HISTORY OF FASHION CONTEXTUAL STUDIES FOR FASHION RETAIL
INFLUENCE: 19TH CENTURY, AND THE BIRTH OF THE MODERN AGE. 1900-
1950Poiret: draping, lampshade design. Feminine, light, inspired by Greek Goddesses, 1910-
Bustles underneath gathered material, heavy and not very delicate, (1900-)
Christian Dior, his models. The evolution of the Poiret style of draping, and empire waist but with more Victorian structured bodice, (1950-)
2000Alexander McQueen for Givenchy. Masculine, tailored, but with an ultra feminine bustle and bodice, (1996-)
Alexander McQueen, his own label. Feminine draping, romantic. Hard colours, and gothic leather trousers. Juxtaposition of his two inspirations from fashion history, (2000-)
John Singer Sargent (1894-)
Madame ‘X’, wearing a fitted bodice with corset detail. The draping around the hips is heavy. Sargent. (1894-)
In 1894 John Singer Sargent painted ‘Madame ‘X’’. Madam Pierre Gatreau was a socialite from Paris. The dress she wore was created from a structured bodice, corset, and draping, and the straps were created from jewels. The visual was relaxed, and provocative, a distance away from the fashions of the time. It was the nu-wave for women’s fashion, that continued on into the 1920’s. This painting became a marker for the oncoming fashion evolutions in the 1950’s with Christian Dior, and the ‘Silhouette’. Dior brought back the feminine shape in his haute couture, and was inspired by Poiret’s innovative loose and relaxed style but matched it with the famous small waist and structure over the hips to exaggerate his designs. It brought together the provocative nature of Poiret’s designs, and Dior’s classical aesthetic.
Dior silohette, lampshade skirt detail. Feminine shape, tight bodice, corsetry detail (1950-)
Dior, Nicolas Ghesquiere 2013. Modern clean cut, and bright colour, but light draping over the hips. Evolved take on the lampshade dress but not overtly feminine, (2013-)
Paul Poiret (1910-)
Alexander McQueen (1990-)
Alexander Mcqueen 2008
Sarah Burton, for Alexander McQueen, 2013
Paul Poiret created the ‘lampshade’ tunic, the harem trousers, and was the indelible ‘King of Fashion’ in France. His couture was technical, and brought fashion into the costume drama that so many modern fashion houses have emulated in the 21st century. The stage the models walked on became a theatre of marketing dreams, showing his delicate and structured designs as if they were the principles. Alexander McQueen, albeit a unique force, could not deny that he was inspired by Poiret. Even with Sarah Burton as the new creative director, she hasn’t forgotten the major inspirations for the house of McQueen. There is classical styles from centuries passed, with the empire line from Greek history, but with the embellishment and structure of Parisian Poiret. There is a subtleness, without losing the self-awareness of McQueen as a brand. HTTP://METMUSEUM.ORG/TOAH/HD/POIR/HD_POIR.HTML
‘Sophisticated Heritage’
BURBERRY
Burberry A/W 2012
Burberry created the gabardine textile in 1908, and in this vintage advert the model is wearing a suit made of gabardine (a wool and cotton mix). In the Images from the Burberry A/W 2012 collection, you can see the complementary fit of the suits and coats, from the original Burberry suit and the era it comes from. The sophisticated heritage of the brand is reflected in the Burberry designs of the present.
Double breasted overcoat, with a wide collar. Grey tweed texture. This wool and tweed blend, very common overcoat in the 1940-50 era, however this has a modern twist with the tailored slim fit style.
Patent oxford shoe, formal lace up.
Quilted hunting jacket, waterproof and formal. Classic military colours.
The bowling bag adds a delicate look to the outfit.
Men’s camel trench/mac coat. Classic staple in the Burberry line. Tailored impeccably, doesn’t stray too far from the original design originated in 1894.
Granddad jumper, contrasting colours. The cowl neck adds a modern twist.
Grey suit, classic three piece.
Puffer jacket, with a heavier waterproof textile. This is a contemporary version of An aviator shearling jacket, mostly warn By the RAF soldiers in 1930’s and 40’s. The colour gradients reflect a contemporary sophisticated gentleman.
The ability to layer on top of multiple materials.
Flat cap, tweed.
Matalan Theme
Range A/W ‘15 Catwalk influence
Matalan is a value retailer. It’s fashion has to appeal To a mass market, generalist male population. Their age range is between 18-49 years. Therefore they have to pick basic flat designs, Then with the texture trends, implement them on to the flat designs. Texture, And colour, become the important components of their range.
Modern textiles that are cheap and synthetic, with high quality materials for footwear. The designs are simplistic so they can be layered.
A/W 2015 Range
NEXT Theme
Next is a high street retailer that is on the upper scale, the customer is after good quality key-pieces for the season. They have more flexibility when it comes to selecting good quality materials, and taking direct influence from the catwalk. It is a strong English brand, with English heritage characteristics.
Catwalk Influence
The choices that NEXT make are more specific. They use better quality materials, and add more detail to their designs. This allows their customer to truly take on the trends of the season.
1950’s
1960’s
USA: NEW YORK CITY 1950-1960 Women at Work, and Home
1960’S
1950’S
Style Revolution
The fifties was an era of housewives, and ‘keeping up appearances’. Men worked in the city, and the women looked after the house and kids in the suburbs. Their style reflected their restricted lifestyles; corsets were still prevalent, and prom dresses were worn every day, including the layers of petticoats. They had time to pin their hair, and finesse the art of subtle glamour that was seen on the film stars of the time, like Veronica Lake, and Ingrid Bergman. The sixties arrived with a bang, and young girls who were in the shadow of their glamourous pageant mothers wanted to break free from the home and move to the city. They were the new working women. Their style had to be easier to fit their new lifestyles. They wore shift dresses, and mini skirts. No longer a follower, they were leaders in their own revolution; politically and in fashion. Models like Twiggy, with her thin malnourished frame, became the icon of this era. Her gangly limbs in high waist trousers and short mini dresses, were the style daughters young women wanted to emulate.
1950’S AND 1960’S FASHION: REVOLUTION 00’s 50’s
60’s
Protests
Chanel
Women at Home
Sexist Ads
Taking a Stand
Vivienne Westwood
Comparing 1960’s to 1980’s: Group Task Fight the power!
1960
1980 Money, Money, Money!
In the 1960’s it was all about peace, love, freedom. Jane Fonda was a young actress more interested in political activism than selling video’s of her exercise routine, which she did in the 1980’s. Both era’s show a progression economically but a regression morally. The fashion evolved from natural fibres, hemp clothing, and labels being non-existent; to gold on every button, zipper, and necklace. It was about showing everyone how wealthy you were, and how important you had become.
Fashion Timeline: 60’s to 80’s Style Punk
Bell Bottoms Shift Dresses
Loud Colours
1980
1960
The Mini Skirt
Club Kids Alternative Scene BIBA Girl Luxury Brands
High Street Trends Autumn/Winter 2015
GILET
Bright Knit
Balloon Sleeve Pussy Bow
Relaxed Shirt
High Waist Denim
SHIFT DRESS
Mini Shift Skirt
A-Line Skirt
Poncho Fitted Waist
Polo Neck Faux/Real Suede
Double Breasted Coat/Jacket
Flared Printed Trousers
Task Five: Market Research on High Street A/W 2015 Matalan £14
Dorothy Perkins £24
£14
Topshop
1960
1970
Today
£38
£12 £20
£30
£19.99 £40
£25
£12 £30
£65 £20
£42
£12
£56 £25
£28
£28
£55
Link/Relationship Between Product and Development The mini skirt, with centre zip detail, is influenced by the 1960’s era. The choice of material is also very 60’s. The Avengers’ Emma Peel, from the television series in the 60’s, influenced women around the world with her platform boots, and mini skirts. She was sexy, yet sophisticated. Today, Matalan has created a ‘suedette’ skirt, which is thin and moveable with the wearer. It’s comfortable and modern.
The flares that The Jackson 5, The Osmond's, and ABBA wore on stage were prevalent in the Disco movement of the 1970’s era. Their patterns were psychedelic, and the material was stretchy and fitted at the waist. Today, New Look has designed a jersey flared trouser, that has a zigzag print that is a mix of both 70’s and 80’s design. It’s casual but on trend at the same time.
Poncho’s, relaxed tops, were staples in the Hippy movement of the 1970’s. There were no rules against mismatching patterns or colours mixed together in one outfit. Layers, and relaxed fit clothing, were perfect for the autumnal weather. Today, Matalan has poncho’s as their version of a modern coat for autumn and winter 2015. They come in a variety of patterns, with subdued colours to match the 70’s trend of the season. The tunic shirt, which was usually worn over flared cotton or jersey trousers, was popular with rock stars of the time like George Harrison and Janis Joplin. It was part of the Hippy style of clothing. Worn with long necklaces, sandals or sometimes no shoes at all. Because the designs were plain, it made the print and embellishment more important. Today, Dorothy Perkins has this loose fitting on trend 70’s tunic blouse. The design can be worn over flared trousers, or tucked into A Line skirts.
In conclusion of my market research of the high street’s A/W 2015 trends, I have found that the main influence has been the 1970’s. It has come across in nearly every High street brand, but they have variations based on who they’re target consumer’s are. Whether they be young, middle aged, or just want good value all around. With a brand like Matalan, their interpretation is simple, allowing their customers to buy multiple items and layer them according to their personal style. With the other brands like Dorothy Perkins, and especially with Topshop, they seem to dictate what their customers wear and how they wear their products. This can be seen in their unique designs and their interpretation of the 1960-1970 trend for this season. The prices are high for both Topshop and Dorothy Perkins, making each piece important as a singular item in their customer’s wardrobe.
B R O C A D E
Embellishment Trend A/W 2015
The embellishment trend on the autumn/winter catwalks of 2015 included a lot of outerwear adorned with 3D objects such as chains or embroidery. Buttons were transformed using hooks, zips and buckles. Leather trims on coats and jackets added to the brocade trend. I’m using the term brocade loosely, because even though you can see traditional brocade used by some of the designers; there are more modern designs like adding embellishments, and raised patterns and not just raised embroidery, onto their garments. I have found from my research of catwalks for the Autumn/Winter 2015 season, the designs reflect Royalty robes from France where Marie Antoinette reigned with her husband Louis, and the period where Queen Elizabeth ruled over Europe. The materials used are delicate lace, and pearl embellishment. Also used are strong, tough, materials like leather and heavy knits. All of these trends can be diffused onto the high street by taking the strongest trend found in the majority of the catwalks; i.e oversized coats, heavy knits and fur, high necklines and contrasting patterns.
Winter Is Coming
Fur Trend Autumn/Winter 2015
Fur is a staple on Autumn/Winter catwalks every season, however for the 2015 season fur was used in A variety of ways. For example, full on shaggy fur was added onto high heels, and it swept the catwalk. Fur bags, and fur trim gloves were also on trend. Most of all, fur was used on coats, and outerwear. The fur hoods have gotten bigger, and so have the fur collars. Silk dresses had full fur tulip bottoms as seen on the Lanvin catwalk, and at Hussein Chalayan the trapeze Coats were wider, and the fur was heavy and thick on the pockets and on the collars. The bright colours usually reserved for Spring/Summer added a modern alternative twist were used on Hats, coats, bags, and added pops of colour to very traditional Autumn/Winter designs. I highlighted in my concept board the Inuit and Peruvian style, and this was seen all over the catwalks. Leather straps, and toggles, along with traditional Mongolian and Peruvian designs on poncho’s and heels, added to The wilderness trend. I looked to the Russian royalty; Princess Anastasia, and the Tsar’s. This historical time influenced some designers with their heavy coats, embellishments, and fur trims. The fur heels, and fur gloves, and extravagant heavy wool and fur coats, may not transfer to the high street. However the fur trim padded coats, colour, and prints, will become a staple on the high street this Autumn/Winter season. Aztec prints, and patchwork leathers, are easy to add to any wardrobe and stay on trend without blowing the budget for the average consumer on the high street.
Topshop £28
MGSM £205.52
Glamorous £27 Glamorous £27
River Island £60
Topshop £42 High Street Trend A/W 2015
GEOMETRIC
PullandBear £59.99
Missguided £45
ASOS £75
Jaded £38
River Island £65
SUEDE BOHEMIAN
Fashion Union £28
High End Fashion Market What is it?
High Street Fashion Market What is it?
Mass Fashion Market What is it?
High end fashion, includes designers who have catwalk shows in the major fashion cities. These designers have haute couture offices above their flagship designer boutiques that custom design any items of clothing for customers who are willing to pay thousands for high quality, hand sewn, products. Designers use exclusive materials that are expensive, and sometimes rare (Like exotic skins and fur). High end clothes are worn by celebrities on the red carpet, to showcase that designers brand on a global scale.
The high street fashion market is aimed at 18-49 year olds, and uses the trends from the catwalk to build their ranges using robust materials that are cheaper, and items that are more universally appealing than their high end fashion market counterparts.
Mass market fashion includes brands like Primark, Matalan, and H&M. These brands spend as little money as possible on production, and mainly sell basic styles that can be collated together to create an outfit of the season, and allowing the customer to add their own personality and twist with statement jewellery, shoes, and accessories.
