Visual Fashion Communication Report - Jules Bullen

VISUAL

CONTENTS

Supreme’s use of colour and typography

Stella McCartney’s use of visual channls to convey brand values

The Key Componants of brand identity - Nike

4.

Optimising the landing page - Burberry

The key touch-points for visual communication - Nike

CONTENTS

UK Vogue photoshoot: ‘New Begginings’

Briefing the client: Principles in communicating the concept

9. The elements of styling

The legacy of Oliviero Toscani

Re-branding Bershka: differentiating the brand from the Inditex stable

Here I have used the Pantone colour system to identify the shade of red that Supreme use. However, there are other colour systems that identify colour calibration for example, RAL.

Colour and typography are two key components used within visual communication affecting the way brands are identified and perceived by consumers (Elliot et.al, 2007; Reyna, 2013). The popular streetwear brand Supreme optimises its use of colour and typography in its logo by using a modern sans-serif font and paring it with a bright red-and-white colour scheme to capture the attention of its young target market (Todd and DeCotes, 2023). Supreme’s use of a minimalistic sans-serif font mirrors its brand identity of modern youth and skateboarding culture emulating its products which are effortless, contemporary and clean (Todd and DeCotes, 2023). Supreme also uses a much heavier font which makes its logo more eye-catching as it has a much stronger existence both in print and online (Saltz, 2009). Its bold use of red-and-white colour in its logo helps translate its brand message of rebellion to their customer as it almost resembles a protest sign (LogoMyWay, ND). Colour helps create brand imagery and convey mood (Best, 2017), for example, the colour red is a bold colour associated with power and strength supporting Supreme’s idea of rebellion (Lischer, 2022). Paring this with white, a core colour, in the lettering, continues this minimalistic look while creating the illusion of space and producing high contrast in the logo (Best, 2017; Lischer, 2022).

Visual marketing channels come in two main formats, offline channels for example, a physical shop and direct mail, or online channels including websites, apps, and social media platforms (Winkler, 2019; Team SoftwearSuggest, 2023). The use of visual channels is a fundamental marketing tool used by companies to reinforce their brand values by effectively interacting with their customers (SoftwearSuggest, 2023; Rowley, 2009). McCartney’s brand uses an omni-channel marketing strategy providing an integrated shopping experience for her customers while providing a seamless transition of her values from her physical shops to her digital presence extending a strong brand identity to her customers (Winkler, 2019). McCartney’s brand vision is focused on making sustainable luxury fashion, while caring for the environment through material innovation, protection of workers, and animal welfare by supplying solely vegan products (Stella McCartney, 2023). The vision of sustainability and transparency is clearly translated through McCartney’s selected use of visual channels, for example, minimal use of print advertising to reduce her carbon footprint and instead maximises the use of her social media, digital advertising campaigns and e-commerce platforms reinforcing her focus on sustainability (Aaker, 1997; Jones, 2019). McCartney’s Instagram is often where she promotes animal welfare through posts of Vegan and cruelty-free products. These posts link to her website, where you can purchase them, whilst offering additional information about her social and environmental commitments.

Providing sustainability information allowing customers to connect with the brand on a personal level as they know they are shopping consciously.

Stella McCartney’s Instagram shows a seamless blend of brands values from website to social media, promoting animal welfare and innovation of new vegan materials. Also provides links to the website for purchasing

The drop-down, ‘Stella’s World’ enables customers to learn about the sustainable practices, reinforcing McCartney’s brand value of transparency.

@Stella McCartney’s Instagram

Nowadays in modern living, brand identity and perception are almost more important than the products a brand is offering. Currently consumers wish to buy into a lifestyle while developing a relationship with that brand and through successful marketing, this is made achievable (Slade-Brooking, 2016; Hashem, 2021). Imagery is a key component influencing a brand’s identity: for example, its logo, choice of typography, colour pallet, and tagline are all important because when put together they give the brand’s name meaning as it elicits emotion in the mind of the consumer (Slade-Brooking, 2016; Thimothy, 2021). For instance, Nike uses a simple symbolic badge, the ‘Swoosh’ internationally associated with its company, which conveys speed and motion two characteristics associated with its sportswear brand (Aaker, 1997; SladeBrooking, 2016). Alongside this its use of the imperative tagline ‘Just do it’ helps to establish their core values of empowerment, inspiration, and courage (Slade-Brooking, 2016; Hashem, 2021). As most buying decisions are made subconsciously, creating a narrative is fundamental when visually communicating with customers for example, through Instagram posts, website links or even advertising campaigns (Mahoney, 2003; Stine, 2013). Nike specifically uses its advertising campaigns to articulate its brand values for example, in 2008 they released a campaign portraying athletes’ success and comparing it with how they struggled when achieving their goals, this particular ad resembled courage (Aaker, 1997; Hashem, 2021).

The Nike Swoosh

internationally recognized, through its fluid design cre ating portrays momentum and movement a strong connection between the logo and the sportswear brand.

