PBA Fashion Design__Thesis by Liana Paberza

CHIMERA

RENEW

LAB

LIANA PABERZA

VIA University College PBA Fashion Design Bachelor Project Class: IDde7a818 Guidace Teacher: Lene Pedersen 54,496 typing units

28/11/2019 HERNING

abstract

CHIMERA is a new fashion brand created by Liana Paberza that aims to create unique clothing pieces inspired by the current sustainability trends based in contemporary fashion.

The lack of sustainable production processes is a critical issue in the fashion industry, and it is hard for a new brand to be different and still be successful in the competitive scene.

Upcycling is the practice of using existing materials into new products of improved quality and value.

Its is a relatively new method of that could be used to develop and present new brands, however there is a lack of clear understanding on how to implement it in the fashion design process.

The author of this research paper explores various practical and theoretical methods for using upcycling to create clothes and accessories that will be valuable and trendy to the customers, as well establishes guidelines for a brand to follow.

CHIMERA believes that there is a societal change coming to the way people purchase things and there is a growing niche for upcycled products in the fashion market.

table of contents abstract — 2 contents — 3 1.introduction — 4 2.research question — 4 3.problem scenario — 5 4.definition of concepts — 5 5.methodology — 7

5.1.trend theory — 7

5.2.DART model — 7

5.3.trend forecasting — 8

5.4.aesthetic sustainability — 8

5.5.design DNA — 8

5.6.mission, vision, values — 8

5.7.SWOT analysis — 9

5.8.target market — 9

5.9.persona — 9

5.10.design development — 10

5.10.1.historical research — 10

5.10.2.moodboard — 10

5.10.3.muse — 10

5.10.4.silhouettes — 10

5.10.5.sketching process — 10

5.10.6.colour story — 11

5.10.7.print development — 11

5.10.8.prototyping — 11

5.10.9.technical drawings — 11

5.10.10.line-up — 11 6.delimitation — 11 7.upcycling as a trend — 13

7.1.upcycling origins — 13

7.2.designers working with upcycling — 13

7.3.trend cycle and trend theory — 14

7.4.DART model — 16

8.about the brand — 17

8.1.logo origin — 17

8.2.mission, vision, values — 18

8.3.branding and marketing — 19

8.4.positioning and competitors — 19

8.5.inspiration — 20

8.6.film and music — 20

8.7.aesthetic sustainability — 23

8.8.SWOT analysis — 24

8.9.target group — 25

8.10.persona — 27 9.design development — 30

9.1.historical research — 31

9.2.design influences — 31

9.3.print development — 33

9.4.silhouettes and line-up — 34

9.5.prototyping — 34

9.6.PVC and bioplastic — 35

9.7.use of upcycled materials — 35

9.8.realization of the design strategy — 36 10.conclusion — 37 11.perspectives/reflection — 37 12.bibliography — 38

1.introduction

2.research question

In a time where production and consumption of goods has reached its limits, natural resources getting scarce and CO2 emissions rising, it has become more than obvious that there needs to be a global change happening within the fashion industry.

The research will use applicable theory and methods to answer the following problem statement:

To solve a problem from a new brand’s – CHIMERA – perspective with the goal to take the first steps towards a better, more sustainable future, this paper will look into a hybrid design method of using new and upcycled materials to create a strong brand identity from the very beginning.

Taking inspiration from the past and me growing up in a post-Soviet country with limited availability of goods that sparked peoples creative use in their everyday lives, the purpose is to find clever ways of reusing existing materials and post-consumer waste to design a contemporary collection relevant to the specific target group.

However, since the topic is closely connected to branding, the main focus will be put on finding a solution from a fashion designer’s perspective instead. Hands-on approach - testing of material, experimenting and prototyping will be the core of the project. The goal is to present the first CHIMERA gender-neutral collection inspired by the designer’s personal childhood memories and 90’s nostalgia.

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How can upcycling be used as a design method to develop and present a new brand – CHIMERA? The problem statement highlights two main topics – to use upcycling as a design strategy and method to develop collection pieces and second – to launch a new brand with strong design identity that goes hand in hand with sustainability principles.

Additionally, relevant sub-questions are introduced for a thorough exploration of the topic: 1.

How can the brand define the term “upcycling” to be used as their design strategy?

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How to design a desirable product that would appeal to the CHIMERA target group?

3. How to source materials that are destined for disposal?

4. How to produce the garments using reworked design techniques?

3.problem scenario

4.definition of concepts

Facts are speaking for themselves louder than ever – the growing number of people who are using the planet’s resources is changing by seconds. According to The World Counts website: “If everyone on earth lived like the average American we would need 4.6 planets to support us. 2.4 for Japanese and about 2.3 for Europeans. And the number of people in the consumer class is growing…”. The middle class is expected to grow from 3.2 billion in 2020 to 4.9 billion in a decade. One of the most important issues is to improve the life cycle of products and materials.1

To provide the reader with precise formulation of the concepts used to answer the problem statement, I have looked at various sources that describe the method I aim to examine throughout my project. The term “upcycling” has been generally used to describe the creative process of reusing existing materials and objects to create something new.

To focus on this exact problem, CHIMERA will investigate the possibilities feasible to lower the environmental footprint it leaves behind as a fashion brand. The report will seek answers while building the brand identity with the main intention on reusing existing material that has already been produced and is destined to be thrown away.

However, when talking about climate change and what needs to be done in order to have a positive impact in a long term, along with huge shifts within the value chain, big industries and law in general, it is more each individual’s actions and mind-set that needs to be changed. While it seems as if we cannot do much, even the slightest step towards more sustainable choices affect the overall image.

Besides CHIMERA offering reworked design options to their customers, it is just as important for the brand to educate their audience and explain the impact left on earth from garment manufacturing in an educational yet playful way. As long as we can share the knowledge and make the CHIMERA customer more understanding, it becomes not only a desirable consumer to the brand itself, but also to the whole world in general.