Zara, Mango, and ASOS, are the main brands that in my opinion watch the fashion shows very closely whenever it is fashion week. They usually are magpies for the statement trends, and act quickly to interpret them in their own style. They are good at focusing on the classic pieces that they know their customers will love, and that will fit in with their range for the new season. Prices can be very steep, and for a statement piece that is close to a high end brand design can cost as much as £120. The increase in price attracts customers who can recognise the similarities to the designer equivalent. High street fashion will take a trend like 1970’s, and break it down to the simplest impact words like ‘Boho’, ‘Folk’, or ‘70’s Glam’.
The problem with mass market fashion is that the production costs are usually cheaper because they use sweat shops in third world countries. This can have an environmentally affect on families, and small villages, where the large production factories are built. They nearly never receive a minimum wage, and are pushed to the limit to create the clothes with as little effort as possible so they can make millions and millions of units to be sold in stores all around the globe. One devastating event that occurred because of this type of mass production was seen after the Bangladesh factory collapse in 2013, that saw over 1,000 workers killed.
Buyers attend fashion week, and sit on the front row, and analyse the collections before reporting back to their head office about what will be the next big trend in 6 months time. If the buyer works for a company like Net-A-Porter, or Browns in London, they will go backstage and discuss what designs they think their customers would want the most, and they will put in an order for the coming season. An example of this is when Gareth Pugh showed his graduate collection at the Central Saint Martins graduate show, and had all of his collection pieces bought by Browns in London, and subsequently his first fashion show at London fashion week was funded through this purchase. Because of the expense of the items of clothing, majority of the fashion houses make most of their profits from their accessories lines, like handbags and shoes, and also their beauty line. This is more accessible for the middle classes who have more disposable income. They don’t have the money to pay £5,000 for a dress, but will pay for a £1200 bag. H&M has collaborated with designers to make knock off fashions, but without the hefty price tag. So far they have collaborated with Lanvin, Stella McCartney, and this A/W season will join forces with Balmain for a one off diffusion collection of their most famous pieces.
Within a high street brand they will have their own high end lines, which allows them to spend more on more durable materials that are of a better quality, and also give them an opportunity to have their own fashion catwalk show. Topshop has their own high end line called Topshop Unique, the price can be as high as £300 for a single item. It sounds like a lot of money, but the fact it has been on a runway, and has been worn by supermodels and actors, it is accessible to a working woman who wants to emulate their heroines without the guilt of buying from a designer boutique. More and more people are buying high street brands today, because of the economy, and lack of jobs. So now more than ever, high street brands have the opportunity to over take high end fashion, and offer their own unique designs as well as high end knock offs. This has given opportunities to up and coming designers, and River Island is the most well known for giving such opportunities. Every season they have a collaboration with a young fashion graduate, fund them, and produce their designs and sell them to their dedicated customers.
A mass market retailer will appeal to every person in a family. They will have clothes for the baby, toddler, child, son, daughter, mother, father, and even granddad and nan’s. There is a difficulty in appealing to so many people, with a small budget, because there is a lack of room for in house designers to design pieces that will grab the attention of fashion magazines; which they need to promote their brand and keep it relevant. Prices are low, costs are low, which is good for the consumer, but for the buyer they have to keep an eye on the budget. They have to make sure they buy enough of the same styles that they know their customers want to see on the shop floor ever season. However, they also need to keep an eye on the major trend, not all of them, but the one main one that they know will stay around all season. Matalan has done this impeccably well. They have grabbed on to the 70’s trend with both hands and the majority of their ‘We Love’ collection (the collection that is the most contemporary and changes every season), is filled with 70’s prints and styles like balloon sleeves, gilet’s, suede shift dresses and skirts. They also put a great deal of effort into replicating the staple 70’s items from that era, like the clog heel, suede fringe bag, and poncho’s.
19/10/2015
HTTP://WWW.BBC.CO.UK/NEWS/WORLD-ASIA-22476774
Sophisticated Earth Earth tones, and provocative necklines. Relaxed fit, and soft texture.
‘Zebra’: Sophisticated Earth Loose Longline
Alberto Zambelli S/S ‘16
Ralph Lauren S/S ‘16
Jersey Knit Tailored Slim Fit Playsuit
Boot
Wide Hat
From my initial mood board about ‘Zebra’, I have found that they are a modified, ‘high fashion’ version, of a horse which is more ‘mass market’. This range is built around earth tones, metallic silks, and sand coloured leather. Animal print is also used, but sparingly. I didn’t want to evoke the obvious, but explore the spirited nature of the Zebra. There are loose jersey knits that can be layered, and linen shirts with a trapeze design that are sleeveless. The boots are structured, and have a snakeskin print. The trousers are slim fit, with woven design on the ankle seam. The playsuit has a utility style; with zips and buttons. With a cotton material it is more suitable for the summer weather. The longline waistcoat, is the summer coat that is part of the layering that is in theme with the Zebra style of overlaying colours, and textures. I think this is a modern and sophisticated range, with versatility for interchangeable style.
Jil Sander S/S ‘16
Chinese Culture in Fashion
This Goth subculture is the total opposite of what the western view of China is. The colours are violent, clash together. Make a statement.
There was a pop up Topshop store in Shenzen, China, in the Summer of 2012. Topshop sells in department stores in China (1) as of 2015.
Economic reform came into place starting in 1974, and during this period a lot of restrictions were relaxed, allowing farmers to own their land, and people to buy and sell clothes like in the West.
Bosideng is the largest department store in China. It opened its first London store in 2012. In China it has over £800 million in profit last year, and over 8,000 stores. It is known for an array of colourful ‘puffa’ jackets. (2)
‘Zhong Kouwei’ translated, means ‘Heavy Flavour’. It is the opposite of Xiao Qingxin, because it is more about violent colours, textures, and attitude.
High Street
Hanfu designs, the overlapping collar, and hanging ornaments on the belt, came to popularity with Zhang Dynasty and then Zhou Dynasty.
Simplistic designs, and outfits. Chinese women favour subdued fashion, and are not bourgeois like their American or British counterparts.
Modern Style
China
This style can be seen on the traditional Chinese Kimono. The delicate design requires complimentary colours and patterns.
‘Xiao Qingxin’ in English means: ‘Serene’ and ‘Poetic’. It includes lighter colours, flowery patterns, and innocence.
High Fashion
Luxury brands like Louis Vuitton, Burberry, Hermes and Chanel, have only recently in the past ten years opened their boutiques in China. There is a growth of wealth, and a need to show that wealth. Dong Liang Studios has only been open for three years, but has grown vastly due to the high demand for Chinese designer brands has overtaken the need for the western luxury market.
Traditional Style
From 1949 when Communism rule dictated the people of China, expensive materials and western designs were forbidden. Instead, all of the clothes were made from cotton and were dyed dark and dull colours. There was no freedom of expression. (1) http://insideout.topshop.com/2012/05/china-loves-topshop-too (2) http://www.forbes.com/sites/china/2012/08/17/does-chinese-retailer-bosideng-have-a-chance-in-london/
Cheongsam is a wrap dress in China, That become popular in the 1920’s, and with each new era, became more body conscious. It is made from Chinese silk and intricate embroidery. This was to showcase the owners wealth, and status in society.
With China Fashion Week starting in 1997, there has been an increase of interest in Chinese designers like Guo Pei, Xu Ming, and Hao Jia
Hip Hop/ B-Boy Subculture
The original meaning for the oversized clothes was because they were handme-downs from their older brothers. However, this was appropriated by high streets stores who latched on to the Hip Hop subculture.
The clothes they wore were sports clothes, like Nike, and Adidas.
When gangster rap become more prevalent in the 90’s, the style became more specific. It was oversized denim on denim, and oversized sports jersey’s.
Pioneers of Hip Hop the Sugar Hill Gang, were the first rap group with the lyrics ‘I said a hip, hop the hippie the hippie to the hip hip hop, you don't stop-’ in the late 70’s.
Music
Street Style
Martha Cooper photographed and documented the b-boy culture in the 70’s. Her photographs highlighted the eclectic style the New York natives had. (1) (2)
Hip Hop became mainstream, and along with it, so did the individual styles for each artist. They became muses for other cultures.
On the street, Dj’s would ‘break a beat’ for the B-Boy and BGirls to break dance to.
Hip Hop/ B-Boy Subculture
In the 70’s when Hip Hop grew out of the Bronx, and Brooklyn, it was all about short shorts, and tank tops. Men would go out and break dance on the side of the road.
Jay Z always wore a New Era sports cap, it was in every video, even when he started wearing suits, he still kept the cap. This became a staple for every artist after him, and every fan who wanted to emulate them. New Era now collaborate with a host of brands and celebrities.
Sports brand Adidas were synonymous with hip-hop thanks to RUN DMC wearing their shoes, and clothing, at concerts.
High Fashion American designers Ralph Lauren, Calvin Klein, and Tommy Hillfiger, all took inspiration from the subculture of Hip Hop, and used it in their catwalks in the mid to late 90’s. They appropriated the style for their own gain, and gave nothing very little back to the community.
1970 to 2015
It was enough to just rap about the clothes you wore, It was about the businesses you were involved in. Diddy, Jay Z, and Missy Elliot, all became involved in fashion, and producing fashion with affiliates and their own companies.
(1) http://edition.cnn.com/2015/09/07/arts/martha-cooper-photography-interview/index.html
(2) http://www.doriangreygallery.com/kids.html
When Lil Kim was wearing Versace, Missy Elliot was never out of her Adidas tracksuit, and Kangol cap. This lead to a collaboration with Adidas, similar to DMC.
The sport companies technology development for sports wear was expensive. They needed to give consumers a reason to buy their shoes. They used well known athletes and musicians to attract their ideal customer.
The boom box and heavy gold chains of the 80’s disappeared in the late 90’s. Musicians in the hip hop genre were clean cut, and wore tailored suits and loafers. The flashy outfits of the 80’s made a comeback in the late 00’s with up and coming stars.
Founding member of DMC, Russell Simmons, created Phat Pharm, a clothing line of tracksuits, trainers, and caps, for the young men who loved the Hip Hop culture. He also co-created Baby Phat with his now exwife Kimora Lee Simmons, a model. This was a high fashion brand sold in department stores.
Religious Iconography in Fashion
Marilyn Manson is infamous for his appropriation of religious iconography in his music videos and tours.
The use of religious iconography is sometimes sincere, but for some is a form of mockery or because of the beautiful historical artistic history Christianity has.
Goth
The Archbishop Welby wrote in The Times of London in 2013 ‘Are we now living with a symbol emptied of power, by time and fashion?’
Mass Market
Madonna in the 80’s brought out videos and songs, ‘Like A Virgin’, ‘Papa Don’t Preach’, ‘Like A Prayer’. This caused the use of the Cross, and Rosaries as fashion statements.
You can see in any high street store, and e-commerce store, a cross on a t-shirt, leggings, and as necklaces and earrings.
Hamsa amulet icon, popular in North Africa and in the Middle East, has recently become a popular print on summer t-shirts and dresses. It is a symbol of good fortune and protection. It is also a national symbol in Arabic and Jewish countries.
England in the 1980’s was the birthplace of this subculture. Pagan and Christian iconography is used heavily in silver jewellery.
Religious Iconography in Fashion
The youth used religious iconography to shock and show their dislike of their parents conservative and ‘old fashioned’ beliefs. Some of his designs are inspired by 18th century Renaissance art, especially the Virgin Mary.
Jean Paul Gaultier has nearly always used Christianity and Byzantium history in his catwalk shows, and designs.
High Fashion Dolce and Gabbana, in their A/W 2013 show, used the Monreale Cathedral in Sicily as inspiration.
Religious People
With the current trend including wearing ‘Bindis’ as fashion jewellery, it trivialises the reasoning behind why Hindu believers wear them. Like with the cross, it loses it’s authenticity.
Even if Religious clergy don’t like the ‘miss use’ of their religious artefacts, the fact that anyone can wear any religious piece around their neck or on a t-shirt gives actual believers the freedom to support their religion without fear of persecution, because it has become mainstream.
The mosaics from this Cathedral were printed onto dresses with brocade embellishment.
PRIMARY RESEARCH: CULTURES
Burberry’s delicate coloured dress is a modern take on the Chinese style of Xiao Qingxin, which is a fashion style in China that evokes serene and ‘airy’ colours and materials. This Warehouse blouse is within the same aesthetic.
CHINA
Burberry s/s ‘16
The Versace style, with a model who has a buzz cut is a contemporary take on a ‘skinhead’. The style and cut of the playsuit is androgynous and hard. The high street version of the skinhead look can be seen in Topshop with their courdory dungarees but a more wearable print.
SKINHEAD
Versace s/s ‘16 Relaxed fit jeans are a staple in the hip/hop culture. This is a trend that comes up every season because of it’s versatility. Topshop have a light blue denim relaxed fit pair of jeans that are similar to the original style of the 90’s hip hop scene.
HIP HOP Each x Other s/s ‘16
RELIGIOUS ICONOGRAPHY
Religious Iconography can be seen everywhere. It is in every season. Claire’s Accessories have always had religious symbols on their jewellery. It is worn by every age, because it is always on trend. It can be high fashion, or it can be seen on rebellious teenagers. It’s a powerful symbol of rebellion for every age. Givenchy s/s ‘16
CHINESE CULTURE IN THE FASHION RETAIL INDUSTRY: HOW THE WEST VIEWS THE EAST The DVF brand is synonymous with the wrap dress, and always has been. This simple design is feminine, and showcases many different prints; depending on the season. It takes clear inspiration from the Cheongsam and it’s values as a traditional garment. It shows the Chinese embroidery and silk, whilst the woman who wears it looks demure in her social circle without appearing too bourgeois. Traditional Cheongsam dress, circa 1920. Sophisticated attire for socialites.