The internet is a dynamic and crucial platform used by brands to innovate new ways for consumers to experience e-commerce shopping. The increasing volume of online shoppers seen in 2020, where it was recorded that more than half of the UK population were making apparel purchases online, shows this desire has only been made more apparent (Siddiqui et. al, 2003; Chevalier, 2022). Burberry’s landing page integrates the F-shaped pattern theory which according to Nielsen (2006) is the dominant reading pattern online for consumers and suggests that this is where key information should be placed to optimise customer attention and reduce bounce rate (Silva, 2022). Burberry uses a horizontal navigation bar, which according to the F-shaped pattern theory, is where users first read in a horizontal movement, suggesting this is an ideal place for primary information (Nielsen, 2006). Nielsen (2010) suggesting that 69% of user attention on the web leans to the left and so placing the logo and navigation bar dominantly on the left side is more user effective. Websites are known as an active medium as they are used for purpose, Burberry utilises its landing page by chunking its text content, breaking it up with spaces in between and supporting it with subheadings (Nielsen, 2008; Moran, 2016). This enables users to skim read so they can access the desired content easily which could possibly increase sales (Moran, 2016).

Landing page’s act as a entry point to a website(Baldwin, 2020). Examples taken from Burberry’s website show they use F-shaped pattern theory on their landing page. They place navigation bars/filtering options here which may improve conversion rates.

This page also shows Burberry using chunking to break up their text with white spaces making the information easier to read while making the page clearer and easy to use (Moran, 2016).

Figure 2

Figure 3

Figure 4

impr ovem ents

Keep the logo in the top left corner, this is where the consumers attention will be drawn to first (Nielsen, 2008). The logo acts as a landmark for a brand it so placing it here makes it more memorable (Whitenton, 2016).

The navigation bar, store locator, social medias, and customer service options on the left side of screen as viewer attention leans left side, so might increase conversion rate (Nielsen, 2008; Nielsen, 2010).

Pop-up cookie options in the center of screen so user must respond to continue to the website.

F-shaped pattern theory suggests placing email sign up here makes them more likely to sign up (Nielsen, 2008).

Modern day digital technology has increased the consumer demand for customised solutions during shopping experiences, making designable touchpoints more accessible on digital platforms has enabled brands to develop strong relationships with their customer base (Lee et. al 2013; Parise et. al 2016). The brand touchpoint wheel includes the prepurchase experience, purchase experience and post purchase experience which could be logo design, advertising, carrier bag design, app, and website design (Lee et. al 2013). However, it is vital that brands have a clear brand identity as this then allows the touchpoints to be tailored to create a successful and seamless customer experience which could in turn increase brand loyalty (Aaker, 1997; Lee et. al 2013; Tarver, 2022). Looking at Nike, which uses an omnichannel marketing strategy as well as having a clear brand identity of inspiration, empowerment, and innovation, using the brand touchpoint wheel we are able to see how these values are translated to the consumer (Lee et, al 2013; Hashem, 2021). This marketing strategy includes communicating with the consumer directly through the simplistic logo, innovative web design interconnected with its Instagram, empowering ad campaigns and catchy tagline (Hashem, 2021). All these touchpoints mirror Nike’s values showing a seamless brand identity across all platforms and therefore successful visual communication (Aaker, 1997; Oh et. al 2019).

Nike use its sleek logo, incorporated into its ad campaigns, and carrier bags as well as its catchy taglines, innovative web design and futuristic AI ad campaigns to visually mirror its brand values of empowerment, innovation and inspiration establishing a strong brand identity.

Figure 5

Figure 6

Figure 7 Figure

The fashion industry today demands more than forecasting and designing, instead it requires ideas to be transformed into innovative photoshoots, pioneering campaigns and digital fashion designs (Armstrong and Armstrong, 2006). Although ways of communicating fashion have adapted, the goal is still the same: to document fashion in a unique way, encourage desirability and sale of designs (Armstrong and Armstrong, 2006). When developing a new collection or campaign, art direction is key as it brings clarity and purpose to a designer’s collection combining art, culture, and emotion to convey a specific message and reaction within consumers (Skov et. al, 2009; Mall, 2010). Artistic direction considers various components such as: colour, typography, the composition, and the concept as they all play a crucial role in narrating the ideas behind the collection (Bradley, 2015). Without art direction campaigns are less impactful as experiences that carry more emotive responses are highly memorable (Mall, 2010; Watanasoponwong, 2021). When campaigns appeal to consumers on a personal level, brands have a better chance engaging their consumers and building emotional relationships which is key to developing brand loyalty (Kim and Sullivan, 2019). To create a successful campaign illustration is key, whether that be in print, digitally, or physically the visuals should clearly translate the concept and the designer (Armstrong and Armstrong, 2006; Hynes, 2023). These components are included in the storyboard below illustrating a ‘new beginnings’ photoshoot.

