My first document

VISUAL COMMUNICATIONS REPORT

STUDENT ID: 220046103

1

PART ONE:

Supreme’s use of colour and typography.

2

Colour and typography are two visual ways of communicating a brand’s identity (Larson, 2022). Supreme is a popular streetwear brand that started off selling skate apparel in 1994, and today its products are popular among youth as well as trendy celebrities (Supreme, nd).

Its logo sees the brand name written on a background of red.

The brand name is written in white, which signifies simplicity and cleanness. This fits in with the brand’s perceived image as being high quality streetwear. The background for the logo is a rectangle in a strong red colour, similar to the Pantone shade “Red 032”, which signifies passion and strength, and links to the brand’s image (Lischer, nd). Supreme clothes always stand out and the brand has a very distinctive image that sets it apart from other streetwear brands. Red is a complementary colour to white and according to Best’s “context-colour effect” theory, this is why the white name stands out against the red background (Best, 2017).

The word “Supreme” is written in a sans serif font, which gives a modern and casual look, linking into the streetwear style of the brand (Doyle & Bottomley, 2004). Supreme uses colour and typography very effectively in its branding and has created a very distinctive logo that strongly links to its brand identity.

3

PART TWO:

Stella McCartney’s use of visual channels to convey brand values.

4

@stellamccartney

Visual channels can be used to communicate the values of a brand and come in many forms; television advertisements, magazines, social media to name a few. Using multiple visual channels is an effective way for a brand to convey its brand values to customers.

However, if customers think a brand is being inconsistent, it will decrease brand loyalty. Everyone interprets visual information differently, so brands must ensure that they are communicating their values in a way that is difficult to misinterpret (Holsanova, 2014).

Stella McCartney is known for its environmental consciousness and corporate social responsibility, which it portrays using visual communications (Stella McCartney, nd). In its 2017 Winter advertisement, Stella McCartney uses visual communications to create a juxtaposition between its environmentally friendly, vegan shoes, and the unsustainable lifestyle the audience are possibly living (Stella McCartney, 2017). The brand’s target consumer is one that cares about sustainability and the environment, which is portrayed heavily throughout this advert. This advert highlights that Stella McCartney wants to set itself apart from the negative impact humans create, and that it wants to create a positive change.

Stella McCartney is also active on Instagram, where its posts its products as well as discussing its brand values. Most of the products on the page have captions discussing the creation of it, showing that the brands’ values are clear and consistent throughout its posts.

5

PART THREE: Key components of brand identity.

6

@theseraphinacollection

All brands must create a strong identity, so that they can successfully target their consumer. Brand identity is made up of many things, including logo, brand personality and values. The Seraphina Collection is a small fashion brand based in the UK, with 259,000 followers on Instagram (The Seraphina Collection, nd). Because it is a relatively small business, it is important that its brand identity is strong and consistent. It aligns with the “sophistication” category of Aaker’s “Brand Personalities”, as it makes dresses that flatter and accentuate the feminine figure, and its brand image is one of elegance and glamour, which were terms defined under the “sophistication” personality (Aaker, 1997). Its logo is simplistic, showing the brand name on a background of light pink which connotes elegance, but it adds to the glamour of the brand, as it uses a serif font as well as a curved style (Doyle & Bottomley, 2004).

As well as this, the photography on its social media is very glamourous and sophisticated. It often shoots in low lighting with flash to show off the glitter on the dresses, as this is the brands main selling point (Instagram, The Seraphina Collection - Instagram). The brand is very consistent at showcasing the selling point of the dresses, with all of the social media posts and online listings reinforcing the brand identity (The Seraphina Collection, nd).

7

PART FOUR: Optimising the landing page.

8

Kiht Collective Website Studies show that we read in an F-shaped pattern (Nielsen, 2016). This needs to be taken into consideration when making a successful website, to ensure that the most important information is in the areas that we first lay eyes on. It is just as important to consider where we look the least, so that businesses can ensure that they do not put any information in those areas.