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Cambridge Dictionary defines upcycling as: “The activity of making new furniture, objects, etc. out of old or used things or waste material.”2 Miriam Webster defines the verb “upcycle” as: “To recycle (something) in such a way that the resulting product is of a higher value than the original item: to create an object of greater value from (a discarded object of lesser value)” This source also mentions that the first known use of the word was in 1994.3 In SalvoNEWS print article dating back to 1994 published

by Thornton Kay he quotes Reiner Pilz about building materials and the waste recycling in construction sites: “Recycling,” he said, “I call it down-cycling. They smash bricks’ they smash everything. What we need is upcycling. where old products are given more value, not less.”4 Many other sources including industry professionals, authors, consultants and academics when talking about upcycling mention cradle to cradle principles – to create closed loop systems of product lifecycle and eliminating waste.5 The World Counts, 2019. World Facts – Number of Consumers. Website. The World Counts.

Cambridge University Press, 2019. Dictionary/english/upcycling.

3 Merriam-Webster, 2019. Dictionary/upcycle.

4 Thornton Kay, 1994. Salvo in Germany - Reiner Pilz, p14 No99. Article. SalvoNEWS. 5 William McDonough, 2019. Cradle to Cradle. Website. Mcdonough.

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To add a more personal approach to the upcycling movement and what it stands for, I have defined the term in my own words for a new interpretation of this method.

In this way, the practice could become the main design strategy and part of the foundation to develop the brand further.

“Upcycling� defined by CHIMERA is a practice that sources and reimagines in new forms already produced materials, off-cuts and other pre-existing elements that would otherwise be destined for landfill.

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5.methodology 5.1.trend theory In order to look at the problem statement from an academic standpoint, relevant theory and methods are used for an in-depth analysis and argumentation. As the foundation of this project is mainly concerning aesthetic choices and creative decisions, the applied methodology will support topics regarding trend, aesthetics and sustainability.

Additional methods will be used to define the brand and the target market.

The final outcome and answer to the research question will be presented as a portfolio consisting of brand description, inspiration source, collection line-up with material swatches, styled photoshoot and three physical looks presented on live models. As a supportive material, process book with design development will be presented as well.

From trend theory by Henrik Vejlgaard, the Diamond shape trend model will explore the life of a trend moving from groups of society such as trend creators and setters to trend followers, early mainstreamers, mainstreamers and later mainstreamers to conservatives and anti-innovators.

The model is used as a technique to predict the lifecycle of the trend applicable among groups in society.6 5.2.DART model The DART (Driver Analysis / Reading Trends) model created

by Maria Mackinney-Valentin will be used as a method to specify and validate a hunch and to identify and existing and ongoing trend. The model looks at various drivers of change – factors from more general influences such as society, culture, history and theory to more current ones, for example - media, sociality, industry and street/practice.

The gathered information is collected together visually in a form of supportive material including physical evidence, observation, articles, blogs, videos and other sources that prove the emerging trend. The DART model is a helpful tool to not only validate and organize the intuition in a scientific way but also to communicate these tendencies and develop new ideas and concepts for further research process.7

Henrik Vejlgaard, 2017. Anatomy of a Trend. McGraw-Hill.

Maria Mackinney-Valentin, 2011. DART-new teaching methods for organizing intuition.

Nordic Design Research Conference, Helsinki.

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5.3.trend forecasting

5.5.design DNA

Trend forecasting is a method to spot current and upcoming trends. To have a thorough overview, sources from one of the biggest trend forecasting agencies such as WGSN will be used as a tool to discover worldwide tendecies and look for inspiration to work on design development ideas.

To launch a new brand, certain branding strategies are necessary to distinguish onseself from competitors. One of the definitions by The Oxford English Dictionary describes DNA as: “The fundamental and distinctive characteristics or qualities of someone or something, especially when regarded as unchangeable”.9

The website includes collection of future predictions from runway shows to street style inspiration in terms of colour, materials and fabrics, details, prints and graphics, shapes, silhouettes, styling and other, helping the companies using their services to make the right decision in offering the right products to their customers. Other research techniques including observation and desk research will complement the trend forecasting process.

The brand design DNA is a combination of signature elements and charactereristics the brand becomes recognized by. To identify a brand DNA we can look at the origin, the background story of the brand, their target audience and community it aims to reach, the quality of the chosen materials the company is known for or the price point to position themselves in the market.10

5.4.aesthetic sustainability

5.6.mission, vision, values

Aesthetic sustainability by Kristine H. Harper will cover the theoretical part of design aeshetics and how we perceive design in different contexts. The theory helps designers to describe aesthetic purpose and experience in words and distinguish the perceived experience based on reading between different physical and sensuous qualities of product. This strategy is a tool the designer can use to challenge the receivers perception about what is considered beautiful or sublime in design context.8

In order to clearly identify brand image that is understandable to the target customer, the brand needs to set their unique ideas and strategy into precise formulations of what they stand for, what are their goals, beliefs and values. This framework serves as a foundation to perform effectively in a long term staying true to own identity.

The mission statement describes the actions the company needs to take now to achieve their vision in the future. This statement is specific and clearly defines what the company stands for and how it differs from their competitors. The vision statement is the desired state the company aims to achieve. It is not as specific as the mission statement, however both statements support each other.

Creative Bloq Staff, 2012. Defining your design DNA. Article. Future Publishing Limited Quay House.

Steven Le Vine - Young Entrepreneurs Council, 2012. Do You Know Your Brand’s DNA? Article. Forbes.

11 Kirstin O´Donovan, 2019. 20 Inspiring Vision Statement Examples (2019 Updated). Article. Lifehack.

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Kristine H. Harper, 2017. Aesthetic Sustainability. Routledge.

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The values statement describes how the employees inside the company are expected to act and what the brand believes in. The values is a guide that supports the brand’s decision making and provides it with a moral direction in communication between business partners and customers.11 5.7.SWOT analysis SWOT analysis is to determine internal factors – strengths and weaknesses and external factors – opportunities and threats within an organisation or company. This technique credited by Albert S. Humphrey helps to position a business and assess it critically while seeing the potential growth.

SWOT analysis is considered one the most effective methods to analyse the processes within a company and to assure productive and effective operation with an aim to achieve profitable results.12 5.8.target market The target market is a group of individuals the company sees as potential clients that will be interested in the brand and its values. The company aims to influence and target these customers using certain marketing and advertising strategies. In order to reach the right audience and have effective results it is important to be as specific as possible when choosing the target group. The potential customers can be divided into four types of market segmentation – demographic, geographic, psychographic and behavioral.

