Fig 2 Ella Josey Word Count: 2,749 Moschino and its influence on Fashion Marketing and Branding.
Moschino, the facetious high end, 1983 Italian born fashion house boasts outrageous catwalk designs and pokes fun at society. Their success lies purely in their distinctive indifference and unique sense of style and attitude to fashion and strays away from homogeneity in fashion styling and creativity. This visual essay will investigate the extent of the ‘Moschino effect’ on fashion marketing and branding, through analysis of visuals, campaigns, catwalk displays, celebrity usage and high street replications of its designs. The aim is to be able to conclude the influence that Moschino has on the everyday consumer. Does the severe extremity of Moschino’s designs appear farcical to the everyday consumer or does it influence them to branch out of the homogeneity of every day norms and fashion constricts? Does the images Moschino present to the consumer strike them, or are they numbed to the power of extremity in fashion marketing through being over exposed? With Jeremy Scott, ‘the peoples designer’ as creative director since 2013, the brand has become increasingly parodic and wholly visual, using shock tactics and guerrilla marketing to entice the consumer to watch shows and increase PR activity. This visual essay will explore the usage of this and the effects it has on the fashion industry.
We, the consumer, can only begin to understand the extent of Jeremy Scott’s unorthodox, fun and ostentatious attitude to fast fashion by viewing his most farcical work. Moschino’s McDonalds A/W14 collection used pastiche to remodel the golden arches of globalized fast food brand ‘McDonalds’ into Moschino. Taking on McDonalds signature colours of red and yellow and creating a capsule line of products which sold out within hours. The collection appears a pun on the instantaneous speed of production and turnaround in high fashion by relating it to the low culture purchase of fast food, received ‘within minutes’ by the consumer. This line not only makes a mockery out of the nature of the fashion industry, but is fashionably offensive in its abruptness in merging designer catwalk fashion with the so called proletarian action of purchasing fast food. In this rather bold Moschino image, the models stand placed in a McDonald’s fries box. The implicit suggestion that they represent the public, who stand oblivious under the vast empire of McDonald’s influence, all placed inside of McDonald’s as if it controls them. The globalization of McDonald’s has made it a multibillion pound corporation. The collections main tag line ‘over 20 billion served’ shows the brands immeasurable impact on society today and captures its effect and influence on mass culture. By choosing a mass culture lifestyle brand to mimic, alongside the surge of PR outrage, can the public help but be influenced?
“I started to play with the whole idea of fast fashion as we know it,” Scott says. “What if I took it one more step and made it literally so fast that it was delivered piping hot, fresh?” - Elle.com , v. Hyland, (Page 1. July 12th 2014)
The McDonald’s collection did not fall short of praise nor criticism, while the like of Anna Dello Russo, Katy Perry and Rita Ora were seen sporting the garments, and the capsule collection sold out within hours. Critics however, ripped apart the collection for it’s mimicking of McDonlad’s staff members. ‘Minimum wage workers have struggled to find humour in the designer’s irony or provocative witticism, and are accusing Mr Scott, of ‘mocking’ McDonald’s employees.’ - dailymail 2014 . One employee, Mia Brusendorff commented ‘Knowing someone will pay $1,000 for clothing inspired by McDonald’s workers who earn minimum wage is a mockery.’dailymail 2014.
Other criticisms of the collection suggest that Moschino are promoting obesity, the fries shaped phone case selling out and replicas being made for the public at affordable prices ‘The Moschino case costs around £45; fakes are being sold for as little as £3.’ - The guardian 2014 ‘My problem is that if kids are [using these iPhone cases] they are buying in to the whole fast-food concept’ - The guardian 2014. Despite these criticisms, Moschino have clearly made an impression on the fashion industry and the general public. With major PR activity and many conflicting opinions on the collection, the brand awareness has only increased further, and although the production of fakes is never a good thing for the sales of a designer, the fakes prove that Moschino have been successful in communicating their message to the consumer about Moschino’s brand essence and their social message about the fast fashion industry.