Traditional Chinese Hanfu, it is common to decorate the belt with Chinese rope, and ornaments.
Diane Von Furstenburg, A/W ‘15
Gucci S/S ‘11
The floral print, similar to the Chinese youth style ‘Xiao Qingxin’. It is feminine, simple, but romantic and current.
New Look A/W ‘15
The Obi belt, used in both Chinese and Japanese culture, is a staple belt in every retail store. It ties the outfit together, creates a shape on the woman, and is a decorative piece depending on the season. The traditional Hanfu garment in Chinese history was held together with an Obi belt, and pieces of Jade and Chinese rope and knots would hang from the belt in different styles, depending on the occasion. Gucci’s interpretation of this was one of the hot trends of the 2011 Spring/Summer shows. It is glamourous, and yet simple in design.
This Hanfu style dress is contemporary with the provocative neckline, slim cut, and short hemline. The Obi belt is glitzy, and is the statement piece, similar to the Gucci obi belt; both are extravagant to suit the western customer.
TFNC A/W ‘15
The Kimono, traditionally viewed as Japanese, has its origins in the Han era in China’s history. The wrap around silk material, with belt, has wide sleeves that sometimes, not always, covers the hands. This is a formal dress for Japanese and Chinese people, and literal translation of Kimono means ‘A thing to wear’. Emillio Pucci is famous for their exotic, and elaborate patters that they use on their clothes. Their interpretation of the Kimono is sexy, and colourful, but it doesn’t lose the vibrant patterns or colours that keep it traditional.
Han Kimono, China, Date unknown
Emillio Pucci S/S ‘13
The Kimono design hasn’t changed much, but the material has. This sheer knit material makes the Kimono more versatile, and can be worn in the daytime and in the night. It’s a classic piece that is the staple of every high street brand.
Matalan S/S ‘15
HOW CULTURES SHAPE THE FASHION AND RETAIL INDUSTRY: APPROPRIATING CHINESE CULTURE IN THE WEST, AND TAKING IT BACK “Everyone’s searching and exploring for the most sophisticated way to elevate Chinese fashion to the highest level, how to do things with especially Chinese flavours … We can see lots of forward-looking designers who have their own ideas. I think things are developing in a good direction.” Sheguang Hu (1)
Sheguang Hu designs avant-garde Chinese garments with influences from his history, and lineage. In this A/W ‘15 collection, Hu researched his Mongolian heritage and devised quilted jackets, but with kitsch prints, and extreme high heels. There is a distinction between what the mass retailers in the West sell as ‘Oriental’, and what actually is authentic Chinese, Japanese, and Mongolian. This is a culture, not a style.
"It's a pity that when I travel abroad, I find that some foreigners think that Han costumes are actually traditional Japanese clothes," Chu Yan ( 2) According to Chu, the Cheongsam is what foreigners believe is authentic Chinese. She has spent a long time researching her own history, and has created a catwalk based on the ‘real’ China. She is breaking down the stereotypes of the West. She travelled to Japan, where the same techniques that were used to create traditional Chinese garments in her countries history, where still alive in Japan. She found out that China was the originator in dyeing materials, and sourcing rare silk. She is currently the head costume designer of the APEC; bringing back traditional methods of costume construction and showing the true traditions of Chinese culture.
"I want to show to the world the spirit of the Chinese people. It is more about the mood and artistic conception rather than something tangibly Chinese,“ Chu Yan (2) Sheguang Hu A/W ‘15 (1)Li, D. (2015). Chinese Culture at Fashion Week - In Retail Asia. [online] In Retail Asia. Available at: https://insideretailasia.com/2015/04/chinese-culture-fashion-week/ [Accessed 1 Oct. 2015].
(2)Chinadaily.com.cn, (2015). [online] Available at: http://www.chinadaily.com.cn/life/2015-07/28/content_21428927_4.htm [Accessed 1 Oct. 2015].
IS FASHION HARMFUL TO OUR SOCIETY? Fast fashion, celebrity culture, and the internet generation
As soon as Nicki Minaj uttered those infamous words to Miley Cyrus, hundreds of t-shirts with the quote crudely printed on. The context of the argument was lost on everyone. It became a slogan. The reasoning behind the quote is about racism in the music industry. But, does anyone remember that?
‘Miley, what’s good?’ Nicki Minaj, ‘15 T Shirt selling on Etsy, ‘15
Kim Kardashian, Camel Coat, MaxMara, ‘13
Tunisia Harris, Makeoverly.com
Before retailers stocked the camel coat with waterfall collar that Kim Kardashian wore a lot in the autumn of 2013, a lot of start up online boutiques utilised the cheap materials and factories in Asia, and promoted their product alongside Kim Kardashian’s camel coat pictures on Instagram. Retailers didn’t catch up until the autumn/winter of 2014.
‘…In a 2010 TED Talk, Daniel Kahneman presented the idea that ‘Millenials’ see the present as an “anticipated memory.” He said we have two forms of self: the experiencing self and the remembering self.’ (1) The Instagram generation don’t experience the present anymore. They take pictures, and it already becomes a memory in the ether. This leads to a psychological emptiness. They never feel like they done anything, or bought anything. So products like expensive bags, and a nice outfit they’ve just bought, they take a picture of it to showcase their wealth and creative prowess, and to turn it into a memory; something unforgettable. The cycle starts again, and the culture of buying, buying, and buying some more, never lets up. It’s a culture that the retail and fashion industry don’t want to change, it’s keeping alive during an economic down turn. “…I don’t think many business owners think of Instagram as a way to boost sales,” she (2) says. “Trust me, I was totally stunned when I sold my first item on Instagram, but it works.”
The need for designer replicas, and quick quotes from their favourite artists, causes an increase in pop-up shops. These shops pop-up on Facebook, Instagram, Twitter, Gumtree, Etsy, etc. Many users of these websites start their own fast fashion pop-up shops, and fulfil the needs of the always demanding consumer, with cheap products, at a quicker rate than the more establish high street and designers brands. This constant want for clothes, and accessories, no matter the price and quality, can only be detrimental for campaigners for ethical fashion. The demand will outweigh the supply, and this will lead to smaller businesses using un-ethical methods of producing garments at a faster rate. It is good for the economies of China, India, United States, and United Kingdom. But the impoverished workers who work in other countries and also in the economies that thrive on fast fashion, will subsequently suffer and will continue to suffer. The internet generation is only going to get bigger, and more disposable income will become available to spend. Unless the internet generation join the campaigners of ethical fashion, nothing can change.
(1) Arata, E. and Arata, E. (2014). The Instagram Generation: Why We Treat The Present As If It's Already A Memory. [online] Elite Daily. Available at: http://elitedaily.com/news/technology/instagram-generation-experiences-present-like-memory-video/749153/ [Accessed 1 Oct. 2015]. (2) Furgison, L. (2013). How to Use Instagram to Sell Products | VerticalResponse Blog. [online] VerticalResponse Blog. Available at: http://www.verticalresponse.com/blog/how-to-use-instagram-to-sell-products/ [Accessed 8 Oct. 2015].
CULTURE INFLUENCES ON TREND FORECASTING “…In order to understand a fashion trend, we need to be aware of what will surround us in terms of our social-cultural way of living. The development of new (1) trends usually involves three main sources, which influence our cultural live and lifestyle. These three main sources are high culture, pop culture and low culture…” 80’s Club Kids NYC
90’s Hip Hop
(1) Intothefashion.com, (2010). INTO THE FASHION: Cultural Influences On Trend Forecasting. [online] Available at: http://www.intothefashion.com/2010/01/cultural-influences-on-trend.html [Accessed 8 Oct. 2015].
The ‘Club Kids’ of the 80’s were creative forces that were inspired by Andy Warhol and his group of oddities. The ‘Club Kids’ were outsiders, and amplified that to make the conservative older generation uncomfortable. They expressed their lifestyle, their love life, and style, without being afraid. This fearlessness can be seen on the catwalk, with designers like Jeremy Scott, Gareth Pugh, Alexander McQueen, and The Blonds. On the high street currently, ASOS had a collaboration with WALLS the ice cream company, to create a ‘Pop Art’ collection. They also divided opinion with the ‘Flat Cat’ clutch, which is unusual and alternative. NEXT dedicated a capsule collection to Andy Warhol, and Primark jumped on the comic print trend. Customers want to be different, and have fun with their clothes.
90’s hip hop culture influenced the artists at the time, like Alyiah, TLC, and Jlo. In Japan, they took the Hip Hop culture they saw on MTV, and went crazy with it. They tanned their skin, braided their hair, and wore the baggiest jeans and sports jerseys. The trend known as ‘B-Style’ is still popular in Japan. It is now a culture of its own, and has since influenced the current 90’s trend that high street shops in the West have taken on, as well as the catwalks. Calvin Klein re-introduced the sports bra and leggings combo with the brand name along the waist band. Fila has come back into the mainstream with their sports wear. Moschino has used their status as pop culture magpies and introduced a whole collection based on Hip Hop culture but with a cartoon twist.
RACISM IN THE FASHION INDUSTRY “Jezebel.com has charted the presence of models of colour at New York fashion week and there is no doubt there has been an improvement: at the shows this time six years ago, 87% of the models were white, 4.9% were black, 5.4% were Asian and 2.7% were Latina. This month the stats were, respectively, 78.69%, 7.67%, 9.75% and 2.12%.” (1)
“Barbara Nicoli, casting director for Gucci, said: "Gucci never has a huge number of black girls in the show because in the mind of Frida [Giannini, creative director of Gucci], she wants this type of girl – no matter the colour of the skin.“” (2) The racism in fashion is inherent. You can see any advert, and any editorial in Vogue, and see an array of white faces; but sometimes these faces are painted black. Instead of using black supermodels that are well known like Joan Smalls, Jourdan Dunn, Alek Wek, Naomi Campbell etc, they use blonde haired, blue eyed models. This blindness carries onto the catwalk, with Prada casting Jourdan Dunn as only the second black model they hired to walk for them since the mid 1990’s when Naomi Campbell was the first. “…and what's wackier than a racist caricature of a black woman dangling from your earlobes? Aren't they adorable? Oh, and there's a dress to match too, so you can go for the full clueless colonial look if you want to…” (3) Dolce and Gabbana invoked outrage when in their Spring/Summer 2013 catwalk they sent numerous models out, wearing caricatures of African women as earrings. In this particular show there was not one black model. It took until after the show for questions to be raised. This explains the root of the issue, is that they don’t believe that it is an issue. The fashion elite don’t see any problem with ignoring black people, but they forget that for every white customer, there is a black customer right behind them willing to spend their money on their product. Oprah Winfrey, the most powerful, influential, and successful black woman in the world, was turned away at Hermes in Paris where she wanted to buy a bag. An Hermes bag can cost as much as £10,000, and they didn’t think she could afford it because of her race. This issue trickles down from the creative director, to the sales assistants. Naomi Campbell is one of the main activists, trying to get the fashion industry to change. She called Victoria Beckham after her collection at London Fashion Week in 2013, “…Londoner Naomi, who is spearheading the anti-racism Diversity Coalition with David Bowie’s model wife Iman and agent Bethann Hardison, explains: “I called Victoria and I spoke to her.” (4)
(1) Bryant, T. (2013). Naomi Campbell: Why I called Victoria Beckham about racism on the catwalk. [online] mirror. Available at: http://www.mirror.co.uk/3am/celebrity-news/naomicampbell-called-victoria-beckham-2651077 [Accessed 8 Oct. 2015].
(2) Freeman, H. (2014). Why black models are rarely in fashion | Hadley Freeman. [online] the Guardian. Available at: http://www.theguardian.com/commentisfree/2014/feb/18/blackmodels-fashion-magazines-catwalks [Accessed 8 Oct. 2015].
(3) Freeman, H. (2014). Why black models are rarely in fashion | Hadley Freeman. [online] the Guardian. Available at: http://www.theguardian.com/commentisfree/2014/feb/18/blackmodels-fashion-magazines-catwalks [Accessed 8 Oct. 2015].
(4) Ilyas, S. (2012). Did Dolce & Gabbana send racist earrings down the catwalk?. [online] the Guardian. Available at: http://www.theguardian.com/fashion/fashionblog/2012/sep/26/dolce-gabbana-racist-earrings [Accessed 8 Oct. 2015].
Victoria Beckham, who is well known around the world, and friends with so many people from all different cultures and countries, only had one non-white model in her spring/summer show in 2013. Does that make her a racist? Or is she just a product of an inherently racist industry? If Victoria Beckham can’t (or won’t) include more non-white models in her catwalk shows, and her adverts, is there any hope for the rest of the elite designers, so set in their ways? And furthermore, fortunately this hasn’t affected the high street like I thought it would. They understand their consumer, and understand the risks of isolation to their business.