Communicating a concept for a creative brief involves project purpose, objectives, requirements, messaging, demographics, and deadlines (Adobe Communications Team, 2022). Creative briefs are essential when articulating a concept to a client as they clearly outline what the insights as well as what the outcome will look like, so the creative team are on the same page to reduce the risk of expensive mistakes (Duckworth, 1999; Adobe Communications team, 2022). While the delivery of the information in the brief is vital, developing a strong relationship between the business and the creatives is just as essential as it helps to overcome challenges and develop a coherent outcome (Burgoyne, 2013). Burberry’s Spring/Summer 2010 campaign starring Emma Watson aimed to reflect sophistication and an eclectic, cool group of people with varying attitudes towards the Burberry guy and girl (Milligan, 2010). According to Lischer (2022) the colour white can resemble freshness and sophistication therefore as the campaign used a white backdrop it could be considered it does meet the brief. However, casting two white models could be regard as misinterpreting the brief as it doesn’t represent an ‘eclectic’ group of people. Eclectic can also be described as inclusive, but from the casting in this campaign it is clear that inclusivity isn’t considered. From this campaign we can see how valuable clear communication is when briefing a client.

Figure 9

Styling is based on the concept of appearance and aesthetics (Joy et al. 2012). Fashion stylists are creative collaborators that work both in the production and post-production stage of photoshoots manipulating clothing to provide new meanings to images (Pantanella, 2022). They do this by using certain colours, shapes, and fabrics appropriate for the brief (Pantanella, 2022). The way photoshoots, clothes, and products are styled is essential as it provides a glimpse into what lifestyle, aesthetic or service could be obtained after purchase, as well as visually representing a brands personality and ideal customer (Giorgetti, 2021; Pöllänen, Parkko, Kaipainen, 2019). If an unbuttoned white shirt was photographed on a model with glamorous makeup the shirt would give a different impression to that if it were to be photographed with suit trousers and blazer. Styling can be split into different functions, for example personal styling, artistic styling, promotional styling, fashion blogging, and commercial styling, however, all have slightly different purposes (Pöllänen, Parkko, Kaipainen, 2019). Personal styling supports human need, while artistic styling interprets personal thoughts in an imaginative way through creative expression, whereas promotional styling aims to make an impression and influence purchases (Pöllänen, Parkko, Kaipainen, 2019). Even though each function creates a different outcome the elements are the same, to create a story, show wearability, spark inspiration, and act as communication to others (Saba, 2022).

Casual Business sexy chic

Figure

Figure

Oliviero Toscani is an Italian photographer recognized for producing contentious advertising campaigns for the global fashion brand Benetton (Famous Photographers, ND; Benetton Group, ND). Toscani’s vision behind advertising was to create shock, to make people stop to see the harsh reality and raise awareness for social injustices occurring at the time that weren’t being spoken about (Cope and Maloney, 2016; Ellinwood, 2018). One of Toscani’s most controversial campaigns was ‘Looking at death in the Face’ which aimed to communicate the reality of capital punishment (Benetton Group, ND). The purpose of these images was to rehumanise the prisoners on death row, giving them back an identity (Benetton Group, ND). Paulins and Hillery (2020) discovered that controversial advertising concerning ethical issues were deemed more controversial due to the visual messaging used to depict the message rather than the campaign itself. After the ‘Looking at death in the Face’ campaign was released it occurred a huge amount of backlash from the public for its lack of sensitivity to not only the families of the victims but the families of the featured inmates (Muwakkil, 2000). Toscani’s Legacy established a new way of advertising, sending a message though a singular emotive image not concerning products. However, this technique has been abused by brands to gain attention for example, American Apparel’s advertising often used sexualised images of women causing outrage.

Figure 14

Using the Codigra font from Dafont paired with some editing on Illustrator, I was able to give Bershka’s logo a fluid and dynamic feel communicating creativity while captivating customer attention through the sculptural font.

Branding acts as dialogue, assisting brands when narrating their story in order to create a perceived image. This also enables brands to from a completely new identity (Tungate, 2012; Marion, 2022). Reforming a new identity was recently seen with the luxury brand Balmain, which went from archaic to refreshed and contemporary with the simple change to a sans serif font in the logo paired with a redesigned monogram (Sherman, 2020). Re-branding also assists the individualisation of a brand, key when differentiating it from its brand family (Hardy, 2019; Roth, 2022). Inditex is one of the largest fashion retailers and parent company of several fashion brands including Bershka (Inditex, ND). Being part of a brand family can be damaging as brands often lose uniqueness surrounding the customer experience. For example, maintaining an individual design, like the logo (Kiapour and Piramuthu, 2018).

Bershka fell victim to this as its logo became almost identical to other brands in the Inditex family as the same static fonts were used. As a logo acts as the landmark for a brand it’s vital that it’s identifiable and memorable (Whitenton, 2016). Brands can use their logo to communicate their story by manipulating the colours, shapes, and fonts (Kiapour and Piramuthu, 2018; Westgarth, 2018). If Bershka redesigned its logo using a more dynamic font, it would clearly depict its immersive and creative brand values while differentiating them from the Inditex stable (Inditex, ND).