Creating a website with the F-shaped pattern in mind allows for a website to be read in the most efficient way. For example, Kiht Collective has put the company logo in the top left-hand corner, since that area is the first that we lay our eyes on (Kiht Collective, nd). The top of the screen is another hotspot, and Kiht Collective has effectively used this space to place its navigation bar. Another area we focus on is the middle of the screen, which Kiht Collective has utilised by putting its new product launch in that space to draw the user to it. On the other hand, we tend to ignore the bottom right corner altogether, so a business should not put any information in that corner, as it is likely to get ignored. The wireframe above highlights the best areas for information to be places on websites according to the F-shaped pattern.

9

PART FIVE:

The key touchpoints for visual communication.

10

The brand touchpoint wheel is an effective way of assessing where a brand is performing well and where it could perform better.

It assesses the components of pre-purchase, post-purchase and purchase in relation to a specific brand and focusses on the customer experience throughout (Lee et al, 2013). Any brand can use the brand touchpoint wheel, for example Nike. The pre-purchase experience includes website and advertisements, which Nike performs well at. Its website is very extensive, and the running shoes, for example, have detailed information that performance runners would like to know (Nike, nd). In addition, Nike advertisements persuade potential buyers that Nike is the best brand for what they are looking for. The purchase experience includes product performance, which is important for Nike to do well. As a sports brand, the performance of Nike’s products is an essential feature, as a poorly performing shoe will deter customers from returning and will push them toward the competition. The post-purchase experience is just as important but can sometimes be neglected by brands who think the customer experience ends when the product is purchased.

Quality and customer service is very important for any brand, as a poor-quality item is less likely to be bought again. For example, if Nike made a running shoe that wore down in two months, it would get a bad reputation.

11

PART SIX:

UK Vogue photoshoot: ‘New Beginnings’ 12

Title

Cherry blossom

e Deu S

Photoshoots can be used for a variety of fashion imagery, including editorial shoots for magazines such as Vogue (DSCENE, 2021). When designing a photoshoot, there are certain aspects that must be considered to ensure the message of the photoshoot translates to the target audience correctly. The photoshoot must align with the brand’s identity and should fit in with its usual style. The location of a photoshoot is very important, as it is the backdrop of the whole shoot. For example, if a brand wants to shoot a spring line, a setting of snow is inappropriate and will not translate to the reader. Similarly, colour is an important factor, as the colour scheme must link to the theme. It is a good idea for a brand to brainstorm before they start a shoot, so that its ideas translate correctly to all audiences. Another important feature of a photoshoot is models, they need to fit the brand and the products as well as the scene. The lifestyle of the consumers is an important factor to consider as well, as the photoshoot has to relate to the consumer’s aspirations and interests. The photoshoot must be relevant to the consumer in some way so that they are interested. Art direction and styling are two factors that help bring a photoshoot to life. These factors will differ depending on who the photoshoot is for. For example, a Vogue photoshoot may not use many props and may be more editorial than a Hollister photoshoot.

13

PART SEVEN:

Briefing the client: principles in communicating the concept.

14

A brief is a document that outlines the main goals and visions a brand has for an advertisement, which is given to the creative director (Maggine, 2021). A good brief includes a clear vision of what the client wants, as well as a list of mandatory requirements (D&AD, 2014). This is because what the client has pictured in their head could differ greatly to what the designer envisions. Being clear and specific in the brief leaves less room for miscommunication and ensures that the client receives exactly what they want. As well as this, a brief should be succinct, because too much information can be confusing and sometimes contradictory. Written briefs are not the only option available for creating a brief, some of them can be presented in the form of a collage or other visual formats. Everyone thinks in different ways, and some people find it easier to communicate with visual representations than the written word. Designers need to be open to this and be flexible in the ways that they work so that the brief is fulfilled.

