Trendmap Report

Page 1

trendMAP REPORT NO827963

WORD COUNT: 2713


CONTENTS

01 02 04 WHAT IS A TREND?

TRENDFORECASTING

ROLE OF THE MEDIA

RETAIL

INFLUENCES ON TRENDS

05 07 09 LIFE OF A TREND

COLOURFUL TAILORING

IN STORE SAFARI

CLASSICS & FADS

KEY DRIVERS

ONLINE SAFARI

11 13 14 EDITORIAL: POWER OF COLOUR

FUTURE OF THE TREND

CONCLUSION


I confirm that this work has gained ethical approval and that I have faithfully observed the terms of the approval in the conduct of this project. Signed (student N0827963) ...............................................


what is a

trend?

A trend ‘refers to a general direction or movement’ (Stone, 2018) that influences the way that people act. Within the fashion industry, trends are constantly changing from season to season. Trends can be almost anything from a silhouette, colour or fabric. They are usually first season on the catwalks and then trickled down to the high street where consumers adopt the trend into their everyday wear.

01


TREND FORECASTING Trend forecasting ‘aims to map a path between what consumers are doing and wearing now and what they might want to do and wear in the next few months and years’ (G. Holland, Fashion Trend Forecasting). This is an integral step within all fashion houses as it allows brands to choose trends to invest in with more certainty as they use data to evidence their findings. This influences all departments within the business from buying to marketing as they want to develop products that will aline with the trend as well as making sure that they market it correctly to their target consumer. Ultimately, trend forecasting is about, ‘capturing the zeitgeist’ (L. Trainer, VICE) and translating that into ‘products and campaigns that consumers will react positively to in the near future’ (L. Trainer, VICE).

02


retail It is evident that the retail environment is heavily influenced by the work done by fashion forecasters. It can inform decisions regarding, ‘products’, ‘the look of a retail environment’ or ‘creating a style-and-design guide to inform a team of designers what they should be creating and how their product should look’ (G.Holland, Fashion Trend Forecasting). Once a trend has been forecast it is down to the individual brands to decide how they are going to interpret it. Depending on the brand they may fully invest in a trend for example, Topshop would widely use neon in ranges as it is important to their target consumers to be wearing bold trends before others. However, other brands such as NEXT are less likely to use neon in the same way as their target consumers have different needs. They are more likely to use small accents of neon on accessories and only once the trend has matured in the market.

‘Trends are sales and profit waiting to happen’ (Sarah Jackson, 2019)

03


role of the media The media’s relationship with fashion trends have changed dramatically since the digital transformation of the fashion industry. Previously, catwalks were exclusively for a ‘tradeonly audience’ and coverage about the world of the fashion industry only came from two shows, CNN’s Style with Elsa Klensch and MTV’s House of Style with Cindy Crawford. With the technological advances that have occurred in our society we are now surrounded by the world of fashion and able to easily access information from a variety of platforms. Catwalks are ‘live-streamed and photographs are immediately uploaded … to social media networks’. Consumers now demand ‘instant gratification of their fashion desires’ which has forced the media industry to consistently share information in order to keep up (Social media for fashion marketing: storytelling in a digital world, Wendy Bendoni). As well as media about fashion becoming more accessible to consumers it has changed the way that a trends success is measured. Confirmation from consumers is measured through ‘online engagement’ as that shows a ‘form of acceptance’ (Social media for fashion marketing: storytelling in a digital world, Wendy Bendoni).

influences on trends Trends are created by fashion experts who take influence from different parts of society. Trend forecasters are strongly influenced by ‘socio-cultural changes, such as modernisation, technological innovated’ as well as ‘artistic movements’ (Into the fashion). An example of how social changes can influence fashion is the rising importance of sustainability. This has led to WGSN announcing that ‘Neo Mint’ will be the colour of 2020 (WGSN) and has been seen widely across Resort 2020 catwalks. Alberta Ferretti’s Resort 2020 collection featured a green toned palette and used tropical backgrounds in the background of the catwalk. As well as this, Ferretti’s collection featured ‘upcycled cashmere’ and all of the ‘cotton was certified as sustainably produced’ (Vogue). This shows that social and cultural changes can affect the production of fashion as well as the appearance.