The customers often will share similar key characteristics such as demographics and behaviour. While the brand will choose to have their top focus on their primary target group in certain age gap, location, stage of life or shared interests, it is not limited to selling their product beyond the ideal customer. While it is not possible to target everyone, the brand can still sell to everyone that finds their product desirable. The most important is to have an effective marketing strategy for the right audience.13 5.9.persona User persona is a representation of the brand’s ideal customer. It is a tool used to connect with the target audience and better understand and relate to the customer.

Qualitative and quantitative research can be conducted in order to describe a real persona that the company could target.14 To describe and visualise the CHIMERA persona a qualitative interview will be carried out to present a potential customer as realistic as possible.

Christina Newberry, 2018. How to Define Your Target Market: A Guide to Audience Research. Blog.

Hootsuite Inc. 14 Ben Ledonni, 2017. Identify Your Business Persona and Audience. Blog. Creative Multimedia Solutions.

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Kirstin O´Donovan, 2019. 20 Inspiring Vision Statement Examples (2019 Updated). Article. Lifehack.

12 Skye Schooley, 2019. SWOT Analysis: What It Is and When to Use It. Article. Business News Daily.

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5.10.design development

5.10.3.muse

The design development is a series of techniques and methods applied in the design process. The process is interconnected and the various methods complement each other.

The muse is another method used to juxtapose the primary source of inspiration and give additional twist to the main concept for fresh ideas and unexpected outcomes. The muse can be either a fictional or real character or a group of people that would either compliment or challenge the concept the designer chooses to work with. The technique will be used to create visual collages and drawings that can later be used in the design development to search for new colour combinations, shapes, details or other elements.

5.10.1.historical research Primary research of investigating my family photos taken during the 90’s will give a realistic insight of how people dressed in this time period in Latvia. Selection of images of various outfits worn by my parents, their friends and other relatives will aid as the beginning phase of design development. Silhouettes, shapes, details and materials from these photographs will be highlighted and used for later for inspiration, to sketch upon and brainstorm design ideas.

5.10.2.moodboard The process often begins with collecting visual materials – photographs and images, material and fabric samples, physical objects or anything that the designer sees as inspiration and can generate ideas. The collected elements are pinned together on a tangible storyboard or moodboard that serves as a reference point for the designer throughout the process. The moodboard is a tool that can be returned to for inspiration and to not lose track of the original idea and goal.

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5.10.4.silhouettes The silhouettes are the first representation of desired looks for the collection line-up. The silhouettes show the shapes and forms the designs will investigate – either large and oversized, slim-fit or a mix of both. The silhouettes also can give an idea of the used materials – from stiff and bulky ones to lightweight, flowy fabrics.

5.10.5.sketching process The sketching process is a continuous activity that goes through the whole design development phase. From the very beginning hand drawn ideas are added to the storyboard and are worked out step by step. Sketches can be derived from reference and inspiration images or own observations. Sketching is used to generate ideas from silhouettes and develop line-up outfits.

5.10.6.colour story

5.10.9.technical drawings

The colour story is a selection of colours derived from either the moodboard or the muse or the combination of both.

These are colours that reappear in the visual elements or are deliberately chosen by the designer. Colour story is a visual representation of the chosen colour scheme while the colour card describes the properties of these colours with specifications and numbers using Pantone colour system.

Technical flats will be drawn using Adobe Illustrator for a clear overview of the manufactured items. The drawings describe the techniques used to manufacture the collection pieces, the material used and the additional details and specifications it requires. Technical drawings serve as a communication tool between the design team and the production facility therefore the language needs to be extremely clear, easy to understand and mostly visual.

5.10.7.print development

5.10.10.line-up

Print development techniques include working creatively with visual imagery and vector graphics to achive a certain outcome. For this collection the chosen techniques vary from digital all over print (AOP) to graphic prints created as a mixed media collage covering all area of the produced fabric and placement prints covering only certain areas of the graments, accessories or details. The print designs are later on tested on various fabrics and printed as final choice depending on the chosen printing method.

Line–up is a number of outfits from the collection visualised either as drawings, collages or using mixed media techniques to express a certain mood. The line–up not only shows the garments and styling but can also tell a story of the collection and what the brand represents. An appealing line-up should be coherent and have some repeating elements while having variations in silhouettes, fit, cuts, colours and materials to offer options to choose from.

5.10.8.prototyping Prototyping is a integral process involving draping, fabric manipulation and experimenting with materials to test the possible outcomes and potential improvements. For this project, the focus will be on testing the combination between materials and elements, if they work together or how can they be manipulated. Finding more sustainable options for certain materials will be investigated as part of experimentation. Garment prototypes will be sewn during the process to find the right shape and work on the fit and necessary adjustments. Other garment details will be sewn as mockup designs to test the function and look.

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6.delimitation This report will mainly examine the topics and seek answers related to a fashion designer position and the methods applicable for industry profesionals working in this field.

While some insight from the branding perspective will be covered, the report will not look into challenges marketeers and brand specialists would face. Additionally, the financial aspect of creating a brand and costs needed to operate a fully funtioning business will not be covered.

7.upcycling as a trend The following dicussion and argumentattion section will cover three main parts to answer the problem statement.

First, I will examine the trend – upcycling – from a historical and sociological aspect.

Examples of usage of the trend by groups of people, fashion designers and the development of it until today will give a brief description of the movement in general while trend forecasting overview and the DART model will cover the usage and future of this trend.

Further on, the report will define the brand identity, it’s origins and target market.

The third part will describe the design process and activities conducted to offer feasible results in a form of manufactured garments as a response to the main problem statement.

7.1.upcycling origins In general, reusing products and materials to prolong their lifespan can be traced back throghout whole human history when it was part of everyday life. However, the term “upcycling ” is a relatively new concept that was first defined by Gunter Pauli, an entrepreneur otherwised known as “Steve Jobs of sustainability” in 1998 following a growing awareness of mass production and the negative effects caused by excessive consumerism. Later on in 2002 the term became mainstream after the book Cradle to Cradle: Remaking the Way We Make Things was first published by architect William Mcdonough and chemist Michael Braungart.15

7.2.designers working with upcycling As the amount of waste material left behind has risen to a catastrophic limit in the last decades, upcycling has emerged into a movement beyond just DIY projects and fun experiments found on Pinterest. In fashion, designer such as Martin Margiela is well know for using post-consumer products to create artistic garments. Examples include old leather gloves formed in a top, a jacket made out of belts and sweaters made out of army socks, to name a few.