‘Jeremy Scott is fashion’s most evolved connoisseur of junk culture’ - Tim Blanks, Vogue 2014, page 1
The marketing images for Moschino’s McDonald’s collection feature the largest juxtaposition of all. All in black and white and featuring Audrey Hepburn-esque and renaissance stylings, with a rustic backdrop, the shoot appears classic and timeless and resembles some of Moschino’s earliest campaigns, trying to capture the zeitgeist of the 1980’s work whilst keeping it modern with the modern McDonald’s brand image. This shoot is heavily ironic and is suggestive of the ‘pop trash’ lifestyle we now lead. There is a sub textual message suggesting that in we are not in ‘iconic’ times.
Moschino S/S16 Fresh Fragrance. Released in the style of a window cleaning product. Yet another example at Moschino’s facetious irony towards fashion. Again, pulling on the mass culture strings with a high end twist. Fig 8
When the consumer looks at the luxurious packaging of the product in comparison to the bottle itself they can see the clear irony Moschino are using to describe designer high fashion. By packaging it in white and gold the consumer gets the illusion of high end quality and opulence. When the consumer opens the packaging they are presented with a cleaning bottle spray, the colours of red and aqua blue look cheap when placed together, and the colour red is often used to connote sales and reduced items, anything but luxury. It is clear that Moschino are poking fun at the high end consumer, by changing ideals of supposed luxury and turning them on their head. The ‘luxury’ in this instance then lies in the outlandishness and unconventionality of the product, and the social message it provides about the juxtaposition between luxe and mass culture.
Fig 11 The Fresh fragrance marketing images from Moschino stars model Linda Evangelista cleaning a window with the perfume bottle in hand. Evangelista is styled with 50’s curls and a blue dressing gown, the stylings of a 50’s archetypal housewife. It is hard to perceive whether Moschino are being ironic with this, by sticking to hegemonic ideals and featuring the female cleaning the household. For such an evolved and outspoken brand this marketing seems out of the norm. Despite this, the juxtapositrion between the old fashioned advertisment and the quirky perfume bottle is satirical, yet at the same time, almost makes the cheap looking product look classy and upmarket.
“The concept for this fragrance was to juxtapose the most mundane and commonplace of all products, the household cleaner, with something so precious – the juice of a luxury brand’s fragrance. Taking the iconography of a bottle that has no aspirational value and using it as the inspiration for a vessel to contain something so luxurious and haute couture, creates the ultimate dichotomy of high and low. What could be more Moschino than that?” – Jeremy Scott, hngn.com, 2015, page 1
The results conducted by ‘The Mirror’ show that while 47% of people love the idea of the product, the remaining 53% simply don’t get it. Moschino have clearly reached the fashion savvy early adopting consumers in a positive way, however from these results it may be true to conclude that Moschino will never speak to those of the early or late majority let alone the laggards. Furthermore, some may argue that Moschino’s ideas are just too extreme, ‘they wanted to make a statement. And they have. The statement is: “This is the weirdest concept fragrance ever.” - The mirror 2015. Although it can be said that Moschino stray away from the homogeneity of fashion, and this can be exciting to consumers, the results from the Mirror survey show that Moschino may have gone too far. Woodward stated that ‘dressing is an act of surfacing particular aspects of the self ’-2007:15 - (why women wear what they wear) This shows that the irrelevance of this product to consumers may be partly to blame for its downfall.
BARBIE S/S 15 Moschino’s S/S15 line showed a parody collection of leading brand Mattel’s children’s Barbie doll. Barbie, famous for her perfect body, boyfriend, blonde hair and idyllic life is often slandered for its unrealistic aims for perfection in body image for children and has often been remodelled in pop and mass culture for comical purpose.