04


Life of a

trend

Henrik Veilgaard’s ‘life of a trend’ (see right) shows how a trend is created, how different brands approach adopting a new trend as well as those who resist following trends. A trend starts with trend drivers. These can be either people such as inventors or world events such as cultural change that inspire a new movement/trend for example, veganism. Once a cultural shift/invention has been made trend setters (experts in their field) use this to create a new trend out of the macro driver. In terms of the fashion trends, fashion leaders will acknowledge this new innovation and use it to create new products within their fashion lines. These fashion leaders are called early adopters as they are the first to experiment with the new trend. They are usually the more extroverted designers such as Alexander McQueen and influencer, Iris Van Herpen. The trend is then adopted by designers and other fashion brands. The first to adopt the trend are called the ‘early majority’ as they have acted first after seeing evidence of a new trend emerging. The early majority are made up of designers such as Chanel, Prada and Marni as well as high street stores such as &otherstories, topshop and Zara. Following on from the ‘early majority’ is the ‘late majority’. These are those who have adopted the trend after it is firmly established within the market; they are usually brands whose consumers are less daring such as NEXT and George. Veilgaard also identifies two groups who do not follow trends; the conservatives and the anti-innovators. Conservatives resist change and are unlikely to adopt a trend unless it is becoming a fashion classic. Anti-innovators are similar however they are actively rejecting trends rather than resisting change. These brands are alternative however sometimes can be the mavens that trigger change and new trends.

05


ADOPTERS

fad TIME

A fad is ‘a short-lived style’ (Fashion Trends, Eundeok Kim) that rises very quickly to saturation point after first being introduced on to the market. Once it has reached saturation, a fad will rapidly decline and any left over stock will be found on the sale rales. They are usually uncommercial pieces that are difficult to style in everyday wear and become popular through social trends for example the onesie came to life after being seen on English reality TV programme, TOWIE. Fads may only be ‘accepted in certain social and subcultural groups (Sproles & Burns, 2018) however they may reappear many seasons later.

ADOPTERS

classic A fashion classic is a piece that is well received when it is introduced onto the market. It usually quickly achieves saturation point as brands adapt the trend to their target consumers. Although the sales will fluctuate, a fashion classic will not disappear from the market but will continue selling for many seasons.These ‘styles are often basic and simple in design’ for example loafers, trench coats and the colours black, navy and white (Fashion Trends, Eundeok Kim). TIME

ADOPTERS

fashion

06

An item classed as fashion will usually have a steady rise once it has started appearing in the market. A fashion item will be extremely popular in the season that it is released and will have a slow decline during the following seasons. Fashion items are likely to reappear again in seasons to come. Examples of fashion items are ripped jeans, batwing sleeves and equestrian style boots.

TIME


COLOURFUL TAILORING ‘For many women, suits feel constricting and stuffy. But historically, they offered freedom and power’ (Allure). Female tailoring has previously been known to be worn to make a controversial statement about social change and feminism. The first time that, ‘women wore suits on the red carpet was in… a period of protest and change’ (The Guardian). In todays society, wearing colourful tailoring could be seen as denoting similar messages about todays societal issues. The trend of mixing classic tailoring with a colourful palette started in spring 2017 with celebrities wearing bespoke suits made my experimental designers. An example of this is Gwendaline Christie who wore a bright blue suit created by Bella Freud who was named the ‘most innovative designer’ in 1991 (Vogue). In spring 2018, Colourful tailoring started to appear on the runway however they were not made key parts of their collections. In spring 2018, pastels were on trend and being used by multiple deisngers. Designers such as Michael Kors, Hermes and Gabriela Hearst created suits in pastel shades to coincide with the rest of their collections. More experimental designers such as Osman (who had previously created bespoke bright suits for celebrities such as Rita Ora) and Rejina Pyo created tailoring in electric colours such as yellow, pink and green.

07

In fall 2018, colourful tailoring was seen repeatedly on the runway and became key parts of designers collections. Brands such as Balenciaga created an entire collection featuring tailoring in bright reds and blues. As well as Delpozo who integrated bright pink suits into their collection. The bright colours continued to be seen on the runway in spring 2019 however brands had adapted the tailored suit into tailored skirt suits and structured dresses. Brands such as Marine Serre and Matthew Adams Dolen added skirt suits to their runway collections but used fluorescent greens and pinks. Balenciaga continued to use tailoring in their collection but created oversized blazers to be worn as structured dresses in a variety of different colours.


key drivers Historically, ‘the first time women wore suits… was in [a] period of protest and change’ during the late 1960s and 70s. Similarly to this, social movements such as the MeToo campaign which originated in 2017 may have influenced colourful tailoring to come into fashion. In the time since the MeToo ‘movement was born … fashion’s centre of gravity has shifted away from sex’ (The Guardian) which has led hemlines to become longer and silhouttes to become looser. As the suits that are being worn on the runway, on red carpets and in real life have mirrored loose silouhettes this may be a sign of changing attitudes to the way that people view female bodies. As well as the MeToo movement, women wearing colourful tailoring may be a sign of societies changing views towards gender. Carolyn Mair, a fashion psychologist, stated that ‘by wearing trousers, [women are] making a statement about gender fluidity, … [women] don’t want to be objectified’ (The Guardian). By adopting the androgynous style, women are showing that gender lines are beginning to blur and gender stereotypes are breaking down also. ‘Early feminists said it was the ultimate challenge to patriarchy’ (Stylecaster) which shows that wearing a suit can empower women.