Even objects, such as broken porcelain were tied together to create a waistcoat. These artisanal pieces have become a staple of the fashion house and today are still looked upon other designers as an inspiration source to reinvent fashion and think outside the box.

Recover Brands, 2018. History of Upcycling. Blog. Recover Brands.

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In a conversation with Hannah Tindle for Another Magazine, Gill Linton - the founder of vintage fashion venture “Byronesque” explains: “A friend of mine once said, ‘when you’ve got no money, creativity’s the only currency worth having’, and I think that actually is what drove a lot of Margiela’s work. It was all about reusing things. I mean there’s a reason why the Tabi boots are painted – because they were from the season before and they didn’t have the money to design other shoes so they just fucked them up and painted them. I think this really speaks to people.”16 While Maison Margiela continues designing reclaimed pieces as part of their artisanal collections, many young designers have started to base their brands on working with either second-hand and vintage garments or deadstock fabrics to create their own unique expression while pointing out the environmental issues we are facing today. If until the early 2010’s sustainable and eco-friendly brands were most likely targeted to older generations and consumers who are not necessarily invested in the newest styles, the following decade has experienced a growing number of brands working with sustainable design methods and targeting younger consumers interested in the latest trends.

7.3.trend cycle and trend theory Author and sociologist Henrik Vejlgaard in his book Anatomy of a Trend talks about the cycle of trends, how to make predictions, recognize a pattern and the various stages the trend becomes accepted by groups of society.

According to the theory the upcycling trend is now at the the beginning stage and has just started to become recognised by larger group of society – trend followers. To support this argument, I have conducted secondary research from trend forecasting agency such as WGSN that gives future prediction of the trend emerging to wider market on high street level by Spring / Summer 2021 and therefore being accepted by the mainstream consumer.

Further on, Vejlgaard suggests a trend tends to be slowly taken over by late adopters in the years to come. While from the brand’s perspective, it is important to stay relevant and offer new and fresh ideas to the customer, the trend cycle and sociological acceptence of the upcycling movement is an important step to build upon the brand in a long term.

This practice has proven to become widely accepted by fashion conscious individuals including trendsetters and trend followers. Personalisation, individualism and customization goes hand-in-hand with this movement and has become a countertrend towards the fast-fashion mass market. Instead, the younger generations are more invested into finding unique and limited edition garments to differentiate themselves.

Hannah Tindle, 2017. Why Contemporary Fashion is Looking to the Ethos of Margiela.

Article. AnOther Publishing Ltd 16

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Figure 1. Source: “Anatomy of a Trend” by H.Vejlgaard.

Figure 2. Collage by the author / sources: WGSN - see Appendix 1.

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7.4.DART model For this research I will look into upcycling as a trend and movement. To conduct a primary research into the importance and recognition of the trend, DART model gives a visual insight of upcycling seen in various cultural contexts. The model describes the predicted trend from different perspectives and is used as a supplement, a tool when working with trend theory.

According to Mackinney-Valentin, the method is used by first identifying a hunch which starts by completing the following sentence: “There is something about XX these days.” In this case the hunch I am investigating is upcycling, therefore I am stating: “There is something about upcycling these days.”

The gathered data from cultural, historical and sociological aspects come together as an overview in a visual moodboard pinpointing the most crucial tendencies of the chosen trend and how it is perceived.

These are just a few examples of more general factors that drive the hunch and explore the predicted phenomenon.

While the global awareness of sustainability issues is rising, so is the reaction to find solutions, even if it is a small, individual decisions a person can make. Upcycling as a trend can be seen widely on social media platforms – popularised by DIY blog posts and videos to create home decors or reuse old jeans. Many young fashion designers are using upcycling as their main design strategy to create unique clothing.

There is no doubt the upcycling movement has become more popular due to the global climate and economical challenges. People across the globe have started to question the massive damaging impact humankind is leaving behind on earth’s ecosystems. From personal choices to reduce plastic use in daily life to larger scale reformation in government laws – these issues have become an everyday topic in society. Many cultural events are operating in a more sustainable model – festivals are banning the use of single use plastic.17 Chris Martin, the lead member from “Coldplay” just announced to end future band tours due to environmental concerns.18 Tom Herbert, 2019. Glastonbury Plastic Bottles Ban 2019. Article. Evening Standart.

Sophie Lewis, 2019. CBS News. Coldplay Will No Longer Tour Until Shows Are Environmentally Sustainable. Article. CBS Interactive Inc. 17 18

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Figure 3. Collage by the author / sources: various - see Appendix 2.

8.about the brand 8.1.logo origin The aim to find a signature symbol along with the brand name was a crucial step to build a strong brand indentity easily recognisable to the future customer. Throughout time, fashion designers and companies have built upon the brand name and logo as one of the most important tools to differentiate themselves among competitors.

Logomania reached its peak popularity during the 1990s when branding became a mechanism to singify status of a fashion house. Soon logos found its place as an aesthetic – everything from handbags and underwear to sweatshirts and coats was decorated with logos. Many high fashion brands such as Dior, Gucci, Louis Vuitton or Calvin Klein, just to name a few, continues to use statement logos which have become an inevitable part of each upcoming product line.19

The brand logo and symbol is a mythical creature – a monster called chimera (/kI’mɪərə/ or /kaɪˈmɪərə/). From Greek mythology the animal consisted of three parts – it had a lion’s body and head, a goat’s head growing from the back of the body and a tail ending with a serpent. The fire-breathing creature was first briefly decribed in Homer’s Illiad (named “Chimaera”)20 and was often associated with other grotesque hybrids consisting of different animal parts.

Additionally, chimera is a symbol of something unreal, a myth, a fantasy. Some synonyms from Thesaurus online dictionary include names like dream, hallucination, delusion, illusion and mirage.21 From a thorough investigation into the origin of the name, the symbol and the meaning behind it, the brand CHIMERA was created.

One of the driving forces and inspiration for creating a unique logo and name for the brand was examining the emblems from the automobile industry. These symbols often consist of various aggressive and fast animals such as a jaguar, a mustang, and eagle or a griffin. The powerful symbols are eye-catching and easily identified. This example of finding an emblem that associates with a brand was used to find a character that has not been used yet in a large scale and has something original to it.