Fig 14 If we look at the Moschino Paris Hilton shoot for ODDA magazine we can see that Paris has been remodelled into Barbie. Hilton is a controversial choice for a designer high end fashion brand, but with her scandalous and ‘trashy’ reputation as a party girl she is the perfect choice for Barbie. The most striking aspect of this image is the power balance. The iconography of the image displays Barbie as directionally in front, and therefore the main focus of the image, the camera angle above her, following her eye line is suggestive of another party in the room who is more interesting than the eventful happenings of the surroundings behind her. The male in the image stares at her whilst she looks away, clearly disinterested with him, again reinforcing her power in the image. Both females in the image appear fully clothed whilst the male is strewn across the pink fluffy bed, submissively stripped of his clothes and masculinity. His position connotes that he has been used only for sex, and he appears objectified. It is uncommon in marketing for the male to be the only one unclothed, and here we can sense a strong role reversal, empowering Barbie as a female. The image is clearly set in Barbie’s ‘ dream house’ home, which is shrouded in the archetypal pink female colour, however, the only other colour in the room is yellow, in which Barbie wears, suggesting that she does not conform to the stereotype. It is interesting that Moschino have styled her in this way, as, in much of the collection Barbie does wear pink. However, ODDA magazine is one of high culture and expressive art and Jeremy Scott wanted to fit the way he marketed his collection to ODDA customers, achieving this through provoking inherent role reversal through use of colour.
The influence of Moschino’s Barbie collection on high street stores is clear, as in S/S13, Miss Selfridge released a Barbie inspired collection. The collection was incredibly popular and featured on fashion blogs as an affordable alternative to Moschino’s collection. This collection, released shortly after Moschino’s is a clear example of Veblen’s ‘Trickle Down’ theory, and proves how influential designer brands such as Moschino can influence the greater public through the trends ‘trickling down’ to the high street shops. Despite this success, the Barbie collection from Miss Selfridge now seems tacky and outdated, suggesting that Moschino are successful in influencing the mass through their pop culture references and through the trickle down to high street stores. However these influences are short lived and the collections and designs inspired by Moschino are often fads and not longstanding influential products.
Fig 16 & 17
‘At Moschino, Jeremy Scott Turns Pop Culture Trash Into Sold-Out-In-Minutes Treasure’ Elle.com , v. Hyland(Page 1. July 12th 2014)
In November 2015, Mattel and Moschino teamed up once more to produce the Moschino Barbie doll. The doll retailed from £150£200 and sold out in less than an hour Shortly after the collection sold out Vogue released an article stating that you can ‘see them already listed on eBay for prices in the $400 to $800 range.’ - Vogue 2015, page 1 This proves that Moschino have the reputation and creative power now to influence other industries aside from the fashion industry. Targeting the children’s toy market is a first for designer fashion and may be the leader in synergies and collaborations between designers and other external fashion brands.
To market Moschino Barbie, featured a television advert with two young females and one young male, playing with Barbie dolls The young boy exclaimed ‘Moschino Barbie is so fierce’. Both brands have been highly praised for including a boy in the advertisement as it blurs and challenges gender stereotypes. “Long gone are the days of GI Joe,” - BBC news, 2015, page 1 This response shows that Moschino have managed to influence even the most archetypal, hegemonic of brands and therefore the consumers who are presented with this through the suggestion of a more monolithic gender world.
Fig 20 & 21
Fig 22 & 23
MOSCHINO X CELEBRITY INFLUENCE
Moschino and Jeremy Scott have a tremendous effect on the celebrity world. Scott’s best friends and collaborators include the likes of Katy Perry, Miley Cyrus, and Rita Ora, who often adorn Moschino’s designs. A nude Katy Perry promoted the Moschino A/W15/16 collection, dressed in only a Moschino coat, with bag and heels. Her expression is shocked, as if to tell the audience to be shocked by her nudity. Although Perry is known for her scandalous barley-there outfits and costumes, the stripped back nature of this advertisements allows us to see Perry as we’ve never seen her before. The bare backdrop makes her the central focus in the image and forces the audience to look at her bare body. This provokes the audience and holds their attention. This image alone reached an astounding 641k likes on Perry’s personal Instagram account. ‘We are exposed to from around 250 advertisements per day to 3000 and above’ - Huffington post , page 1: 2013. This statement from The Huffington Post suggests that as a society, we are now numbed to the power of marketing through over-consumption and over exposure. Moschino clearly understand this, with their constant usage of guerrilla marketing tactics to shock the consumer - and using celebrities such as Katy Perry to draw attention. And finally turning to nudity as a ploy for attention. The image to the right shows Perry in a graffiti dress, leaning against the graffiti’s streets of New York. We can again see that Moschino draws upon low culture activity as inspiration for his collection. There is a strong juxtaposition between the Christian born mega star and the illegally graffiti-ed walls. The road chosen for the image is grubby and dirty, the colours are grey and unappealing whilst Perry is bright and demure with an arrogant position. Her placing on the ladder is a metaphor for the hierarchal position, she is above the way of life illustrated in the image, and she does not touch the ground, suggesting that she is above living in such conditions. Her outfit in itself is an oxymoron, as her clothing is a ball gown complete with arm length gloves, yet the entirety of her outfit is covered in graffiti. This image reached 597K likes on her Instagram account. On Instagram Perry has an incredible following of 42.5 Million worldwide. There are 53.1 million people living in England, Perry’s following is equivalent to over 80% of this. By using celebrities such as Katy Perry to advertise collections and campaigns, Moschino’s brand awareness is spread considerably.