08


MISS SELFRIDGE M&S

IN-STORE SAFARI The colourful tailoring trend has trickled down from the runway to the high street and can be found in a variety of different shops. Shops aimed at a younger consumers such as Miss Selfridge, Topshop and Zara were consistently more daring with the colours that they used in their tailored designs. Colours such as pastel pinks, blues and greens as well as bright red were the most common that could be found. These were mainly featured in key trend areas of the stores but were not in the front entrance on mannequins. Store assistants said that this was due to feedback from customers who said that they loved the trend but it was difficult to wear on an everyday basis which led to less sales than expected. Stores such as M&S and Next which are aimed at an older target audience also had used the trend within their stores but they had used more sophisticated colours such as mustard and blue in their designs. They are likely to have used this trend as they sell large workwear ranges and want to give options to their customers but they had only a few bright colours in store.

09

NEXT ZARA


ONLINE SAFARI There is a much larger variety of coloured suits online than in-store. Shops such as Zara and Bershka had only a couple of suits in store but they have a wider choice online. This may be due to floor space in store as well as reiterating store assistants insight into it being a hard trend to wear. Online only stores such as Missguided, Pretty Little Thing and Boohoo all had extensive ranges of coloured tailoring and included bold colours such as neon green and orange.

This trend could work in Nottingham as it is a creative and experimental city however the colourful tailoring trend is a difficult trend to wear from day-to-day. Generally, the attire of Nottingham citizens is casual with the athleisure trend being a huge success in the city. However, many of the respondents in our primary research have said that they would wear the trend on a night out or to a social event. Nottingham is known for having a multitude of bars and restaurants which could make this trend a night time success.

10

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editorial:

power of colour

Story of editorial: empowering women who feel that they are blocked by a glass ceiling at work. The use of the props (tie and manly bag) are given feminine touches by being in pink showing that females are getting higher roles within the workplace and taking over the stereotypically ‘male’ career areas.

11


editorial:

power of colour An industrial location was used to allow the colours of the tailoring to stand out against the grey surroundings. It also denotes how feminism has allowed women to live their lives the way they want to and now aren’t afraid to be noticed. The publication that will feature this editorial is Vogue. Vogue is the perfect choice for this editorial as their target audience is women of 25-50 and the messages of female empowerment within the office environment will relate to them.

12


power of

VOGUE PARTNERSHIP

COLOUR

PHOTOGRAPHY BY JON GORRIGAN, STYLING BY DENA GIANNIN AND HOLLY ROBERTS

THROW AWAY THE BLACK AND STRUT IN THIS EYE CATCHING NUMBER. OPPOSITE: JEANS MOUSSY VINTAGE,£300. DOUBLE BREASTED BLAZER PARALLEL LINES, £55. TIE: VERSACE,£129. SUNGLASSES TIFFANY, £269. THIS PAGE: HEELS STEVE MADDEN, £68. BAG: CAMBRIDGE SATCHEL COMPANY, £45. EARRINGS: ACCESSORISE, £7.99. ALL RESERVED, CURATED BY BRITISH VOGUE.


VOGUE PARTNERSHIP

TAKE CONTROL OF TAILORING WITH A TWIST AND LOOK PHENOMENAL IN A TAILORED DRESS DRESSED DOWN BY A PAIR OF CHUNKY TRAINERS. THIS PAGE: DRESS PRETTY LITTLE THING, £39.99. TRAINERS NIKE, £130. TIE: VERSACE,£129. EARRINGS LOVISA, £11.99. OPPOSITE: NECKLACE &OTHERSTORIES, £22. SUNGLASSES TIFFANY, £269. ALL RESERVED, CURATED BY BRITISH VOGUE.


VOGUE PARTNERSHIP BE THE BOSS AND STAND OUT. WHETHER YOU CHOOSE GREEN, ORANGE OR PURPLE BE PREPARED TO SHINE. BLAZER PRETTY LITTLE THING, £49.99. TROUSERS PRETTY LITTLE THING, £39.99. TRAINERS STRADIVARIUS, £30. EARRINGS LOVISA, £11.99. NECKLACE LOVISA, £15. SUNGLASSES TIFFANY, £269. BAG CAMBRIDGE SATCHEL COMPANY, £45. ALL RESERVED, CURATED BY BRITISH VOGUE.