Figure 4. Logo design by the author.

Homer. The Iliad with an English Translation by A.T. Murray, Ph.D. in two volumes, 1924. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 21 Roget’s 21st Century Thesaurus, Third Edition, 2013. Chimera. Philip Lief Group 20

Hannah Tindle, 2017. Logomania, the 1990s Trend That’s Returned with a Vengeance.

Article. AnOther Publishing Ltd 19

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8.2.mission, vision, values CHIMERA is a lifestyle brand influenced by street style and past decades, especially the 80’s, 90’s and early 2000’s.

Collections consist of variety of genderless clothing suitable for all seasons. CHIMERA highly values sustainability and therefore works with upcycling and deadstock fabrics to create unique one-of-a-kind garments.

CHIMERA manifest: CHIMERA has different sides. It can be fierce and daring yet sensual and melancholic. It shifts accordingly without compromising on its true identity and uniqueness.

The CHIMERA mission statement:

CHIMERA tells a story of a nostalgic daydream with vision for a better future.

To offer unique standout garments to be cherished for a long time.

CHIMERA’S manifest can be put into a single word: NENOSTALGIA

The CHIMERA vision statement:

To become a well-known name in a global scale as a highly creative brand working with upcycling.

Some of the main CHIMERA brand values are:

To create unique clothing with high functionality and comfort in mind.

To be playful and experimental.

To stay relevant /instead of trendy/ and create value.

To be respectful towards the environment.

To be unpredictable, always changing but staying true to own identity.

Figure 5. Collage by the author.

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8.3.branding and marketing From a branding perspective the CHIMERA identity is clear and simple. It follows the idea that less is more with visual language being the dominator in external communication.

Emphasis is on the logo in a signature blue colour that is repeated often as a print on products or used for SoMe content to reach a certain brand recognition. The colour of the logo would change each season from blue to green, yellow, red, purple, etc. to signify the next step for the brand and as an exciting transition into the future.

Along with bold usage of logo and graphics, the brand uses other fun marketing tools to build brand& awareness. positioning competitors_____For example, the CHIMERA chewing gum has thebrand purpose CHIMERA is a street-inspired with focus on of sustainability and reworked fashion. It is a mid-sized brand that would sell in small concept stores and a business card with all the necessary information written boutiques in capitals as well as chain stores selling variety of brands. Some examples would include WoodWood and Storm in Copenhagen and Urban on it and additionally includesOutfitters a temporary tattoo the names. Important to or Weekday as some of the big,of international mention that CHIMERA is a global brand and would be sold online with similar street style brands.

Main competitors are Ksenia Schnaider, Marine Serre, brand’s name and logo for a proper 90’s nostalgia.

Drag and Drop, Leo, Dry Clean Only, Walk of Shame, Saks Potts, Martine

Main competitors are Ksenia Schnaider, Marine Serre, Drag and Drop, Leo, Dry Clean Only, Walk of Shame, Saks Potts, Martine Rose, Y Project, Marques Almeida.

These designers either share similar aesthetic or ideas, manufacturing process or how they communicate externally. What connects them with CHIMERA is their individualistic and unusual approach to market themselves to the customer with fresh and highly creative designs.

COMPETITORS MARTINE ROSE

KSENIA SCHNAIDER

Rose, Y Project, Marques Almeida.

8.4.positioning and competitors

SAKS POTTS NON FORMAL NON FORMAL

CHIMERA is a street-inspired brand with RAW focus on ORGANIC GLAMOUR GLAMOUR RAW ORGANIC sustainabiity and reworked fashion. It is a mid-sized brand that would sell in small concept stores and boutiques in capitals as well as chain stores selling variety of brands. x x in PRACTICAL FUNCTIONAL Some examples would include WoodWood Storm DECORATION BOHEME andTREND DECORATION BOHEME TREND PRACTICAL FUNCTIONAL Copenhagen and Urban Outfitters and Weekday as some of the big, international names. Important to mention that CHIMERA is a global brand and would be soldCLASSIC online with ROMANTIC CLASSIC ROMANTIC SIMPLESIMPLE similar street style brands.

MARINE SERRE

MARQUES ALMEIDA

Y PROJECT LEO

FORMAL FORMAL

CHIMERA is positioned between categories such positioned as CHIMERA trend, raw,is practical and between functional categories with slight such as trend,towards raw, practical tendencies romantic and and functional decoration. with slight

tendencies towards romantic and decoration.

Figure 6. Collage by the author / sources: various 19

8.5.inspiration

8.6.film and music

One of the main inspiration sources for the brand is the emotional connection with past events and memories. It is mostly driven by nostalgia and reinterpreting the sentiment for time gone by. Either the designer’s own childhood memories or imagination of an earlier decade can trigger the next vision for inspiration.

As much as the brand is inspired by poetic and phylosophical terms, it is highly influenced by pop-culture in film and music.

Some CHIMERA favourites include the cinematography by directors such as Quentin Tarantino, Luc Besson and Erik Rohmer which tell visual stories filled with emotion, drama and great aesthetic. Late 80’s and 90’s TV shows such as Twin Peaks and La Femme Nikita, just to name a few, are inspiration for the bold opening graphics and fashion of that time worn by the cast.

The nostalgia for an unexperienced past is defined as “anemoia” by John Koening – author of The Dictionary of Obscure Sorrows. This neologism is what many of us have always felt and thought about yet never had the right word to describe it.22

In music, the brand is inspired by rave and techno sounds combined with modern Scandinavian paganism from artists like Fever Ray, The Knife and Royksopp. Melancholic melodies by Chromatics and classics like Pink Floyd are also some of the CHIMERA sounds.

Other muses and personalities include musician Dev Hynes - aka Blood Orange, videographer, blogger and influencer Melanie Kieback and fictional characters such as Leeloo from the Fifth Element and the famous spy Jason Bourne from novels and film adaptions as a contrary with his cold attitude and attire.

The colourful mix of these very different pop-culture influences again is what characterises the brand – a combination of diverse components. These influences are used as one of the foundation points to define the brand and its interests, where it stands and what it wants to represent and be affiliated with.

John Koening, 2013. The Dictionary of Obscure Sorrows – Anemoia. Blog. The Dictionary of Obscure Sorrows.