KATE MIDDLETON: ROYAL INFLUENCE
TASK 9: SOCIAL INFLUENCE ON FASHION INDUSTRY “…Middleton is credited with boosting Britain's economy by $1 billion, Grazia Daily’s Alex Butt estimates. “Her fashion choices cause an army of copycat fans to empty shops and online retailers to re-create her signature style,” Butt said.” (1)
“The Reiss Shola dress, in which Kate was photographed when she greeted President Barack Obama and the first lady after her honeymoon, fetched $500 on eBay and caused the Reiss website to crash.” (2)
‘WhatKateWore.com’ is a website dedicated to the public appearances and style of Duchess Kate Middleton. They are eagle-eyed with the designers that she chooses, and she usually chooses high end high-street brands. In 2012, she wore a Reiss dress, and it sold out so fast people were selling it for extortionate amounts of money on eBay. Women in America and women who live in socially affluent areas of the UK, admire Kate Middleton and her conservative style. Before the Royal wedding between William and Kate, not many people were interested in hats or milliners in America. They were introduced to a very middle England tradition. They embraced the middle class culture. Reiss are now considering opening outpost stores across the US. They understand the influence Royalty now has outside of the UK, and are using that for profitable expansion that they may never have considered before.
(1)(2) The Huffington Post, (2015). Kate-onomics: Kate Middleton's Far-Reaching Fashion Influence. [online] Available at: http://www.huffingtonpost.com/2012/05/29/kate-middletonfashion_n_1553975.html [Accessed 7 Oct. 2015].
(3) What Kate Wore, (2015). Kate's Calendar - What Kate Wore. [online] Available at: http://whatkatewore.com/royal-tour2012/ [Accessed 7 Oct. 2015].
The style staples of Kate Middleton are nude tights, nude heels, navy colours not black, and high street brands like Topshop and Zara, as well as Alexander McQueen. Alexander McQueen’s Sarah Burton designed her wedding dress, and she has been loyal to Sarah’s designs. With the strict guidelines that the Royal family has for their family members force Kate to be conservative in her choices. However, she has kept her style contemporary, and has become very influential for high street brands, and the consumer. Like Diana was in her time, Kate has become the celebrity Royal of our time. (4) (4) Mail Online, (2011). How Kate Middleton's style has influenced everyone's tastes (but her wedding dress hasn't made much of a splash). [online] Available at: http://www.dailymail.co.uk/femail/article-2050435/Kate-Middleton-styleinfluenced-fashion-royal-wedding-dress-hasnt.html [Accessed 7 Oct. 2015].
SEATTLE GRUNGE MUSIC SCENE: INFLUENCING A GENERATION
SOCIAL INFLUENCE ON FASHION INDUSTRY “For some a doting attitude towards the decade isn't that surprising. "Trends have a tendency to move in 20-year cycles," says Johnny Davis, deputy editor of Esquire and former editor of The Face. "In retrospect, we've come to realise that the 1990s was a very fertile period…” (1)
The Grunge scene from Seattle came from a rebellious youth who felt their music was overlooked by the world, who were more concerned with the music coming from New York, and Los Angeles. Their actions were not so much a style they decided on, it was a lifestyle. The mainstream media latched onto it, they made huge stars of bands like Nirvana, and Pearl Jam, and Sonic Youth. They became icons of the decade. The ‘Riot Grrrl’ explosion of feminist punk was an underground scene in the 90’s that has since become mainstream thanks to the internet. It was a time where all girl bands fought against the patriarchal music industry and wrote lyrics about rape, abortion, domestic abuse, and racism, to name just a few. This political attitude, and their post-80’s non-glam style, made them popular with teenage girls, and young women. Their style, and sentiment, has been reproduced on the catwalk, and in the mass market, for the past several years. There has been an increase in celebrities, and the general public, talking about women’s rights in the modern era. More mainstream singers like Lady Gaga, Madonna, Rihanna, Beyoncé, are privileged more so than the ‘Riot Grrrl’ bands of the early 90’s, because they have a stronger audience to hear their opinions on feminism. This is a good influence.
‘Perry Ellis’, Marc Jacobs, 1992
‘Singles’, film, 1992
Dries Van Noten S/S ‘13
“Kay Barron, fashion features editor at Harper’s Bazaar, thinks the 90’s revival has been brewing for a few seasons, but ‘its moment is now’…The decade was all about extremes, and that is what we are seeing again now. Where Versace were bringing out the supermodels and sending them down the catwalk in neon, at the same time Marc Jacobs was focusing on grunge with flannel shirts and beanies.” (2) Films were made to add to the interest in the Grunge culture and social influence of the 90’s, and television shows like ‘My So Called Life’. Every season, there seems to be a hint of that rebellious fashion. Mixing floral prints with check, and the colliding textures of silk, cotton, and jersey knits. It’s less concentrated like the original Grunge era; it’s not as forced or harsh. You can still see the political influence of feminism and gender equality with the styles, it’s more gender fluid.
(1) (2)
Flannel shirts, Doc Martens, oversized knitwear and skirts, all of these were produced by mass market stores, and were recreated by designers. The price tag of this accidental style rose, and became so watered down, the Grunge style was swallowed up and spat out by 1994. The style became oversaturated, and the lost the true sense of why they dressed that way. It wasn’t about looking ‘cool’, it was because it was cold in Seattle, and they didn’t care what people thought. In the early 00’s and continuing today, is the fashion cycle of grunge, but not as it used to be. Everybody is wearing denim and flannel shirts, and oversized knits and beanies. It has become the epitome of autumn and winter fashion in recent years; the relaxed fit, and ‘rolled out of bed look’ is a style that takes a long time to perfect.
Ferrier, M. (2012). Stone Roses, Trainspotting and the grunge look: the 90s revival is here. [online] the Guardian. Available at: http://www.theguardian.com/culture/2012/feb/11/90s-revival-music-culture [Accessed 7 Oct. 2015].
SKINHEAD 1960-NOW: FASHION REBEL
SOCIAL INFLUENCE ON FASHION INDUSTRY “Originally known as "hard mods" because of their shaved hair and working class image, this eventually broke away from the Mod subculture and the term "Skinhead" was created.” (1)
‘Hard Mod’s’ are a subculture on their own. They are a derivative of the Mod’s in the 60’s but unlike the Mods they are more prone to violence, and influenced by their working class backgrounds, whereas the Mods were into America, and American rhythm and blues, and soul.
‘Rude Boy’s’ was a popular style in Jamaica. The style came over with the influx of Jamaican emigration in the 60’s, and was adopted by young English boys who grew up in the same working class area. They would wear trilby hats, sharp suits, and slim ties.
In the late 60’s and continuing today, there is a more politically motivated charge to the Skinhead style. Far-right wing white supremacists took the style that was mostly related to ‘Ska’ music of the 60’s, and made it mainstream in a negative way. If you had a skinhead, you were considered a racist. It became a uniform of fear.
Today, this is still viewed as a violent group of people, and it is still a style that is adopted by racist groups across the world. However, it has seen a positive change recently in the fashion world. Fred Perry polo shirts are popular amongst women and men across the board. Models frequently shave their heads to improve their career by looking alternative. It has mellowed recently, and is seen like a trend, but not by everyone. ‘This Is England’, the film, was well received due to the fact it highlighted the social-economic issues of the working class that bred the violent underbelly of mod culture, that became skinheads. The adaption of this film into a television series has made the history of the skinheads more accessible to a wider audience.
(1)SUBCULTURE?, W. and Svarc, L. (2015). What is Skinhead subculture?. [online] Menswear Style. Available at: http://menswearstyle.co.uk/2014/04/28/what-is-skinhead-subculture/1107 [Accessed 7 Oct. 2015].
TECHNOLOGY IN FASHION: 2000-
SOCIAL INFLUENCE ON FASHION INDUSTRY BRITISH designer Hussein Chalayan is known for his ground breaking designs. His previous collections have included two-in-one dresses and garments embedded with laser beams. And now he’s sent tongues wagging at Paris (1) Fashion Week over his dissolvable coats.
Technology influences our lives in amazing ways. We know our heart rate, our speed, our sleep pattern, all because of a small gadget that we carry everywhere. This gadget is a phone, and it can take pictures, and film videos, and go on the internet with absolute ease. So, why can’t this amazing technology evolve how we wear, and see, clothing?
Spring 2016, Hussein Chalayan. The designs ‘melted’ under the rain, and transformed into evening dresses. Spring 2007
Designer Hussain Chalayan is prominent in the fashion industry, and probably isn’t a well known name to the mass market. His clothes are special because he takes the technology that we see, and feel, everyday, and puts that into outfits, that transform from daywear to nighttime wear. Nobody can do it as good as Hussain can. His outfits evoke a change in our opinion of technology, because we now use it 100% of the time, to do things that used to be so simple; like reading a book, or checking the weather. Technology in fashion can be seen every week on the football pitch, it’s no surprise that fashions leading man in technology has been appointed creative director of PUMA.
Spring 2009
(1) NewsComAu, (2015). Would you wear clothes that melt in the rain?. [online] Available at: http://www.news.com.au/lifestyle/fashion/british-designer-hussein-chalayan-creates-coats-that-melt-in-the-rain/storyfnjeuzyi-1227557437931 [Accessed 14 Oct. 2015].
What is the relationship/link between the fashion product and the branding?
TASK 10: BRANDING
The model is stood at the front, his hand on a spray paint can. He’s transformed an old car in a scrap yard, into a fresh vintage car. His shirt, the product that is being advertised, stands out amongst the grey scale background. He looks young, and his outfit is modern. There is a smugness, but he’s looking away from the camera; he’s not telling us, he’s letting us see how he feels. This counterbalances the statement slogan, ‘I hate ugly’.
What is the message to the consumer? The message is, if you want to look modern and contemporary, buy their clothes. If you want to be ‘cool’, buy their clothes. You don’t want to be the old car on the scrap heap. It’s psychologically damaging the consumer, breaking their self-esteem, so they go and buy their product to make them feel ‘not ugly’. It’s appealing to men who might not be full invested in fashion, and persuasive. Young students who go out a lot on weekends, and will thrown on a shirt that looks different with a pair of comfortable jeans.
Does it work? I think that it’s transparent. As a consumer, I know what they are trying to do, and I’m not fooled. I think it’s a naïve advert. It’s attempting to play on the customer’s insecurities but in actual fact it is probably going to make the consumer angry and not want to buy into their brand. It is very obvious. The men that would buy into this brand will be in their early twenties, and wanting to look different to everyone else. They want a new attitude, and this brand is giving them that cockiness.
What would you change?
Customer Profile Young men in their early twenties, probably students who are just starting to develop their style from very ‘laddish’ to a more sophisticated grown man. They would wear this brand when they go out drinking with their friends, and on dates. They probably shop in high street stores, but maybe not Topshop or River Island. This customer probably wants to look good, but doesn’t care if he doesn’t all the time. They will have a minority of their wardrobe bought for them by their parents before they lived alone; now, they shop in Matalan, and sports shops like JD or Adidas.
I wouldn’t change the advert, because I think it looks good and the message is clear. However, the ‘I hate ugly’ is too on the nose. If you got rid of the words, and kept the simple branding in the corner, it would be more effective. It would achieve the objective that the brand has which is to look fresh, modern, and different to every other brand on the market. I feel like this advert evokes an immature image of their consumer, it’s not something a man in his thirties would consider wearing.
Is the product clear? I think the product is clear. Even though there is a car in the advert, it is in the background and isn’t the main focus of the whole advert. The man is standing tall, he is open and showing their products in a clear way. I know what I am being sold, and who it is appealing to (young men in their early twenties). It’s emotes a stereotypical boyish attitude, that their customer still has.
What is the relationship/link between the product and the branding?
TASK 10: BRANDING
The over the top words, and cocky quote, make this advert stand out. I am drawn to the ingénue model, who is looking coyly at the camera. I see the print of the dress, and I see the accessory on her wrist. There is a darkness to it, it’s not warm and inviting, it’s making you question why you want to know what is going on. It’s uncomfortable. The Chanel brand is a feminine brand, that uses women’s politics and sex, to sell their products.
What is the message to the consumer? It’s selling a demure outfit on a very young woman; it’s selling youthfulness. They are trying to appeal to their consistent customers who are middle aged and buy their clothes, and also young women who want to afford their clothes but can’t. It’s a strong statement from a strong woman, but the model is conveying a totally different message. I don’t look at the model’s face, I look at her dress, and I want to see more, and know why she is wearing it like this. It adds mystique to the brand.
Does it work? I think it does. The dark background, and bright print dress, bring me in. It’s not subtle, it wants you to stop, look, and want to see more. The dress may be quite simple if you saw it in full view, but Chanel want you to buy into the feeling you get when you wear a Chanel dress; sexy, wanted, and attention from younger men. It’s reinventing itself as a youthful brand. It’s appealing to both ends of the age range, and I think they achieve that objective in this advert.
What would you change? Customer Profile There are two different kinds of women who buy Chanel. You have young women who will buy accessories like bags, jewellery, and make-up. Then you have the main clients who buy the clothes; they are middle aged, well off, and content with their lives. This woman, who buys the Chanel dresses and suits, will be married but has all her children in University or working, living outside the home. She looks after herself, and gets her hair and nails done frequently, and has a busy work life but a relaxed social life. She needs to impress in meetings with men, and dress well for the women that she goes out to eat and drink with. Her style is contemporary, soft, and clean. The customer who can only afford the accessories will be impressionable, and understand the fashion world. They know what they like, and their style doesn’t change with every season, but their colour palette might. They are usually buying their clothes from Zara, Whistles, and Reiss.
I would get rid of the words, and make the logo smaller. The model evokes a lot of the feeling that the words tell me. It would look more luxurious as a brand if it didn’t have the words which look quite clunky compared to the rest of the photograph which is very artistic.