On the other hand, too much information should not be included in a brief. If a client writes a long brief, they may contradict themselves and lose the clarity of their original idea.

They must strike a balance between being detailed and not talking too much.

15

PART EIGHT: The elements of styling.

16

FIVE TYPES OF

Personal

Pöllänen et al., 2019

Styling

Commercial

Artistic

Promotional

Fashion blogging

@Hollister Kiht Collective Website Americana Manhasset Chanel Website @eniswardrobe

Studies show that there are five main ways of styling for specific purposes (Pöllänen et al., 2019). One way of styling is personal styling, which appeals to the individuals needs and wants, as well as their lifestyle. Commercial styling portrays the product in a simple way to get sales. Artistic styling tends to exaggerate the stylists’ ideas, and is seen as more creative than personal styling, it can be influenced by a number of factors, such as the stylist’s personality and the culture they are surrounded by. Both fashion styling and promotional styling are created around the customer’s aspirations, however, also ensures that this aspiration could be achievable. It promotes the message that a customer can achieve their aspirational style with certain clothes. The fifth type of styling is fashion blogging and marketing, which allows the blogger to showcase their own personal style, and others can take inspiration from this.

The motivation for styling can affect the way a product is styled on a brand’s website or on a promotional video. For example, personal styling could be shot with a clothing item worn in an everyday setting, like on Hollister’s Instagram. Each element of styling differs in the way it reaches the client.

17

New York Times

PART NINE: The legacy of Oliviero Toscani.

18

The Drum

International Center of Photography

Wordpress

Oliviero Toscani is a fashion photographer, best known for his controversial advertisements he shot for the fashion brand Benetton between 1982 and 2000 (Famous Photographers, nd).

He shot advertisements that focused more on social issues at the time than Benneton’s products, for example images relating to AIDS at a time where it was a taboo (International Centre of Photography, nd). The campaign shot in 2000 caused Benneton to cut ties with Toascani, as he focused on prisoners on death row, which caused great upset to the families of the victims of the pictured criminals (Wordpress, nd). Toscani argued that his photographs were supposed to create conversation, saying “Controversy is very useful” and other brands and photographers have tried to emulate this more recently (Carroll, 2000).

Balenciaga launched images shot by Gabriele Galimberti in November 2022 that pictured a young child alongside a bag that included bondage gear (The Guardian, 2022). At the very least it was deemed inappropriate, however some claimed that it promoted paedophilia (Issawi, 2023). Balenciaga could have been trying to replicate the shocking images like that of Toscani, to get people talking about the images, and therefore the brand. However, the public clearly felt that it was not appropriate to release. After seeing the backlash, Balenciaga’s director apologised, saying it was a mistake and that he does not condone child abuse (Raiken, 2022).

19

PART TEN: Rebranding Bershka: differentiating the brand from the Inditex stable.

20

Logos-World

Bershka belongs to the Inditex group, which also includes brand such as Zara and Stradavarius (Inditex, nd). Many of the Inditex brands sell similar products, which slight adjustments and target audiences to differentiate them. Bershka falls under the “excitement” category of Aaker’s brand personalities and sells trending clothes popular with the teenage market (Aaker, 1997). Inditex brands have a mix of serif and sans serif fonts – the sans serif fonts are used with brands aimed at a teen audience.

Currently, Bershka’s logo is very similar to that of the other Inditex brands and is quite plain and simplistic. The current logo lacks personality and does not allow Bershka to establish itself from other brands, as it follows a similar format to many other logos at the minute (Maxwell, nd). It also does not align with Bershka’s brand message of being creative and experiential (Inditex, nd) The suggested logo would be a way to differentiate Bershka from the uniformity of Inditex brands, while keeping the sans serif font to indicate it is more youthful and trendy.

It has been demonstrated as part of the identity design on the designable touchpoint wheel (Lee at al, 2013). The suggested logo would allow Bershka to identify itself outside of Inditex, and it would relate more strongly to the brand message.