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FILM

TARANTINO FILMS THE FIFTH ELEMENT

LA FEMME NIKITA

TWIN PEAKS

ERIC ROHMER FILMS

TRAINSPOTTING

THE ROOM

AMERICAN PSYCHO PIERROT LE FOU THE DREAMERS Figure 7. Collage by the author / sources: various 21

SOUNDS

MUSE MELANIE KIEBACK

blogger & influencer // her personal style & videography

BLOOD ORANGE

DEV HYNES PINK FLOYD

JAAKO EINO KALEVI

musician // his personal style & music

LEELOO

ROYKSOPP JASON BOURNE CHROMATICS

Figure 8. Collage by the author / sources: various 22

fictional character // his cold & serious character

fictional character // her looks and attitude

8.7.aesthetic sustainability According to Kristine H. Harper, any design can be measured in some sort of context that triggers the receiver to see it as either extremely beautiful and easy to decode or more sublime that challenges the preception of design. Using the aesthetic strategy model the four given conceptual pairs allow the designer to position their design aesthetic to achieve a certain consumer reaction.

Since CHIMERA aims to offer newness to their recipient and break certain norms, it leans towards the categories characterized by the Pleasure of the Unfamiliar decsribed in the strategy model. Instant payoff versus instant presence is about the physical and sensuous qualities and therefore is best used when describing real products.

The CHIMERA design aesthetic tends to challenge the perception of a product and takes prolonged detection.

The recipient is forced to spend longer time to examine the product’s shape, colour, details and chosen materials to find a deeper meaning. The product may be more complex due to asymmetry, unusual material combinations and therefore forces the viewer to stop and look – to be present.

For example, CHIMERA uses discarded materials in new context such as upcycled objects turned into accessories or as trim details which create unexpected and exciting combination.

From the aesthetic experience based on symbolic value, CHIMERA aims to stand out instead of blend in. While this pair of opposites describe the user’s decoding and own identity, it also decodes the shared network around the person – whether he or she wants to “camouflage” into the crowd or the opposite – to be distinctive and stand out. The bold colour combinations, original and eyecatching print designs is what characterises the designs to become attention seekers. The unique garments made using reworked materials guarantee the wearer to have distinctive, one-of-a-kind garments that differentiate themselves from the public.

instant payoff

instant presence

X

blending in

standing out

X Figure 9. Diagram by the author. pattern booster

pattern breaker

X

breaking the comfort zone

comfort booster

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X

8.8.SWOT analysis To determine the brand’s strengths and weaknesses – internal factors and opportunities and threats – external factors, the model is applied for a structured overview.

The main CHIMERA strengths are definitely in their strong brand identity and DNA that shows in the logo, bold, eyecatching print designs and unusual colour and material combinations. Another strength is being a contemporary company that focuses on sustainability and talks about it to their customer. The upcycling technique is used as an advantage to come up with unique one-of-a-kind products.

Being a startup and independent label is another strength which allows CHIMERA to experiment and have the freedom to shape the brand accordingly.

However, this is also one of the weaknesses – being a new company without experience. Also, using upcycled design methods is a time-consuming process that requires extra labour and crucial design choices which makes this approach a weakness as well.

From the external perspective, CHIMERA has many opportunities to grow the business and expand the local production. With a successful start it can grow into a brand well-known for its transparency and ethical manufacturing.

It can source deadstock material from factories based in Europe instead of purchasing new fabrics. The potential to educate the consumer is an opportunity that can become benefitial beyond just the CHIMERA brand.

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The oversaturated fashion industry with many competitors is one of the most important threats for a new brand.

The market has become full of similar sized independent labels in the same price range, many that are working with sustainable design methods as well. This threat would require CHIMERA to find a truly unique voice to differentiate from the competitors and stand out.

8.9.target group The intended target audience for CHIMERA is young millenials and generation Z between ages 20 – 35. These individuals are mostly based in metropolitan areas, in the Northern hemisphere. The CHIMERA customer is a creative individual with unique personal style. Their wardrobe is a mix of second hand, one-of-a-kind vintage finds, designer and high street brands. They highly value good quality materials that can last for long yet they are also attracted to styles that will stand out from the crowd.

These customers are early adopters and trendsetters who instead of following the current trends will look out for new and upcoming ideas from independent designers. They are proud of owning garments that are either limited edition pieces or are somehow personalised to have a unique status.

The CHIMERA customer is an open-minded, intellectual modern day inividual who is well-informed about the current geopolitical situation worldwide, therefore their purchasing habits are driven by choosing products that are either environmentally friendly, ethical, locally made or support a good cause. The drastic climate change events have influenced their lifestyle – slowly they are switching to a more minimalistic approach to buy less with longer lifespan. They invest in products that are carefully made or have a story behind - examples vary from locally produced, handmade items to rare second-hand finds and individually made items specific to ones unique requirements. They are no longer interested in mass produced goods and fast fashion clothing.

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In their free time these individuals like to spend time with their close ones and enjoy conversations face to face. As much as this generation is tech savy with high social media presence, these people are quickly acknowledging the damaging effects of living an online life only and therefore have started to manage their time spent on social platforms.

They are either switching to a limited amount of time spent using these platforms or are actively talking about the unrealistic standarts presented daily. Their goal is to slow down and have a more balanced life and environment.

To achieve this, they are often swtiching from digital to analogue whether it is choosing a physical book over an online version or developing film as a new hobby instead of taking photos with iPhone. The interest in old-school methods and vintage nostalgia also affect their personal style – these customers like to wear clothing from different time periods and mix them with new and upcoming trends to achieve a truly unique look.

The CHIMERA customer is open to interpreting the offered designs in stores and online up to their liking – it does not matter whether the shirt comes from a women or men section – the most important is the desired fit and material. Their wardrobe often consists of clothes for both genders and varies in sizes from fitted garments true to their original size to extra large garments for an oversized look. Once again, the labels put on by brands does not limit these consumers to purchase garments outside their targeted products. The CHIMERA customer will mostly choose gender neutral or unisex clothing that speak to their personality and not gender or measurements.

tactical details

have fun with fashion! comfort stand out

vintage lover gender fluid

analogue retro digital

street style

art lover target group

Figure 10. Collage by the author / sources: various 26

8.10.persona PERSONA I

The following personas are based on real individuals that are specifically chosen as a possible CHIMERA customer.