Is the product clear? Yes. I am full focused on the dress when I first saw the advert. What confused me were the words. The bold and impact letters don’t add anything to the image, they take a lot of the power away from it. It’s enticing to a younger audience, and it is an older audience that will look at this advert and want to wear the dress; because of the way it is positioned on the model it looks sexy, young, and vibrant.
What is the relationship/link between the product and the branding?
TASK 10: BRANDING
The product is the leisurewear, and the branding of it makes it appeal to an older that middle aged man. It’s style is simple and old fashioned. I can see the whole outfit clearly, and it shows off the pockets, and material, really well. It’s concise.
What is the message to the consumer? It’s tongue in cheek, and puts all the focus on the man. The women in the background is looking at him, and he is looking at us. It’s a bit sexist, but I don’t believe that it’s accidently sexist, there is a reason behind it. I think it’s highlighting the manly heritage of the brand that its consumer may be used to, and it’s getting its new young men to look and laugh at it in a joking way. If you took the advert at face value, you would guess that if you bought the products you would have women fawning over you, and you would look like a top man.
Does it work? I believe this advert works, it’s intriguing, and I am drawn to different slogans that I personally find comical. I think the branding is too small, it’s hard to notice if you just glance at the advert. I think the brand name should be at the very front, and bold and brash like the rest of the advert. It has mass market appeal for every type of man who if they need something to throw on, can put on any of their sports jackets and trousers.
What would you change?
Customer Profile This man is old, most likely a dad of older children. He wants to wear comfortable clothes, and isn’t too fussed on the branding. He will go for walks with his wife, and dog, and drive around a lot. He needs versatile clothes, that won’t make him stand out like a sore thumb amongst a crowd. This customer would laugh at the advert, and find it cheeky. He will buy it because the advert is different, and will bring him into the store. This fifty-year old customer will recognise the history of the Jockey brand, and is loyal. Their styles never change, like his style has never changed. He’s comfortable buying from this brand. They usually would shop in value stores like Debenhams, and will occasionally buy items from Marks and Spencer when they are with their wives.
I would change the colour of the advert. The brown and tan colours are bland and don’t stand out. Even though it is trying to convey a vintage aesthetic, I don’t think it stands out next to other adverts for menswear that I see in magazines and on television right now. It’s very basic. I would add more men, take away the woman, and stand him up so you can see the whole outfit. It’s an ‘elegant’ sportswear brand, but it’s for people who don’t really take part in an active lifestyle. It’s for an older man. It needs to appeal to a younger man as well.
Is the product clear? Yes. I know what they are selling. However, I don’t like how it looks. It doesn’t appeal to the current menswear climate. Although if you aren’t into fashion, then you would be their type of customer.
What is the relationship/link between the product and the branding?
TASK 10: BRANDING
It’s trying to appeal to young men and women, especially teenagers. Both the shoes are ‘urban’ and reflect the setting of the advert. The branding is youthful with the misspelt word on the sign, and the way the car is positioned. It shows me that this is a brand that focuses on sports, and high adrenaline activities.
What is the message to the consumer? The message is clear; if you want to get the girl, or boy, and be involved in highjinx, then buy the shoes. The shoes are larger in perspective, they are the main focus. You can see the detail, the colour, the style, really well. The ‘text’ speak on the sign adds to the teenage market appeal. It looks ‘cool’ and sexy, but not in a uncomfortable way. The usage of New York in the background also makes this look internationally appealing, and it’s a well known cityscape that will attract customers in other countries. It makes the brand look fun, global, and a brand that you need to own if you want to be on trend.
Does it work? Out of all the other brands that I have analysed, this is by far the best advert for its specific audience and its brand as a whole. From this advert I understand who they are advertising for; young 18-29 year olds, and it’s a product that can be worn in any situation, in any country, by anyone. If you look closely you can see the two models are entwined and caught up and a moment on the street, but the focus is on the shoes. The bright colours, and graphics, it attracts a younger eye.
What would you change?
Customer Profile This customer wants to be in the limelight. They are influenced by celebrities, and the people who wear this brand. They are most likely young students who are about to graduate high school, and want to fit in with the crowd. It’s a casual footwear style, that can be worn for days out, football, running around etc. So this customer is active, and isn’t just after a stylish on trend item. This customer lives in the city, and needs to get around fast. It is tongue-in-cheek, and may seem risqué to their parents, but that’s why they like this brand. It’s not what their parents would buy. It’s something they can own, and share with their peers. They usually shop in high street stores, and wear clothes that their parents pick out.
It does look really busy, but the concept is fun and appropriate for the brand. I would maybe take away some of the detail in the background and bring the focus entirely on the young girl and boy in the car, having fun, wearing the product; with the product the main focus.
Is the product clear? Yes. It is in the forefront of the whole advert, the brand logo is right beside it and clear for everyone to see. I know what the shoe looks like in great detail so if I wanted to make the decision to buy it, I wouldn’t have to spend to long looking at it in the store. The way the models are positioned is really clever, and looks authentic. It showcases what this brand is about.
TASK 10: BRANDING
What is the relationship/link between the product and the branding? The product is tailored, and traditional. It is created to highlight the male figure, and shows off the masculine shape. The brand is clear, and the futuristic theme makes the brand look more modern than some people may think of it. Even though some of the clothes in the advert are not wearable, they are selling a fantasy to the man; it’s a chic collection of suits that are different than any other brand and will give you that sense of luxury, and excitement.
What is the message to the consumer? Buy this product, and you will look like the male models in this advert. They all look robust, and classically masculine, however there is an affect that has been used in post-production that makes them appear to look like mannequins made out of plastic. They look like perfect. Every man who buys a suit, and is in their early thirties and works hard, wants to look like a D&G model if they are paying that price. They are buying into the Italian craftsmanship, and style, that is conveyed in this advert. You look smart, but sexy. The suit exudes that.
Does it work? Yes. As a woman I stop and look, and I am wondering ‘what makes them all look so big, and attractive’ and it’s the way they have been styled with the metallic gold suits and metallic silver background. It’s clean, modern, and doesn’t make me think of the tweed suits that you see a lot of on the high street. Men will look at this, especially men in high-power jobs and want to look attractive to powerful ladies, and will buy into the Italian aesthetic. They could be Joe Bloggs from Birmingham, but when they wear the D&G suit, they could be at a meeting on a Yacht on Lake Como. Like all designer brands, they sell a lifestyle and a story.
Customer Profile This man has a lot of money, and has a beautiful wife who he needs to keep impressed with his style and fashion knowledge. He has a lot of events he has to attend, and will pay extra for the specialist tailoring, materials, and craftsmanship that goes into the D&G suits. This customer is a city dweller, and goes out a lot and networks. They are between the ages of 30 and 45, single, and travel frequently. They usually shop in high fashion department stores like Selfridges, but may only buy designer if it is for a special occasion. They will have a wardrobe full of high end high street brands like Flannels and Mr Porter.
What would you change? The positioning of the models is quite awkward, and the perspective is a little off. However, I believe this advert fits the objective for this company. It’s a high end brand, and they have the ability to be a bit over the top, and questionable with their adverts. It grabs your attention right away, and even if you’re not interested in the clothes or style, it has a story that can make you want to learn more about their other clothes, fragrances, accessories. It’s a great advert to get attention from consumers across the board.
TASK 11: SUCCESSFUL BRANDING
What is the relationship/link between the product and the branding? In this advert, from D&G Spring 2012, they have got their model and muse Monica Bellucci as an authentic Italian wife and mother. They also use authentic Italian grandmothers. Their actions and the way this advert is set up tells me a great deal. I can see the heritage, the history, and the matriarchal Italian family which adds a lot of depth to the D&G brand. They are all wearing black, which is a colour usually reserved for funerals and mourning. There is symbolism in this advert, that may be lost on non-Italian consumers. It makes the whole brand look glamourous for every woman at every age, at every stage of life. They are wearing Dolce and Gabbana to a funeral, so it is quite varied where you can wear their clothes.
What is the message to the consumer? The clothes are historical, and for every woman in Italy there are thousands in other countries who wish they were Italian. There is a family bond within the advert. It is approachable to women who have families, or are wives, and it makes them feel powerful seeing a matriarchal family in this position. The style is modest but sultry, and gives us the whole story of that season which is of Italian women: powerful, and strong.
Does it work?
Customer Profile This customer is between the ages of 30-60. They are professional women who are now full time mothers because they can afford to be. They are stylish and creative. They would wear a Dolce and Gabbana dress for a wedding, or funeral. They have a womanly figure, and are classically styled. They probably would shop at Marks and Spencer, Harrods and Net-A-Porter for their designer brands. They live in the countryside, and are traditional women with young families.
Yes it does. The integration of different age groups in the advert is unusual. It shows the consumer that you can be fashionable at any age. It’s a positive message, amongst thousands of adverts with young blonde models, this stands out. It demands attention.
What would you change? I would add more colour to it, because it seems too dark, but the contrast of their smiles and poses makes it more real. I love how they included the elderly women, and they are sewing and interacting together. It adds a warmth to their clothes, and a history that consumers can buy into.
TASK 11: SUCCESSFUL BRANDING What is the relationship/link between the product and the branding? This is an advert for perfume, but you wouldn’t know it unless you looked close enough in the far right corner to see the name of the perfume. This is an infamous advert for Saint Laurent, that was banned in the UK when it first appeared on billboards because it was seen as ‘degrading’ to women, by the ASA.(1) It is a controversial image, it shows a woman high on the perfume. The emotion that you get from this advert is strong, and intimidating.
What is the message to the consumer? This perfume smells incredible, you won’t want to get dressed. It’s female empowerment. There isn’t a man in the photograph, and there isn’t any connotation that this woman is having sex. She’s practically in love with herself because of this perfume and how it smells. It’s gravitating, and captivating. It puts the woman at the forefront of why she should buy this perfume, to please herself.
Does it work? I think it works in the sense that it caused controversy, and therefore it got a number of people interested in what the picture was about, and what the perfume smells like. Men would buy it for their wives and girlfriends because they think the image is sexy, and they want their partner to feel the same way. It’s dark and mysterious, and grabs attention. If you saw this on a billboard, I’m sure anyone would stop and stare.
Customer Profile The customer would be 20-30 years old, not offended easily. Men would buy it for their girlfriends, and women would buy it as a treat for themselves. It’s very sexy, and rude, and if you wore this you would probably feel the same. It has mass appeal because it is a perfume, but Saint Laurent has made it exclusive for a small group of people because it is so controversial.
What would you change? I would make the perfume name bigger, and make it an immediate connection to the image. As a whole though, the image is brilliant in that it garnered a lot of attention, and made people look at it and wonder what it all means. It can mean so many different things to so many different people.
(1) News.bbc.co.uk, (2000). BBC News | UK | Naked Sophie Dahl ad banned. [online] Available at: http://news.bbc.co.uk/1/hi/uk/1077165.stm [Accessed 9 Oct. 2015].
TASK 11: SUCCESSFUL BRANDING What is the relationship between the product and the branding? This Autumn/Winter Marks and Spencer advert from 2013 includes a lot of famous British faces. They are all famous for different reason, but their one connection is that they are all British, and they are all women. This is a positive advert that is showcasing British designs, worn by athlete’s, Vogue Editors, Supermodels, actresses, charity campaigners and artists. This wide range of extraordinary people chosen to model the clothes invites the British public to look at how powerful women are, and how great Great Britain is. It sends a positive message, seeing what the clothes look like on a range of ages.
What is the message to the consumer? It is a promotional advert for Great Britain, and for the well known faces who aren’t famous for doing nothing, they are all well known for numerous great things. It’s trying to engage the public, and give them a boost of self esteem, and make them proud, and go into Marks and Spencer and buy their clothes and feel great in them. It has a positive psychological influence on whoever looks at this image. They have used Annie Lebovitz to take this picture, so it is styled and feels impeccable. It flows together really well, and the message is precise.
Does it work? Customer Profile This customer is every woman in the family, it appeals to a wide generation. The type of woman who usually shops in Marks and Spencer has done all her life, and takes her daughter shopping there. It’s a family brand. They like to keep on trend, but will only buy something if it fits their own personal style. A professional twenty-something woman may find a key piece for that season, and her mum may find the winter jacket that she has always needed, and the nan will find a scarf to add to her collection. It’s an all around good store for every female.
Yes. It has mass market appeal, as it appeals to a broad range of people of every age, race, culture, etc. It’s eclectic, and gives the consumer ideas for how to wear the outfits, without being afraid of looking ‘stupid’ or ‘too young’. It is a great role model for other adverts.
What would you change? I wouldn’t change anything. I love the Shard, and Tower Bridge, in the background, and the fact the colouring isn’t overtly bright and cheerful. It’s real, and every outfit bursts out of the advert, and you can see every detail. It has been well thought out.
Task 11: Successful Branding
What is the relationship/link between the branding and the product? This is an H&M advert, advertising ‘conscious denim’. It’s simple like all H&M adverts are, but they use the same colour of the outfit for the words. It’s bright, it stands out, and you can clearly understand the point.
What is the message to the consumer? They have an ethical way of producing their denim, and other stores don’t. if you are conscious about where your clothes from (which so many young people are today) then this is a great way to tell them. H&M are the pioneers of using better cotton, and environmentally safer manufacturing production. Many denim products in every store have toxic dyes, and a lot of chemicals are used. H&M is reducing the impact on the environment with their denim. This campaign doesn’t tell you all of this, and so it can be overlooked by some passer by customers.
