dur=1747&hovh=271&hovw=187&tx=101&ty=101&sig=10936 2311350333682743&page=7&tbnh=136&tbnw=91&ndsp=33&ved=1t:429,r:87,s:100,i:265 23.

Moss & Flowers. Nasty Girl, online (2012) Avaiable at: http://thenastygal.tumblr.com/ post/18196009700/kate-in-bloom

Final Polaroid. Vivienne Westwood Naked, Geurgen Teller, online, (2013). Available at: http://www. dariocuci.com/2011/01/vivienne-westwood-naked-photographed/

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CLIFTON, R, 2009. Brands and Branding. UK, Profile Books.

ENGLISH, B, 2007. A Cultural History of Fashion in the 20th Century: From the catwalk to the sidewalk.

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BREWERD, C. EVANS, C. 2005. Fashion and Modernity: People Dress So Badly Nowadays. New York: Berg JONES, T, RUSHTON, S, 2005. Fashion Now 2. Germany: Taschen.

GORMAN, P, 2006. The Look: Adventures in Rock & Pop Fashion. London: Adelita

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AMED, I, 2012. Editor Digital Scorecard | Burberry 3D Live Stream [Online]. Businessoffashion.com. Available at: http://www.businessoffashion.com/2010/02/digital-scorecard-burberry-3d-live-stream.html CHILVER, S, 2012. Topshop to turn London fashion week show into Facebook [Online] Guardian.co.uk.

Available at: http://www.guardian.co.uk/fashion/2012/sep/12/topshop-london-fashion-week-facebook Anon, 2007. “Model figures: Kate Moss helps Topshop lift sales by 10%” [Online] DailyMail.co.uk. Available at: http://www.dailymail.co.uk/news/article-489645/Model-figures-Kate-Moss-helps-Topshop-lift-sales-10. html BECKFORD, M, 2012. Vivienne Westwood uses London Fashion Week to declare support for Assange [Online]. Telegraph.co.uk. Available at:http://www.telegraph.co.uk/news/worldnews/wikileaks/9546467/Vivienne-Westwood-uses-London-Fashion-Week-to-declare-support-for-Assange BENADY, A, unknown. “Sex doesn’t sell ...” [Online] DailyMail.co.uk. Available at: www.dailymail.co.uk/news/ article-160706/Sex-doesnt-sell-.html BLACKSTOCK, C, 1997. “The ugly side of heroin chic” [Online] Independent.co.uk. Available at: htttp:// www.independent.co.uk/news/the-ugly-side-of-heroin-chic-1235403.html Anon, 2006. “TopShop boss quits fearing ‘cocaine Kate’ would tarnish brand”[Online] DailyMail.co.uk.

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SHACKLETON, H, 2009. Alexander Wang. i-D Magazine.

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ROSSER, E, 2010. Heroin Chic: The Fashion Phenomenon Analyzed Through the Writing of Christine Harold and Timothy Hickman. VOL. 2 NO. 12

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WESTWOOD, V, 2012. “Vivienne Westwood tells her truth”: Climate Revolution.[Online]. Climaterevolution.org.uk. Available at: http://climaterevolution.org.uk/vivienne-westwood-climate-revolution/#more-27 SCHNEIER, M, 2012. Azealia Banks For Alexander Wang [online]. Style.com. Available at : http://www. style.com/stylefile/2012/07/exclusive-azealia-banks-for-alexander-wang/ SCHNEIER, M, 2012. FALL 2012 MENSWEAR,Alexander Wang [online]. Style.com. Available at: http:// www.style.com/fashionshows/review/F2012MEN-AWANG PHELAN, H, 2012. Lanvin’s Fall 2012 Campaign to Feature Non-Fashion Civilians, Including this Awesomely Fierce 80-Year-Old [Online]. Fashionista.com. Available at: http://fashionista. com/2012/07/lanvins-fall-2012-campaign-to-feature-non-fashion-civilians-including-this-awesomely-fierce-80-year-old/ PRICE, S, 2004. "Vivienne Westwood (born 1941) and the Postmodern Legacy of Punk Style": In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. Available at: http:// www.metmuseum.org/toah/hd/vivw/hd_vivw.htm O'Reilly, T, 2012. “Sex In Advertising” [Online]. Available at: http://www.cbc.ca/undertheinfluence/ season-1/2012/04/21/sex-in-advertising-1/ MOTH, D, 2012. ASOS and Topshop are the most social fashion retailers[Online]. Econsultancy.com.

Available at: http://econsultancy.com/uk/blog/10157-asos-and-topshop-are-the-most-socialfashion-retailers-stats http://www.style.com/stylefile/2012/07/exclusive-azealia-banks-for-alexander-wang/ “Alexander Wang”, 2012. Voguepedia [online]. Vogue.com. Available at: http://www.vogue.com/ voguepedia/Alexander_Wang

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FASHION MATTERS

Charlotte Marshalll i N0441573 i Fashion Communication and Promotion i Visual Awareness i Lucy Norris