Certain criteria was defined when choosing these people – they had to be part of the selected target market segmentation and fit the general profile including age and current living location, they had to have a certain interest in fashion and current trends, they had to represent at least some of the values CHIMERA believes in, such as interest in sustainability or progressive ideas. The selected individuals were asked to answer an open-ended interview about their personal style, shopping habits and design choices, style inspiration, interests and hobbies. From these selected individuals, a visual persona was created that tells about the CHIMERA customer – their needs, values, main interests and desires.

The collected answers aligned with the proposed CHIMERA target customer description. The personas are openminded and feel confident in their choices to experiment with their personal style while knowing what exactly they are looking for in clothing. They mostly choose oversized and unisex styles and like to mix designer items with preowned styles. They are trend conscious – in the group of early adopters and trendsetters yet these individuals wish to differentiate and not follow trends that are too obvious.

They are curious and like to try new things and ideas. They are optimistic about the future and know it is up to them to make better choices everyday in terms of choosing sustainable options instead or conventional ones or buying products in higher quality to last longer.

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Elvija Latvian, lives in London bold & confident

Freelance Fashion Assistant

loves nature

comfortable & functional clothing

trend aware time spent with close ones

some favourite brands: Y Project, Eytys, Marques Almeida, MM6, Balenciaga, Marine Serre

art lover

Figure 11. Collage by the author / source: instagram.com/elvijav / see Appendix 3.

PERSONA II

Mark British, lives in Copenhagen DJ/Broadcaster, Art Director at MMHRADIO

“good style is eternal“

inspired by history 70’s & 80’s loves music & football

vintage & second hand

laid back & authentic

Figure 12. Collage by the author / source: instagram.com/markwingco / see Appendix 3.

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PERSONA III

Sesselja Icelandic, lives in Frederiksberg C Works in retail

colourful but minimalistic style

likes to mix different prints

loves vintage

likes to hang out with friends

Figure 13. Collage by the author / source: instagram.com/sigurkarlsdottir / see Appendix 3.

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trend aware

some favourite brands: Saks Potts, Ganni, Heliot Emil, Prada, Giu Giu

feminine & comfy

9.design development As the design development process is predominantly an individual approach that differs between designers, it can become complicated to trace such creative measures into strategic actions. However, there are certain methods that work as drivers to generate ideas and to discover new and better solutions.

My design process has always been highly intuitive and based on experimentation. Even if the initial vision may change, it is more important to find a solution in the progress which can provoke a better, improved suggestion.

As CHIMERA aims to see the potential in any unwanted material or object, so is my goal, as a designer to be able to create an aesthetic experience with the manufactured products. In this way, the limitation to work with what you have instead of finding a perfectly specific fabric that will require use of natural resources, is what strives to challenge my creativity and stay truly unique.

The first CHIMERA collection “Flight 1991� is a visual story that turns unsual mix of material, colour and print ideas into playful combination or garments. The layered details and hanging objects create a collage-like effect that seems uncontrolled and chaotic at first, yet altogether perform as a highly functional and comfortable everyday clothing.

Figure 14. Collage by the author.

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9.1.historical research

9.2.design influences

Following the studied trend research, historical rsearch is what defines the first outlines for collection pieces. As described before, CHIMERA is about nostalgic sentiment towards the past decades.

As a contrary to historical garment research mostly consisting of conventional, practical materials and functional clothing, the muse is used as another method to offer novelty to the primary design ideas and refresh the process with unexpected colour combinations and textures.

To me, the inspiration is always personal. It is an emotional journey to a different time and place, almost as a dream.

To achieve this authenticity, I have based the historical garment research from the 90’s solely on family archive photos. This method goes in-line with the CHIMERA idealogy to seek a personal meaning behind the initial design inspiration.

As an additonal source, photographs from the photo book “Zeme atceras” (“The Land Remembers”) by Uldis Brauns show the everyday life of working class people from the Latvian countryside. Even though the pictures are taken shortly after the Second World War, it is interesting to note that many of the garments, the shapes and silhouettes have become timeless examples of clothing that people after nearly 80 years still have in their wardrobes. I have used these photographs as an inspiration and reminder of the simplicy of design and everlasting function of clothing.

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In this case the character Nikita from the late 90’s television show “La Femme Nikita” is the eponym of action/drama series about spies typical of the decade. The primitive computer graphics and visualizations among with the main character’s bold outfits is what defines the muse to become an exciting addition to the CHIMERA design universe and create an attractive proposal for the target customer.

Figure 15. Collage by the author / sources: various 32

9.3.print development Eye-catching digital prints is one of the most defining CHIMERA design characteristics. The outcomes vary from graphic design and logo prints to photographic print designs in collage technique. For the “Flight 1991” collection, the printed artworks are inspired by vintage car advertisements in magazines dating back to late 80’s and early 90’s and VHS cassette covers.

Once again, the choice to use these influences has become from my own childhood memories when films were rented from small video rental stores and watched over and over again before they had to be returned. The automobile ads were something I remember to be seeing everywhere during the 90’s. When the borders to West Europe reopened, there was not a single family that did not have someone in their network who went to Germany to buy a new car and drive it back to Latvia. Traveling around in a car had something very special about it, a whole experience of the trip with so many hours spent in a vehicle – almost as if it becomes a home for a certain moment.

Another dominant print is inspired by luggage tag sticker from my frequent travels between Copenhagen and Riga.

The sticker is scaled up to become more abstract and is altered to fit the CHIMERA brand. The outcome is a modern camouflage in black and white with neon green colour accents. From the symbolic perspective, the print is a metaphor of being between two countries, thus the homesickness that originates from the term “nostalgia”.

Now that the borders are open and people are free to travel easily, it is hard to imagine how it was nearly 30 years ago when traveling to the West was merely impossible.

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The sentimental association with somewhat simplistic, everyday objects and events of that time is what can trigger incredible amount of emotional inspiration that I aim to implement visually in CHIMERA print designs. While the outcome is colourful and playful designs, the initial inspiration is deeply rooted in a profound meaning.

The selected prints are either used as all over print on whole garment or as smaller placement prints on accessories and details. The technique to produce the print designs is digital textile print for cotton fabrics and sublimation for polyester-based fabrics. The manufacturer is based in Riga and guarantee the safety of inks that meet the strict requirement of the international standard OEKO-TEX® Standard 100.