Does it work? I believe that it does. The advert is a typically plain but informative H&M campaign. The model is looking at the customer, and she has the face of a powerful politically motivated woman. It shows a lot of strength. The words are painted on the advert, and the slogan is catchy.
What would you change? Customer Profile This customer is conscious of the world around them, and is between the ages of 1840. They shop at H&M because it is cheap, and fashion forward. They want to look on trend, but without paying a lot of money. They usually shop in Primark or Zara if they want something extra special.
I wouldn’t change the advert. I like how the same colour is used for the words, and the the outfit. It stands out, and you can understand the message clearly. They don’t need to add any symbols or make the model pose in a certain way. It’s contemporary.
TASK 11: SUCCESSFUL BRANDING What is the relationship/link between the product and the branding? This United Colours of Bennetton advert from Spring 2011 shows off nearly all of their range for men and women. They are brand that has a lot of bright colours, and are inclusive of a lot of styles. They are showing a group of young models, they’re happy, and they are interacting with each other. They’re inviting the customer to join them.
What is the message to the consumer? I think the message is to join them, and have a fun summer. They’re all having fun, and they look cute and young. They want a certain age range (18-30) to shop with them. They include a lot of bright colours, and they aren’t necessarily on trend, but they are primary colours that you would wear in the summer.
Does it work? It works really well. It looks fun, and you want to join them and wear the bright clothes and celebrate summer. I like how they are all standing in a row, and you can see what they are wearing clearly. There is no distractions, it is a great colour scheme.
What would you change? I wouldn’t change anything about this print advert. It tells me a story, it makes me want to go into the store and try on their clothes, and get into a summer mood. It’s inclusive of a lot of consumers.
Customer Profile This customer is familiar with the United Colours of Bennetton brand, and might only shop here to get a specfic colour in a top or pair of jeans. They usually shop in NEXT or BHS, and they are between the ages of 25-45. They like their simple clothes, and also their bright colours. Their style isn’t always on trend, but they love to celebrate fashion and the whimsical nature of it.
TASK 11: UNSUCCESSFUL BRANDING What is the relationship/link between the product and the branding? They are using suggestive images of a woman to show their new range of bodysuits and thigh-highs. They are trying to appeal to a younger audience, especially young women and girls. The sexualised images are to attract attention from everyone, and American Apparel are infamous for their perverse adverts. It looks like the model has had her boyfriend or girlfriend take the images. It’s very voyeuristic.
What is the message to the consumer? I don’t know what their message is. I don’t think it’s clear in what it wants to say. I think it is degrading the model to make it’s consumers believe that this is what sexy means. I’m more focused on the model posing in a sexual way, than the clothes. They’re selling sex at a really basic level. They aren’t selling sex with their clothing, just the idea of it.
Does it work? I don’t think it works to sell their clothes. I think it sells an idea of what they think women are, and who women want to be. It’s sexist and isolates women, and could make them feel isolated and uncomfortable. I think it would make some women not want to buy from this brand because of it’s negative connotations.
Customer Profile Young women aged between 16-25. They are after a specific item to wear for a specific occaision like a party or a dance performance. They find the adverts intriguing, but some may not even care about the adverts because they just want to buy the one thing they can’t get in one of the other shops that they go to. The other shops they may go to include River Island, Topshop, and Forever 21.
What would you change? I would change the pictures. They are trying to be artistic but they come across as really abusive. They don’t show the models face, they are just showing the bottom half of her body. It is very uncomfortable to see this print ad on a billboard. I would put her in full view, and in a more athletic position since American Apparel sell dance wear and they should capitalise on that community.
TASK 11: UNSUCCESSFUL BRANDING What is the relationship/link between the product and the branding? Victoria Secret is a young brand for young women who want cute underwear. This product is a new bra that they are selling, but they are using supermodels to advertise them. They use the slogan ‘I love my body’, but they are using really tall and thin models to advertise this message. It’s showing a fantasy, not a reality.
What is the message to the consumer? The message is condescending to the consumer, and isolating. They are showing supermodels in their underwear and trying to make the connection to the consumer that if you buy their underwear, then you will look like a supermodel. It’s misleading, and because they aren’t using ‘real’ looking women that walk past their advert and stores, they aren’t gaining any traction with their advert. It’s not appealing.
Does it work? No. I don’t think it works in providing a positive body image to its consumers. The slogan is patronising to the ordinary woman who shops in their store. If they included catalogue models and not high fashion models, it would be more appealing to women who don’t normally shop there. It’s a negative image.
What would you change?
Customer Profile The customer is aged between 15-25, and wants to look like the supermodels on the catwalk and on the print adverts. They like the girly designs, and are usually found shopping in Forever 21, Topshop, and Primark. They love the glamorous American look.
I would change the models, and make it more inclusive of a diverse society. They are trying to appeal to a young female audience who are very thin and not the general female population. The slogan should be changed to be more warm and welcoming.
TASK 11: UNSUCCESFUL BRANDING What is the relationship/link between the product and the branding? The product is their summer clothing range, and being ‘laid back’. The branding is generic, it’s not exciting or different. The background is average and I don’t think it’s exciting or appealing to any woman who wants to be fashionable.
What is the message to the consumer? The message is if you want to be on trend then shop with their brand, but it’s not on trend, and it isn’t conscious about the fashion trends. It’s an advert that would appeal to a very young teenage audience, but not the vital 18-30 age range who are very aware of the fashion industry and what to buy for each season.
Does it work? No. It’s very remedial in it’s attempt to engage with the fashion conscious woman. It doesn’t make the consumer stop and want to go into the shop, because the items they’ve chose to advertise are plain and boring, and don’t make any statement. Even the pose the model has is average. She isn’t showing us any emotion, or making us want to wear that outfit.
What would you change?
Customer Profile New Look is a brand that would attract a very young audience, from the ages of 13-25. This type of consumer would usually shop in Primark, or with their mum at Forever 21. She isn’t concerned with the fashion trends, but with what her friends would think is ‘cute’ and ‘cool’.
I would change the model, and the background. I would give her a specific direction, and take off the cowboy hat because it’s typical of brands in the summer to have thousands of styles of cowboy hats. I would remove the childish words of ‘be the trend’ because it’s dull and not adding any impact to the image. I like the fact they have included the price, but that is all. The rest has no message or appeal to the 18-30 age range.
TASK 11: UNSUCCESSFUL BRANDING What is the relationship/link between the product and the branding? The brand is Topshop, and they are trying to look alternative. They have on trend clothes to sell to a fashion conscious consumer, but they don’t want to look like any other high street brand. They are selling a party lifestyle, and appealing to the students.
What is the message to the consumer? They want their consumer to think of their clothes when they want to buy an outfit for a night out. Topshop wants to appeal to young women who follow the fashion shows, and the trends, very closely. They’ve used a model who is tall and thin, and has minimal make-up. It’s a recognisable print advert that you would see in Vogue for a high end brand.
Does it work? I don’t think this advert works, because the model looks sick, and nearly dead. I can’t see the outfit clearly, and the background is confusing. She looks like she has come back from an all night party, and got lost in an unsafe area. I don’t think it is appealing. It’s not shocking, and it’s not exciting, it’s very ‘blah’.
What would you change?
Customer Profile The Topshop customer is on trend, and would usually shop in Zara or River Island. They are between 18-35 years old, and are mainly students who have an eclectic lifestyle. They are fun and outgoing, and would spend that extra money from their student loan on a key piece of the season, even if it’s not a mass market trend, because it’s popular in the pages of Vogue, they would buy it.
I would change the surroundings, and make the model stand up and pose so you can see the whole outfit. I would get her to smile, and look like she is having fun. If you want to appeal to a younger audience you have to show some life, and happiness. Student parties should be fun and exciting.
TASK 11: UNSUCCESSFUL BRANDING What is the relationship/link between the product and the branding? ASOS is a contemporary brand, who advertise towards young students and young women who are working and can spend more on trendy clothing. The branding is simple, and to the point, with emphasis on social media aspects of the brand; where to find outfits put together by their stylists, and where to find inspiration for their trends of the season.
What is the message to the consumer? They want their consumer to think they are ‘cool’ and trendy, with the whole look being the reason why you buy into their brand. They understand their customer, and that they are creative and eclectic women who want to look good but feel good at the same time. So they will buy an odd piece of clothing, if it makes them stand out.
Does it work? I think it works really well. They have swarmed the market of 18-30 year olds, and it is the one stop destination for every women who needs an outfit, or needs to evoke a trend from the season, without trying to hard to find it. It’s simple to navigate.
What would you change? I think they need to add more colour, and take themselves less seriously. The advert could be more engaging, and less about themselves, and more about the lifestyle of their customer.
Customer Profile: 18-30, into the latest trends. Has a broad fashion style, that incorporates different aesthetics and cultures. This customer needs their fashion quick, and wants to be wearing the latest trend the next day. They are careful with how much they spend, but would spend more on a key piece that is similar to the runway.
TASK 12: MINI BRANDING PROJECT
Good price point. For women who are conscious about fashion, and the environment.
Mission Statement: ‘Sustainable, good quality fashion, at a reasonable price’
Eco friendly clothes for 18-30 year old women.
Street style influence: Contemporary woman, with an eye for on trend key pieces (coat, print, shape) but consistent with her own personal style. She is young (18-30). Her style aesthetic is simple and easy. She is fashion conscious, but has fun with colour. She is fearless.
Pen Profile Anna is a 40 year old woman, divorced, and works as a civil servant. She owns two homes, a flat in London, and a cottage in Somerset. She commutes from her cottage four days out of the week, and stays in her flat in London on the Monday at the beginning of her work week. Her two children are both boys, and are grown up and living at University. She rides a bike to work, and doesn’t own a car. She buy her food from her local butchers in London, and in Somerset, depending on where she is living at the time. She attends a lot of charity events across London and in the countryside. Her wardrobe is filled with key pieces from high end brands like Karen Millen, Zara, Reiss, and Whistles. She spends the most of her money on accessories from Chanel, Louis Vuitton and Mulberry. Anna goes on holiday alone twice a year, and to the same places. She visits South Africa in the New Year, and she goes to California in the Winter. She spends her time visiting small businesses and likes to invest in up and coming boutiques that specialise in Fairtrade clothes and accessories. She likes to wear tailor made suits from Saville Row, and one suit is particularly special to her because it was created from recycled hemp materials, and she wears it to charity events to showcase sustainable clothing on a larger scale. She has hosted, and funded a lot of charity fashion shows that have involved designers who specialise in eco-friendly clothing. Her favourite breakfast is poached eggs on whole grain toast, with avocado. She drinks orange juice that she presses herself, and sometimes she will add a slosh of champagne if she is having an important meeting that day. She rarely eats in, and always eats out at restaurants that source their food from organic farms around the world, and isn’t afraid to try new things. At her cottage in Somerset, she has her own allotment where she grows her own vegetables. She preserves them, and has them in large jars inside her cupboards. There is no electrical appliances in her cottage. It has a room filled with books, and magazines, that she recycles once a month, and she has no electricity. The water system is recycled from the rain water, which collects on the roof and is purified in a tank at the back of the house. She partially owns the farm beside her cottage, and drinks the Cider that is made on site, and eats the chickens, and cows, and pigs, that are reared there every season. Anna idolises successful women like Hilary Clinton, Michelle Obama, Angela Merkal, and activists like Maya Angelou and Malala Yousef. Her heart is with charities, and activism, but it is also in love with fashion. However, Anna doesn’t follow the latest trends. She knows what looks good on her, and she wants to buy into a brand that isn’t hurting the economy of other countries, and isn’t making their clothes in sweat shops where children are slave labourers. Anna is an ethical thinker, and grew up in a working class background. She never forgets the little men and women in the world.
Basic information: Age: 30-45 Gender: Female Occupation: Working/Middle class jobs (i.e Office, Manager, Bank, Civil Servant) Location: Inner city Values: Family, ethical production of food and clothes, mid-range spending but would pay more for quality.
Secondary Research: Ethical Businesses From researching their company website, I found that they included a section on ‘Organic Certification’. This is useful for buyers of brands, like myself, and for consumers, to find out the ins and outs of the wholesaler and retailer. If the ‘Eco Cotton’ brand had organic certification from the UK, and another non-EU country, that would hold us in good stead for sponsorship, and interest from other businesses and shareholders who could help us with our costs when we first start out.
‘Fabindia’ is a company that focuses on the ethical production of clothes. They ‘Link 55,000 craft based rural producers to modern urban markets, thereby creating a base for skilled, sustainable rural employment, and preserving India’s traditional handicrafts in the process…’ (1) It began as an exporter of wholesale textiles from rural businesses, but has since developed into a major retailer in India. This company has grown, and the fact that is has grown successfully shows that this market is just at the beginning, and ethical manufacturing of clothing is a worldwide focus that has people searching for ethical retailers. This gives me a great belief that my brand will fit in well, and grow at sustainable rate.
(1) Fabindia, (2015). Fabindia: Shop online for hand woven garments for men and women, and home furnishings.. [online] Available at: http://www.fabindia.com/intl/company/ [Accessed 14 Oct. 2015].