21

BIBLIOGRAPHY Aaker, J.L. (1997) “Dimensions of brand personality,” Journal of Marketing Research, 34(3), pp. 347–356. Available at: https://doi.org/10.2307/3151897.

Aha! (no date) Creative briefs for product, UX, and marketing teams, Creative Briefs for Product, UX, and Marketing Teams | Aha! software. Available at: https://www.aha.io/roadmapping/guide/marketing-strategy/creative-brief (Accessed: 14 May 2023).

Armstrong, J., Ivas, L. and Armstrong, W. (2006) ‘The Evolution of the Fashion Image’, in From pencil to pen tool: Understanding and creating the Digital Fashion Image. New York: Fairchild Publications, Inc., pp. 1–30.

Balenciaga designer sorry for ‘inappropriate’ campaign featuring children (2022) The Guardian. Guardian News and Media. Available at: https://www.theguardian.com/fashion/2022/dec/03/balenciaga-designer-demna-apologises-for-inappropriate-campaign (Accessed: May 4, 2023).

Best, J (ed.) 2017, Colour Design : Theories and Applications, Elsevier Science & Technology, Cambridge. Available from: ProQuest Ebook Central. (Accessed: 16 February 2023).

Carroll, R. (2000) Shock tactics that finally backfired, The Guardian. Guardian News and Media. Available at: https:// www.theguardian.com/world/2000/apr/30/rorycarroll.theobserver (Accessed: May 4, 2023).

Cartner-Morely, J. (2022) Balenciaga apologises for ads featuring bondage bears and Child abuse papers, The Guardian. Guardian News and Media. Available at: https://www.theguardian.com/fashion/2022/nov/29/balenciaga-apologises-for-ads-featuring-bondage-bears-and-child-abuse-papers (Accessed: May 4, 2023).

D&AD (2014) The 3 Mistakes You’re Making When Writing A Brief | D&AD Masterclass. YouTube. Available at: https://youtu.be/XNaiIXB2zgQ (Accessed: 14 May 2023).

DSCENE (2022) The Four Different Types of Fashion Photography, Design Scene. Available at: https://www.designscene.net/2021/05/types-of-fashion-photography.html (Accessed: 18 May 2023) Doyle, J.R. and Bottomley, P.A. (2004) ‘Font appropriateness and Brand choice’, Journal of Business Research, 57(8), pp. 873–880. doi:10.1016/s0148-2963(02)00487-3.

Houston, A. (2022) The balenciaga blame game: Why the Buck stops with the brand after controversial campaign, The Drum. The Drum. Available at: https://www.thedrum.com/news/2022/11/25/the-balenciaga-blame-game-why-thebuck-stops-with-the-brand-after-controversial (Accessed: May 4, 2023).

Inditex (no date) Seven brands, Brands. Available at: https://www.inditex.com/itxcomweb/en/brands (Accessed: 17 May 2023).

Inditex (no date) Seven brands, Brands. Available at: https://www.inditex.com/itxcomweb/en/brands#bershka (Accessed: 17 May 2023).

Instagram – The Seraphina Collection (no date) The Seraphina Collection - Instagram. Available at: https://www.instagram.com/theseraphinacollection/ (Accessed: April 1, 2023).

Issawi, D. (2023) What to know about the Balenciaga ad scandal, The Cut. Available at: https://www.thecut.com/2023/03/ what-to-know-about-the-balenciaga-ad-scandal.html (Accessed: May 4, 2023).

Khit Collective (no date) UK ethical activewear for babes who care, KIHT. Available at: https://kiht.co.uk/ (Accessed: April 9, 2023).

Larson, R. (2022) The psychology of colours and fonts in content and branding, Relevance. Available at: https://www. relevance.com/the-psychology-of-colours-and-fonts-in content-and-branding/ (Accessed: February 15, 2023).