Figure 16. Print designs by the author.

9.4.silhouettes and line-up The silhouettes offer variety in shapes from volume being on the top and shoulders to more exaggerated forms below the hips and even lower - by the ankles. The garment fit is inspired by historical research – everyday clothing worn during the 90’s, especially straight fit denim outfits, loose sweatshirts and bat sleeve jackets. Other details such as suspenders, headscarves and aprons along with more classic garment forms and workwear are used as additional inspiration for the line-up styles.

The inspiration comes from a pre-internet time when people did not care that much about their style and wore different clothes just because they had to wear something. This interpretation of careless times reflects in the collection line-up as layered styles where garments create an illusion of various items wore at once. For instance, the pants are partly made out of reworked denim parts with pockets hanging out as an attachment and extra elongated denim legs creating the impression of wearing something that is way too big. The boxing short detail attached to the top of the pants, give an idea of underwear that is showing. The jacket has double cuffs and collar creating the impression of having a sweater under the jacket.

The sketching process shows different ideas for the various styles and accessories while the final line-up is visualized in a presentation booklet.

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The collection consists of various genderless styles suitable for all seasons. The styles are slightly oversized – to allow the customer to choose between a slim fit silhouette or a more loose look. The garments are not limited to either being solely for male or female customer – it is up to the client to choose what they desire and not feel restricted to any gender norms. When walking in a CHIMERA store there is no separation between sections for men or women, the styles can be mixed and matched to allow freedom of choice to the customer.

9.5.prototyping To test the chosen silhouettes and materials, inevitable part of design process is to experiment as much as possible.

While the idea of the garments was figured out early in the process, the alteration of fit and desired outcome was an on-going process taking several adjustments and improvements.

Furthermore, the visual appeal of material combinations, prints, colours and details was a thorough exploration of possible outcomes – first conducted digitally to create visual prototypes and later on tested in final print fabric choice for a result as close to desired look as possible.

9.6.PVC and bioplastic

9.7.use of upcycled materials

Multiple test samples in PVC with print design were created to be used as detachable details or as part of accessories.

Natural flowers were collected beforehand, pressed and dried. After several weeks the flowers were pressed between PVC sheets to create a laminated, transparent effect. The gentle and romantic flower detail work as a contrary to the heavy hardware details that include automobile accessories, chains and carabineers used as decorative elements in the garments.

To manufacture selected collection pieces, a hybrid technique of newly produced material and unwanted handpicked clothing was used. The denim was sourced from vintage and second-hand stores as well as family owned garments. Trimmings such as chains and keys used as decorative details for clothes and accessories, were found in flea markets and collected from relatives. All leather bags are made of upcycled vintage cow leather.

While the PVC (polyvinyl chloride) used to produce these details is phthalate free, it is still a synthetic polymer - a material that is not biodegradable and is highly damaging to the environment. To find a better substitute, I have conducted an experiment to make bioplastic from simple ingredients – water, vinegar, corn starch and glycerol. The ingredients are mixed together in a pot and put on low heat until it becomes glue-like and starts to pop bubbles. The mass is then spread out on a parchment paper and put to rest for at least 24 hours.

Although the result was a silicone-like semi-transparent material, unfortunately it did not achieve the desired outcome and was too fragile to be used. However, bio-based and partially bio-based plastics are in the development stage and many start-ups, investors and other enthusiasts are actively experimenting with finding new technology to find the formula for better solutions.23

Clara Davis, 2017. BioBags Collection. Blog. FabTextiles

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To maximize the potential of each produced digital print fabric, smaller fabric scraps were either sewn together to create a certain pattern piece or assembled together with other leftover materials such as denim. The result was a mixed technique garment made from new and upcycled materials. While the base of the clothing item is the CHIMERA print fabric, the “filled-in� pattern spaces differentiate product from product. In this way, the garments become unique pieces with each having slight variations in the used materials, yet keeping the overall intention and aesthetic. Other unused fabric leftovers are saved for the production of smaller details or other collection products to consider zero-waste techniques.

Although, the idea for the upcycled garments is to focus on slow fashion and create limited edition pieces in relatively low quantities, a possible option for optimized production would be to prepare a custom-made material out of repurposed textiles in the first place.

9.8.realization of the design strategy To put the planned upcycling strategy into action, certain sourcing and manufacturing factors need to be considered.

While sourcing post-consumer textile waste from flea markets, second-hand and charity shops is an extremely time consuming procedure, the unwanted clothing could be sourced by buying it in bulk amounts from businesses offering such services. The donated clothes are separated into categories by garment type – whether it is fur coats, leather jackets, vintage denim, silk scarves, etc. - and sold by weight. This partnership with a second-hand wholesale company could facilitate a faster material sourcing and allow to produce larger product quantities of the same item in a similar outcome.

Another option is to work with a textile manufacturer and purchase deadstock material – pre-consumer waste. The benefits of using this strategy is the possibility to work with the material straight away without investing time and resources into disassembling a garment first. This collaborative approach has become a common practice among many smaller and mid-size independent designers working with upcycling.

Figure 17. Collage by the author.

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10.conclusion

11.perspectives/reflection

To finalize the research, the chosen methods and theory used to answer the main question has proven to give a thorough investigation into the various subjects that form a realistic answer to the problem statement.

The research paper has served as a solid foundation to define the CHIMERA brand from the branding and target market perspective, the chosen design aesthetic, values and inspiration sources, as well as working methods and strategies.

According to the various sources and proven viability of the upcycling movement and it’s growing popularity and acceptance in society, the choice to use the practice as a foundation design strategy is a safe step for CHIMERA to experiment with and include it as a core plan of action.

For a successful result, the methods including brand definition, identity, target market and persona serve as factual information to be used further on before starting the design process and remind the designer the predominant intentions – internal and external when working on a collection. The designed collection using upcycling techniques have resulted in successful products that goes in-line with the desired brand beliefs and principles while not loosing focus on the CHIMERA target customer.

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The aim is to continue developing the brand internally and test consumer interest and reaction by first releasing a few selected sample products and grow gradually by expanding the offered product line. The goal is to work in a hybrid design technique mixing unwanted materials with sustainable and recycled fabrics to cultivate a truly unique CHIMERA design universe.

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Photographs by Lineta Liduma.

Cover page: collage by the author.

LIANA PABERZA

2019