Secondary Research: Ethical Businesses ‘Outsider’
(1)
‘Outsider’ is a fashion company that I think is in direct competition to ‘Eco Fashion’. Their market is a middle class woman, and their price point is high. They focus on trendy fashion, and allowing their customer to not affect the world with what they wear. They are involved with ‘Eco Age & The Green Carpet’, and a host of well known celebrities. They have factories in India and Macedonia, all of which are visited on a regular basis and stay true to their ethical position on manufacturing in the fashion industry. They don’t have any children working in their factories, and want to increase the revenue their workers get for manufacturing their products. They get their wools and silks from Italy. This is another way for them to not expend a lot of oil and unsustainable energy importing their materials. Their designs are similar to Zara, and Topshop, and I can gather from their website that their age range is for young women who are professionals, single, and can spend a little extra on clothes. The price range is high, between £70-200. They use social media a lot so they can reach out to their target market. They have their own blog that talks about their mission statement of sustainable fashion, and also the different people who wear their outfits, and how they style their clothes. They are also a sustainable fabric wholesaler. This would be a great place for smaller businesses to get sustainable fabric, like myself, and also for any seamstress who wants to create their own designs. They give their customers that option.
(1) Fashion, O. (2015). Outsider - Ethical & Sustainable Fabrics. [online] Outsider Fashion. Available at: http://www.outsiderfashion.com/pages/ethical-and-sustainable-fabrics [Accessed 14 Oct. 2015].
They also talk about the fabrics that they use, what they look like, and why they use that particular fabric. It gives the consumer every detail of information.
‘Mighty Humble’
(1)
‘Mighty Humble’ uses eco-friendly, non-toxic, ink for their printed t-shirts. Their cotton is organic, and no chemicals are used to treat it like other cotton made products. This is a smaller brand, and seems to be based online only. On their website they admit to not being thoroughly eco-friendly all of the time, that honesty is rare in business. I researched this brand, because their price point is similar to my price point of my eco-friendly, sustainable cotton, t-shirt. They even bank ethically, with a bank that has no ties to corruption in governments around the world. Their packaging is biodegradable and can be used as fertiliser if enough water is used. They have a limited range on their website, and it seems to cater only to men. Their website design is simple, and easy to navigate, and it is easy to find their mission statement. Their price range is low, between £10-25. This is suitable for the male market. However, if this included ladies wear in their brand, they could price it a lot higher.
(1) mighty humble, (2015). Our Way. [online] Available at: http://www.mightyhumble.com/f-our-way [Accessed 14 Oct. 2015].
‘Samatoa’
(2)
‘Samatoa’ is an Asian pioneer in natural fibres. They have won an UNESCO award for creating a sarong made entirely out of lotus fibres. This company has a philosophy, ‘economic efficiency, social equity and protection of the environment,’ this is stated on their website. Like our brand ‘Eco Cotton’, they believe in ‘eco-friendly, sustainable clothing, and accessories for today’s (1) consumers’. They employ local Cambodian villagers who still specialise in the historic techniques of producing textiles from uncommon plants like Lotus leaves. In the screen shot on the left, you can see that they have produced a contemporary design of a hat. It could be easily worn by anyone, in any country, and go with any summer outfit. This versatile design is eco-friendly, and unique in its material. The founder Awen Delaval is active on Pinterest, and includes ideas, fabric, and locations, from Cambodia. This is where he gets his influence and inspiration, from the historic sites in Cambodia and it’s natural spiritual atmosphere. On their website they describe how their success as a sustainable textile manufacturer has helped in the development of numerous more training posts in their business, for textile weavers, manufacturers, and designers. Their price range is not included on their website, but from researching this brand I believe it would not be that high.
(1)
http://www.samatoa.com/PrestaShop/content/20-Eco-textile-mills-Cambodia
(2) Samatoa.com, (2015). Samatoa - About Us. [online] Available at: http://www.samatoa.com/PrestaShop/content/4-Ethical-Fashion-House [Accessed 14 Oct. 2015].
Secondary Research: ‘Cotton USA’ Branding “COTTON USA promotes U.S. cotton fibre and manufactured cotton products around the globe. Our reach extends to more than 50 countries through 17 offices around the world. Through COTTON USA programs, we touch lives every day by setting the global standard for purity, quality and responsibility. We promise consistently excellent quality to inspire your unique style of life.” (1)
Cotton USA promotes USA cotton around the world, and is involved in the ethical production of cotton, and the affect that it has on the environment globally. They focus on the ‘responsible agricultural farming’ of cotton in the USA. They have adverts on television in the United States, and use actresses like Zooey Deschanel to gather interest from the young age range to make them aware of materials that they wear. Their website has a section for buyers of cotton, and tells you where the majority of cotton production comes from. This is good for my research into sustainable cotton, and will help me find the right source for my materials.
(1) Cottonusa.org,
(2015). COTTON USA. [online] Available at: http://www.cottonusa.org/about-us.html [Accessed 15 Oct. 2015].
Secondary Research: British Manufacturing Ethical Fashion Source Expo, October 6th 2015: Their main discussion was the British textile industry, and how it has decreased at an alarming rate since the Industrial Revolution in 1880. According to an article written by Alice C Doyle for Eco Chic Magazine, ‘Outsourcing- 4/5ths of our production of textiles happens overseas…’. Now we have ‘fast fashion’ clothes: ‘Low in price but high in social and environmental cost. Something not reflected in the price tag…’
Buy
As a country, we buy cheap materials that are dyed with toxic chemicals, and produced in an unsafe environment; sometimes by illegal child labourers. Chemical pesticides are used to treat the cotton, and wool.
Manufacture
The materials are manufactured in over a hundred sweatshops, with low paid workers that are mistreated. Whole families including young children could work in the same sweatshop, with no education and no social economic growth.
(1) Ecochicmagazine.co.uk, (2015). Made in Britain | EcoChic Magazine. [online] Available at:
http://www.ecochicmagazine.co.uk/sustainabilty/made-in-britain [Accessed 16 Oct. 2015].
Import
‘Cloth Miles’ is a term Alice C Doyle uses, to describe the amount of pollution created by transporting the materials from the suppliers, and the clothes from the manufacturers in third world countries, back to Europe.
‘Campaign For Wool’ is a campaign that started in 2010 as a way to promote British Manufacturers of Wool. There is a ‘Green Sheep’ logo that is found on ethical, responsible production, of Wool from British manufacturers. This is a great initiative, and will help customers recognise the importance of sustainable and eco-ethical textiles. We assume that our clothes have no affect on the world, but in fact they are extremely detrimental in the growth of small communities and their socio-economic growth. ‘Izzy Lane’ is a UK producer and manufacturer of textiles. They specialise in Cloth and Yarn, and their materials are processed within a hundred mile radius of where the sheep who provide the natural materials, in the Yorkshire dales. The supply chain is ‘transparent’. GAP was a company that has suffered from bad press because of their ‘non-transparent’ production of materials for their clothing. They had to terminate of 150 contracts with suppliers because they were investigated and found to be contributing to a mass amount of sweat shops, and un-ethical treatment of workers. They have never recovered their brand since that discovery in 2006. (1)
Inner City Eco Systems
‘ECO COTTON: SUSTAINABLE FASHION’ TREND FORECASTING A/W ‘16
‘ECO COTTON’ RANGE PLANNING A/W ‘16 Print Idea
£40
£85
£25
£80
£65
£60
£80
£135
£75
£80
£155
£175
£110
£45 Eco Sustainable
This range will consist of eco-sustainable fabric. The fabric will come from Eco suppliers, like Ahimsa. Ahimsa is Hindu for nonviolent, and that is how they extract their silk. They wait until the worm inside the cocoon has completed metamorphism, then they carefully piece the cocoon and when the moth has flown away, they unwind the silk from inside. This process can take up to two months, including spinning the silk and weaving it into fabric.(1) I will also be using organic, un-dyed, non-toxic cotton. (1) "Ahimsa Silks." Ahimsasilkscom. N.p., n.d. Web. 09 Oct. 2015.
£35
‘ECO COTTON’ RANGE PLANNING A/W ‘16 The accessories include copper and natural metal jewellery made from recycled metals. Also, the silk will be nonviolent silk, which will be the material for the tassel clutch bag. The shoulder bag will be made out of a wooden handle, and cotton sack. The bracelet, ring, and earrings, will all be made from recycled metals.
Mismatch Earring
Non-Violent Silk Clutch
Metal Ring
Copper Bracelet
Organic Woven Cotton, Wood Handle bag
ECO COTTON A/W ‘16 RANGE PLANNING: CADs, PRINTS, and COLOUR EXPERIMENTS ON PHOTOSHOP This is just a selection of the designs I have chosen for the Eco Cotton A/W ‘16 range with the print, and colour, included. This has all been completed on Photoshop. It was my first time using this programme. I have selected a few key pieces from the Eco Cotton range to talk about why I have chosen the designs, and how they reflect our target customer’s lifestyle.
Heavy Knits:
Blouson Blouse:
Wrap Dress:
High Waist Flares:
Eco Cotton’s A/W range includes a lot of pieces that use Wool. This Wool is heavy, and untreated. The colour would come from botanical dyes. (1) ‘Botanical Colours’ is a supplier of natural dyes. The use of natural dyes is in contrast to the toxic colour dyes that are used by mass market stores, which pollute the countries where fast fashion is manufactured
The colour is vibrant, with the use of natural dyes. The fitted design will accommodate the customer our brand is targeting, who are adventurous in their personal style, and want something bright for their wardrobe. The blouson blouse is a feminine style, but the structured shoulders emote power.
The Wrap Dress is a flattering design, with a colour and print that is on trend with the geometric pattern. It is something that can be worn for formal occasions, but is modern in its design. Our customer will be attending a lot of charity events, and meetings, and this is stylish but not over the top, which I believe from my research our customer will admire.
The two tone colour, and the relaxed trouser leg, are upcoming trends for the up and coming A/W trend of 2016. They material will be light, and breathable. It will be comfortable for the 30+ customer to wear to work.
(1) https://botanicalcolors.com/2015/10/09/in-the-news-botanical-colors-on-toxic-color-in-fashion/
ADVERT/BILLBOARD MOOD BOARD LANDSCAPES
NATURAL
ANIMALS CULTURES
COLOURFUL
ADVERT STYLING: HAIR AND MAKE-UP
FRESH FACE
BRIGHT
CULTURE
EARTH
ADVERT/BILLBOARD CONCEPT BOARD The concept for my Advertising campaign is including models from the countries where the clothes are manufactured. I will conduct primary research of street style from Mumbai, and gather from that research the way they style their clothes, and the fabric, to suit their unique personal style and the style of their multi-cultural society. The advertisement below is how I would place my models, and the setting I would use. I want to have the contrasting image of an Indian landscape, against the modern women of India and my clothes styled on them. I included the Alpaca’s to showcase our Alpaca wool knitwear, which we will include in our ranges alongside the eco-sustainable cotton products.
The clothes will be styled in a relaxed, eclectic, and contemporary fashion. Our brand is free flowing, and not restrictive. The models will be able style their outfits to suit their personality, without losing the integrity of the Eco Cotton brand.
I want the placement of the models to be eclectic, with the best outfit taking centre stage. Even though they are partly styling themselves with our products, only the outfits that reflect the mission statement and aesthetic of the brand will be chosen to front the campaign. The accessories will be included in the advertisement, and on the mannequins. They fit with the natural environment. A lot of woody textures, metals like copper for jewellery. Organic materials for the bags: silk, organic cotton.
I want the background to be natural, so I will scout a location within India, and use the natural environment that surrounds them to enhance the products and evoke the mission statement of ‘Eco Cotton’. I have included Alpacas in my concept advert, and hope to use them in the final product, because they are important to the brand in regards to sustainable materials and responsible fashion.
ADVERTISING: MAGAZINES AND NEWSPAPERS My target market is 30-45. I want the advert to look modern, and simple like the brand. I don’t want a lot of make up on the model, or a lot of styling. In the Advert idea below, I would have a key jewellery piece from the collection as the main focus, so that we can showcase the brand to more upmarket consumers. We would advertise in ELLE, and Vogue.
ETHICAL ENDORSEMENTS/SPONSORSHIP ON SOCIAL MEDIA Kourtney Kardashian, organic promoter, health advocate, global brand
Sheryl Crowe, political activist, environmentalist, muscian
Holly Whillouby, family values, well known face, health advocate.
Twitter is a useful marketing strategy for sponsored posts. A lot of celebrities are now being paid money to advertise a product. This will be great as a brand point of view, to be associated with a well known face, and name, who share our beliefs.
Example of ethical marketing
Our brand can have sponsored posts on newsfeeds, targeting those who like certain pages, for example: Oxfam, Green Peace, and certain celebrities who are environmental activists, and supporters of sustainable manufacturing.
Example of sponsored posts, in conjunction with what pages your Facebook friends ‘like’.
VIRAL MARKETING CAMPAIGN One of the first CADs that I included in my range was this plain t-shirt. This t-shirt will be the main basic item in the range, and will be constantly produced for the mass market with the help of ethical manufacturers in India, and ethical wholesalers of organic cotton. This t-shirt will be used as part of the first wave of social media marketing campaigning. I will ask celebrities, and well known fashion bloggers on Instagram and YouTube, to wear this t-shirt in support of sustainable fashion. The price, taking into account the cost of the sustainable cotton, and ethical manufacturing, will be £40. The price of the t-shirt will put it in the high end market alongside brands like ‘Whistles’, ‘Zara’, and ‘Lands End’. However, what we have, that most of them don’t have, is a platform that advocates sustainable fashion, and providing an ethical environment for workers in rural India who will be manufacturing this product in their own communities and not in a sweat shop, and their pay will be higher than if they worked in a sweat shop that was dangerous to their health and wellbeing.