From looking at Moschino’s collections, campaigns, and the media reactions to them, it is clear that Moschino do affect Fashion marketing and branding. However, it would be false to say that the ‘Moschino effect’ is always positive, every collection of Moschino’s is heavily critiqued for its themes and the devaluation of its designer title through pop culture inspiration. It would also be false to state that Moschino create a long lasting impact on Fashion marketing and the consumer through every collection. The replication of products on the high street are often fads, and it seems the Moschino demographic only reaches the highly creative early adopters. However, the fashion world’s boundaries are pushed by Moschino, and this on its own creates a long lasting effect on the way that fashion is viewed by the public and the way that marketing and advertising is created. Moschino’s fun, quirky perspective may not be daywear for the average consumer, but it provides the consumer with a statement in breaking the homogeneity of 21st century dressing. The images produced by Moschino should not be taken literally but should be viewed as an extreme push for differentiation. Moschino fail to reach the proletarian consumer through its expensive price tags, but it never fails to influence them through the subtle trickle down into fashion through brand exposure by way celebrity usage and shocking advertisements, allowing Moschino to make a step in changing the homogeneity of fashion. Fig 24
Fig 1 – Frills, M. (2015). Mintyfrills: Trend: Moschino Barbie Look. [online] Mintyfrills.blogspot.co.uk. Available at: http://mintyfrills.blogspot. co.uk/2015/01/trend-moschino-barbie-look.html [Accessed 7 Mar. 2016].
MOSCHINO at ModeSens. (2016). [online] ModeSens. Available at: http://modesens.com/product/designer/moschino/women/ [Accessed 7 Mar. 2016].
Fig 2 – Scott, J. (2016). Jeremy Scott on Instagram: I DON’T SPEAK ITALIAN BUT I DO SPEAK MOSCHINO. [online] Instagram. Available at: https:// www.instagram.com/p/kqNlaWyMMW/ [Accessed 7 Mar. 2016].
Fig 3 - Millares, M. (2016). glissement progressif du plaisir mr.millares. [online] Mrmillares.com. Available at: http://mrmillares.com/ [Accessed 7 Mar. 2016].
Fig 4 - Abraham, L. (2014). When Moschino met McDonalds - Lolita Abraham. [online] Lolita Abraham. Available at: http://lolitaabrahamfashion. com/2014/02/25/when-moschino-met-mcdonalds/ [Accessed 7 Mar. 2016].
Fig 5 - Arrowhead, L. (2016). Lake Arrowhead. [online] MyLocalMcDs. Available at: https://mylocalmcds.com/lake-arrowhead-mcdonalds/ [Accessed 7 Mar. 2016].
Fig 6 & 7 - Fashion Gone Rogue, (2014). Photos: Moschino Fall/Winter 2014 Ad with Linda Evangelista. [online] Available at: http://www.fashiongonerogue.com/photos-moschino-fall-2014-ads-carolyn-raquel-linda/ [Accessed 29 Feb.2016]
Brunker, A. (2014). Linda Evangelista Makes McDonald’s (and Moschino) Look Good. [online] ELLE. Available at: http://www.elle.com/fashion/news/ a19346/jeremy-scott-moschino-ad-campaign/ [Accessed 7 Mar. 2016].