FUTURE OF THE TREND

ADOPTERS

Tailoring has been on the runways for the past few years and will continue to adapt and change from season to season. The trend appears to be moving away from block colour and beginning to adapt into patterns. Designers such as Chanel and Alexander McQueen showed monochrome houndstooth, pinstripe and checks in their fall 2019 runway shows which shows designers completely moving away from the bold colours. However, other brands such as Paco Rabanne and Hellesey incorporated both colour and pattern into their designs with big and bold geometric patterns. This particular trend is at the end of its life cycle different designers will adapt it to suit their brand however the future of tailoring appears to be covered in patterns rather than colour (VogueRunway).

13

TIME


conclusion Trend forecasting is an important part of the fashion world and it is likely to continue to grow in importance. Trend forecasting will ensure that the rising consumer demands for new lines and products are being met which will please consumers who enjoy fast fashion. This will push retailers to keep creating new products to be released at a constant rate. However, with the rise of the conscious consumer macro trend it is possible that fashion trends will evolve to suit a new group of consumers. The rising awareness of the impact that fashion has on the environment has changed the way that some consumers shop. It has led to an increase in clothes swapping/selling websites being used such as Depop as well as people visiting vintage stores. This could affect trends as people are less interested in fast fashion that is only worn for a short amount of time and want things that will last. Due to this, we could see an increase in classics rather than fashion fads as people want to build timeless wardrobes of high quality clothing that can be worn again and again.

14


references Stone, E. and Farnan, S. A. (2018). The Dynamics of Fashion. 5th ed. London: Bloomsbury Publishing. Holland, G. (2017). Fashion Trend Forecasting. 1st ed. London: Laurence King Publishing. Wallace, E. (2018). Is Trend Forecasting an Art or Science?. [online] Garage. Available at: https://garage. vice.com/en_us/article/9kmgza/trend-forecasting [Accessed 21 May 2019]. Jackson, S., 2019. Trend Forecasting. [Lecture to Fashion Marketing and Branding, Nottingham Trent University]. 9 May. Murek, D. (2010). Cultural Influences On Trend Forecasting. [online] Intothefashion.com. Available at: http://www.intothefashion.com/2010/01/cultural-influences-on-trend.html [Accessed 24 May 2019]. Boddy, J. (2018). Neo Mint – The S/S 2020 colour - WGSN Insider reports. [online] WGSN Insider. Available at: https://www.wgsn.com/blogs/neo-mint-the-s-s-2020-colour/ [Accessed 24 May 2019]. Cardini, T. (2019). Alberta Ferretti Resort 2020 Fashion Show. [online] Vogue. Available at: https://www. vogue.com/fashion-shows/resort-2020/alberta-ferretti#coverage [Accessed 24 May 2019]. Bendoni, W. (2017). Social media for fashion marketing: storytelling in a digital world. 1st ed. London: Bloomsbury. Raymond, M. (2010). Trend Forecasters Handbook. 1st ed. London: Laurence King Publishing. Kim, E., Marie Fiore, A. and Kim, H. (2011). Fashion Trends: analysis and forecasting. 1st ed. Oxford: Berg Publishers. Sproles G., and L. Burns. (1994). Changing Appearances. New York: Fairchild Publications. Sullivan, K. (2016). The Fascinating History of Women Wearing Suits. [online] Allure. Available at: https:// www.allure.com/story/women-suits-history [Accessed 27 May 2019]. Marriott, H. (2017). Red-carpet rebels: why trousers for women are a political act. [online] The Guardian. Available at: https://www.theguardian.com/fashion/2017/jan/30/red-carpet-trousers-women-politicalevan-rachel-wood-alia-shawkat-barbra-streisand-jane-fonda [Accessed 27 May 2019]. Indvik, L. (2017). Bella Freud: “There’s A Lot More To Fashion Than Just Clothing”. [online] Vogue.co.uk. Available at: https://www.vogue.co.uk/gallery/bella-freud-advice-young-designers [Accessed 27 May 2019]. Cartner-Morley, J. (2019). Date dressing: how fashion in the age of MeToo redefined sex appeal. [online] The Guardian. Available at: https://www.theguardian.com/fashion/2019/feb/14/date-dressinghow-fashion-in-the-age-of-metoo-redefined-sex-appeal [Accessed 27 May 2019].

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Juhkami.M (2019). {photograph} Nottingham City Centre (16 May).

Juhkami.M (2019). {photograph} Nottingham City Centre (16 May).

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Juhkami.M (2019). {photograph} Nottingham City Centre (16 May).