Lee, C. (2022) ‘The key touchpoints for visual communication’, ChAerinMY, 22 April. Available at: https://blog.yorksj. ac.uk/chaerinlee/2022/04/22/the-key-touchpoints-for-visual-communication/ (Accessed: 14 May 2023).

Lee, K., Chung, K. and Nam, K.-Y. (2013) ‘Orchestrating designable touchpoints for service businesses’, Design Management Review, 24(3), pp. 14–21. doi:10.1111/drev.10246.

Lischer, B. (no date) Color psychology in branding: The Persuasive Power of Color, Ignyte. Available at: https://www. ignytebrands.com/the-psychology-of-color-in-branding/ (Accessed: 16 May 2023).

Machin, D. and Holsanova, J. (2014) ‘In the eye of the beholder: Visual communication from a recipient perspective’, in Visual communication. Berlin: De Gruyter Mouton, pp. 331–355.

22

Maggine, M. (2021) What is a creative brief? the key to marketing success - G2, G2. Available at: https://www.g2.com/ articles/creative-brief (Accessed: 14 May 2023).

Maxwell, K. (no date) What is ‘Blanding’ and why are so many brands doing it?, Flux Branding. Available at: https://fluxbranding.com/the-rise-of-blanding / (Accessed: 17 May 2023).

New - The Seraphina Collection (no date) The Seraphina Collection. Available at: https://theseraphinacollection.com/ collections/frontpage (Accessed: April 1, 2023).

Nielsen, J. (2016) F-shaped pattern for reading web content (original eyetracking research), Nielsen Norman Group.

Available at: https://www.nngroup.com/articles/f-shaped-pattern-reading-web-content-discovered/ (Accessed: April 9, 2023) Nike (no date) Nike invincible 3 men’s road running shoes. Nike GB, Nike.com. Available at: https://www.nike.com/ gb/t/invincible-3-road-running-shoes-jg0td1/DR2615-101 (Accessed: 10 May 2023).

Oliviero Toscani (no date) Famous Photographers. Available at: https://www.famousphotographers.net/oliviero-toscani (Accessed: May 4, 2023).

Paulins, V.A. and Hillery, J.L. (2020) “Advertising and promotion,” in Ethics in the Fashion Industry. New York: Fairchild Books, pp. 144–163.

Pöllänen, S., Parkko, M. and Kaipainen, M. (2019) “Conceptualizing fashion styling,” Fashion, Style & Popular Culture, 6(3), pp. 369–387. Available at: https://doi.org/10.1386/fspc.6.3.369_1 Raiken, A. (2022) Balenciaga creative director Demna issues apology amid campaign ad scandal, The Independent.

Independent Digital News and Media. Available at: https://www.independent.co.uk/life-style/fashion/balenciaga-scandal-demna-gvasalia-apology-ad-b2237846.html (Accessed: May 4, 2023).

Stella McCartney (no date) Sustainable clothing: Ethical fashion: Stella McCartney UK, Sustainable Clothing | Ethical Fashion | Stella McCartney UK. Available at: https://www.stellamccartney.com/gb/en/sustainability/sustainability.html (Accessed: February 27, 2023) Stella McCartney (2017) The Winter 2017 Stella McCartney Campaign Film | Full Edit. YouTube. Available at: https:// www.youtube.com/watch?v=P7up1bG5d00 (Accessed: February 27, 2023).

Supreme (no date) About, Supreme. Available at: https://supreme.com/about/ (Accessed: February 12, 2023) The Seraphina Collection (no date) The Seraphina Collection - About , The Seraphina Collection. Available at: https:// theseraphinacollection.com/pages/about (Accessed: April 1, 2023).

Vanbosterhaut, G. (2022) “The Legacy of Oliviero Toscani,” York St John Blog, 26 May. Available at: https://blog.yorksj. ac.uk/gabrielvbstrh/2022/05/26/the-legacy-of-oliviero-toscani/ (Accessed: May 4, 2023).

23