Fig 8, 9, 10, – Moschino Fresh Couture Fragrance With Linda Evangelista OHLALAmag. (2015). [online] Ohlalamag.com. Available at: http://www. ohlalamag.com/en/2015/10/moschino-fresh-couture-fragrance-with-linda-evangelista.html [Accessed 7 Mar. 2016].
Crespo, F. (2016). janeiro 14. 2016. [online] Blogdocrespo.com.br. Available at: http://www.blogdocrespo.com.br/2016/01/14/default.aspx [Accessed 7 Mar. 2016]. Lillywhite, O. (2015). Is this Moschino’s strangest fragrance ever?. [online] mirror. Available at: http://www.mirror.co.uk/3am/style/3am-fashion-celebrity-beauty/moschinos-strangest-perfume-ever-fresh-6777153 [Accessed 7 Mar. 2016].
Illustration List page 2 Fig 11 - Wagner, C. (2015). Moschino Fresh Couture Eau de Toilette: So Meta! Fragrance News Fashion Notes - The Scented Salamander: Perfume & Beauty Blog & Webzine. [online] Mimifroufrou.com. Available at: http://www.mimifroufrou.com/scentedsalamander/2015/09/moschino_fresh_couture_eau_de_ toilette.html [Accessed 7 Mar. 2016].
Fig 12 - Lillywhite, O. (2015). Is this Moschino’s strangest fragrance ever?. [online] mirror. Available at: http://www.mirror.co.uk/3am/style/3am-fashion-celebrity-beauty/moschinos-strangest-perfume-ever-fresh-6777153 [Accessed 7 Mar. 2016].
FIG – 13 - Lindee, S. (2016). SMUStyle -
Welcome to Moschino’s Barbie World. [online] Smustyle.com. Available at: http://www.smustyle.com/welcome-to-moschinos-barbie-world/ [Accessed 29 Feb. 2016].
Fig 14 & 15 - Paris Hilton embodies Barbie while modelling Moschino for Odda 8. (2015). [online] Mail Online. Available at: http://www.dailymail.co.uk/ tvshowbiz/article-3029397/Paris-Hilton-embodies-Barbie-modelling-Moschino-Odda-8-Decades-issue.html [Accessed 4 Mar. 2016].
Fig 16 & 17 - Nicholls, L. (2013). Life in Plastic, it’s... - Shiny Thoughts. [online] Shiny Thoughts. Available at: http://www.shinythoughts.net/2013/03/barbie-miss-selfridge/ [Accessed 7 Mar. 2016].
Fig 18 - Tamiano, P. (2016). [online] Available at: http://priznerd.tumblr.com/post/115244715659/chainsawfetish-moschino-barbie-backgrounds [Accessed 6 Mar. 2016].
Fig 19 - Moschino is Getting Its Own Barbie Doll. (2015). [online] Fashion Gone Rogue. Available at: http://www.fashiongonerogue.com/moschino-barbie-2015-capsule-collection/ [Accessed 4 Mar. 2016].
Fig 20 & 21 - Farrell, A. (2015). Mattel Close but no Cigar Barbie Advert.. [online] ThePopHub. Available at: http://thepophub.com/2015/11/18/mattelsclose-but-no-cigar-barbie-advert/ [Accessed 7 Mar. 2016].
Fig 22 & 23 - Katy Perry Goes Nearly Naked In New Moschino Campaign Image. (2016). [online] The Huffington Post. Available at: http://www.huffingtonpost.ca/2015/06/16/katy-perry-moschino_n_7594456.html [Accessed 6 Mar. 2016].
Fig 24 - Monroe, M. (2013). Paper or Plastic?. [online] Stylehaus. Available at: http://www.stylehaus.com/2013/09/paper-or-plastic/ [Accessed 7 Mar. 2016].
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