One Plain White Tee, can Save a Family The white colour will be natural, with no help from toxic dyes or chemicals.
The ‘Eco Cotton’ label will stick out from the side seam.
Leaflet
BUSINESS CARD AND PROMO LEAFLET
E
Business Card
“Sustainable, good quality fashion, at reasonable prices�
co Cotton, is a sustainable clothing
company that specialises in eco-manufacturing of every material we use. We use humane silk, cotton, and alpaca wool from Peruvian manufacturers. The idea is to provide ecoconscious fashion, on trend, at a reasonable price. This allows us to pay our suppliers a good wage, and give you better quality than is what on the high street.
XHG123698 The business cards will be made from recyclable material
www.Eco-Cotton.com/uk
Complimentary 15% off online code
Visit our website, at www.Eco-Cotton.com/uk The leaflets will be made out of recyclable paper, and handed out in the city centre and posted online. Hopefully it will be sponsored by Oxfam or WaterAid, and distributed at festivals like Glastonbury.
Secondary Market Research: Visual Merchandising This is my secondary research, conducted on WGSN. I have collated images from visual merchandising stands from around the globe, to gather ideas for Eco Cotton’s visual merchandising layout in store.
United Colours of Benetton, Milan, September 2015 Mango, Milan September 2015
Using real life models is an idea I am considering, however I would want them to reflect the multicultural aspect of my brand. Again, this ‘United Colours of Benetton’ store in Milan has used wooden boxes, whitewashed, as stands for their mannequins. I think this would be a neat idea, and would compliment the light blue and white walls of ‘Eco Cotton’.
The way the mannequins are positioned, and the area around them filled with the accessories, is an idea I would like to use when setting up my brand in store. It’s clear, and spread out in a way that you can see every piece and how it is styled. Even the space behind them, the shoes are placed beneath the rail, and easy to pick up and add to the outfit you might decide to buy. River Island, London, September 2015
Adding props to this visual merchandising stand in River Island, is an idea I will use for my brand. I will use recycled drift wood, as boxes, to hold accessories, and shoes, and place them in an aesthetically pleasing way so the customer can get the concept of the brand, and the trends for the season.
Saks Fifth Avenue, New York, September 2015
Saks Fifth Avenue’s mannequins in New York are styled impeccably well, and you can clearly see the range and the concept for the season. I like the different levels that the mannequins are, and it compliments the surrounding area, and its colour scheme.
‘ECO COTTON STORE LAYOUT, AND CUSTOMER FLOW
Emergency Exit
Entrance
Ladies Mat One
Emergency Exit
Exit
VM Stand One
Ladies Mat Two
Cashier Desk/ Returns Ladies Mat Four
Ladies Mat Three
VM Stand Two Footwear
Footwear
Accessories
Accessories
The Customer flow is indicated with the red arrows; I want to direct the customer around the store, and past the different ladies wear mats, and towards the footwear and accessory mats. I don’t want it to be overloaded with stock on the shop floor, I want it to appear airy, and light. The music will be chilled out dance anthems, relaxing and contemporary. The customers should feel relaxed enough to browse and try on the clothes, and no suffer from sensory overload. Songs that may feature: Daniel Gray, Chicane, Jakatta, and Zero 7.
Ladies Mat Five VM Stand Three
‘Eco Cotton’ will be a medium sized unit. It will be in Liverpool City Centre, close to the edge of the University Campus of John Moores. Since this is a boutique store, I think it will fare well away from the main brands in Liverpool One. The foot fall down bold street is quite big, and a lot of working professionals walk down that street towards Central Station, and Queens Square Bus Station. Bold Street is continually growing, and new trendy restaurants and boutiques pop up every six months to critical acclaim, so our store should fit in.
Fitting Rooms (Women Only)
The colour scheme will be light blues, and whites, with authentic recycled drift wood that will be on the high shelves, and VM stands along with the mannequins. The fitting room will have recycled wooden doors, and a light cotton scent will be spray sporadically into the atmosphere. The mannequins will be position in trio, on a low level, mid level, and high level variation in each VM area.
ANALYSIS OF BRANDING PROJECT This branding project has opened my eyes about ethical fashion, and how fashion as a whole can affect the majority of people in countries like India, Peru, Cambodia, Mexico, etc. There is a lack of transparency within the fashion industry, and we are continuing to perpetuate that lack of awareness by buying into the ‘fast fashion’ trend. I started this project with an idea. I wanted to start my own brand, and appeal to the older woman who is stylish, contemporary, and modern in her beliefs. My customer profile of a 30-45 year old woman, helped me understand who I was targeting with my brand. I researched trends, and I narrowed them down to specific trends that the middle aged woman could wear on a regular basis, without feeling dowdy or isolated from the fashion industry. The woman I was designing for is involved in charities, and political activism. She wants to save the world, but she is intelligent enough to know she can’t do it herself. The brand allows her to support small communities at home, and abroad, and not add to the problems that keep occurring in sweat shops around the world, like the Bangladesh factory collapse. I conducted secondary research, and found out to my surprise that there were a lot of ethical suppliers and manufacturers of fabrics and clothes that shared the same mission statement as my brand. They would be my competitors in the ethical market, but brands like Marks and Spencer, Whistles, Zara, would also be my competitors with our designs and price range being quite similar. What gives Eco Cotton the edge, is that we sell eco-sustainable, and ethical, clothing. Out of all the ethical clothing companies I found online, the one that stood out amongst all the others was ‘Outsider’, a contemporary womenswear brand. Its designs were on trend, and the aesthetic was similar to my brand, with the price range the same as well. The market research I conducted on this brand made me aware of what I needed to think about when completing my brand; I needed to understand and take responsibility for every step I took with my brand; this included the design, production, shipping, and selling of the completed designs. The areas I would have to develop include creating a website, and visiting the places that would eventually supply Eco Cotton with the materials it needed to manufacture the clothing, and visit an ethical manufacturer that shares the same beliefs as Eco Cotton. I would improve on my range, and how it must develop with every season. Some trends will not be suitable for me to create, because of the expense, and ethical issues that may arise i.e: velvet, fur, and embellishment, trends. I will have to think a lot harder, and take more time in developing the trends I will use for the upcoming season. This is why I have some designs that will most likely become permeant staples in the range for every season, i.e the plain t-shirt, accessories, and knitwear. During this task I finally started to use Photoshop, and I found it really addictive. I love how the colours and patterns can totally transform a range, it makes it look more cohesive with the mood board and concept elements of the project. Seeing a visual representation of my brand helped me with the visual merchandising side of it, and the store layout. In this project the peer reviews were very informative. I could see what was missing from my project, and also what I needed to improve on. My layouts improved, and I started to gain more confidence in the creative side of it. Seeing the Photoshop layouts that other students had created, made me try a little harder with my own without the use of Photoshop. This was a lot of fun, and I stopped thinking about whether it was right or wrong, and more about whether it connected to my brand and the project itself. I kept the font the same on every slide, and I didn’t want it to be too fancy because I didn’t want it to be distracting. When I designed the business cards and leaflets, I was inspired to use viral marketing. Twitter and Facebook are great conduits for sponsorship and paying celebrities to sponsor anything. I picked Sheryl Crowe, Kourtney Kardashian, and Holly Whilloughby as the celebrities I would like to promote my brand on social media and on television. They fit the customer profile, and have a history of supporting causes that are similar to eco-sustainable clothing and healthy wellbeing. I also conducted research into ethical advertisement, and how this is important. I don’t want Eco Cotton to be associated with bad advertisement, because that could hinder our growth as a new company. The viral campaign idea includes the plain t-shirt made from 100% eco sustainable cotton, and the slogan ‘One Plain White Tee, Can Save A Family’. It’s cute, and to the point. With this advert, and social media viral campaign, I will encourage users of those websites to take a selfie of them wearing the sustainable cotton t-shirt. Hopefully this will make them aware of how little sustainable fabric they own in their wardrobes. The billboard adverts will have cultural influences from India and Peru. I want to include a vast majority of races in the adverts. I will scout the models on the street, and find stylish Indian women to advertise Eco Cotton. The background will be a natural landscape, and it will be bigger than the model. I want to focus on the ecological side of the brand first, and the clothes second. The same goes for the print campaign in the magazines. I will have a close up of a model, wearing our jewellery, with a natural background. Their styling will be natural. All of this has a purpose, and that is to make our brand known for being natural and transparent. I want our message to be clear.
PEER EVALUATION The artefact that was chosen by this person was the Rubix Cube. The squares, and colour blocking, add a geometric style to their clothes. Also, the 80’s toy connects with the retro colours they have chosen for their colour palette. The theme they chose was ‘Sports Luxe’, and this can be seen with the CADs they have chosen, but there isn’t a connection between the trend forecasting images from the catwalk, and the CADs. The theme is strong, the name is strong, but the connection with the fashion is non-existent. I would have added sports leggings, and accessories like gym bags and trainers. With it being ‘Sports Luxe’ you don’t want it to be all active wear. You have to have pieces that can be worn separately with different outfits like jeans, and dresses. So I would add a statement bomber jacket, and leggings. ‘Sports Luxe’ isn’t concerned with technical evolution of athletic clothing, it’s about feeling comfortable and looking on trend. This means, on trend colours, and relaxed fit clothing. I noticed in the concept board that there aren’t any trousers, and you can’t make more than one outfit out their range. The theme suggests versatility, and that’s what I’ve added with my chosen CADS. They haven’t represented the season and their concept; there should be images of activity; casual sports, and street style. They’ve included a lot of architecture, and model images, but not a lot of abstract images that connect the whole concept board together. The target market is clear; they are advertising for young women, on the go, who want to be on trend as well as comfortable. They shop high end brands, like Stella McCartney, and they shop in high street stores like River Island.
Tim Coppens s/s ‘16 Parson’s New School For Design s/s ‘16 NYC s/s ‘16
ESSENTIALLY YOU
I have found the layout to be effective in bringing the theme, target market, and range, with no excess words, or slides. You look at the colour scheme, and images they have picked and you know what they are trying to say without having to read a paragraph. The way their colour scheme has been presented is subtle, but effective. They don’t need a lot of swatches, because the colour in the images, and the images, tell us what we need to know. What they do need are more images that connect the ‘Sports Luxe’ theme with the CADS. It’s not clear about the market age, or whether it is mass market, high street, or designer. My customer profile that I have written points the consumer towards a high street/high end brand. I have chosen the slogan ‘Essentially You’ because I think the range consists of basic essentials, but they are on trend like the customer would want to be. It’s a welcoming slogan, and reflect the simplistic colour scheme.
London s/s ‘16 Lacoste s/s ‘16
UNIT EVALUATION The first task of this unit was about fashion history, and how every future trend is influenced by the past. I researched the timeline between 1900-2000, and how the designs from the 1900’s can be found on the catwalk today. Bustles where the trend of the 1900’s, and this was modernised by Christian Dior, and then by McQueen a few decades later. I also found similar designs at Alexander McQueen, that could be found in the archives of Paul Poiret. Making this connection, and seeing visual examples of it, helped me understand the importance of research and influence in the fashion industry. Sophisticated Heritage was the second task, and I completed my first mood board. It was hard at first to understand the meaning behind composing a mood board, but as I continued with this task I could understand how helpful it is to see the collection of catwalk trends altogether. From the mood board I could see the colour scheme of the season, and the shape and styling of each individual designers catwalk. I researched three brands, one higher end brand; Burberry, and a High Street brand; Next, and a Mass Market brand; Matalan. For each brand, I researched their trends, the details in their designs, and their colour palettes for the season. I also used CADs for the first time, and was able to build my own range for the brand based on my research of their history and current range. I found this helpful in understanding how to put together a range, and using WGSN to find the CADs and the fabric swatches. This was the first time in my development and understanding as a buyer, and how seeing a range can inspire a trend for the season. The next task was about era’s, and comparing and contrasting different eras, and how they influence fashion today. This was a group task, and this was my favourite task, because I was able to listen to other ideas and concepts that were not my own, and I believe this developed my understanding of what being a buyer entails. I researched the 1950’s and 1960’s. Even though they are next to each other on a timeline, their fashion and style is remarkably different. You can see the growth in womenswear because of the development of political equality and activism in the 60’s compared to the 50’s. There was a lot more freedom of expression, and protesting about the Vietnam War, and Government. From comparing those era’s, I then researched one of the other era’s that was researched by my group partner. Comparing 60’s to 80’s was easier than I thought it would be, because there were similarities in both era’s; including fashion, music, and politics. High street trends for autumn/winter 2015 and 2016 was the next task. I took three brands; Dorothy Perkins, Matalan, and Topshop, and created a product chart. In this chart I included the product, the price, and the link between the product/development. The conclusion is at the bottom, and I found that they all had the same trend of the 1970’s, but they each took on that trend in their own way according to their mission statement. Then I created two mood board's on catwalk trends. I chose Brocade, and ‘Winter is Coming’. From the mood board's that I curated, I specified it and created another mood board based on embellishment for ‘Brocade’, and fur for ‘Winter is Coming’. This was when I started to feel more comfortable in my work, and how I laid out the images. I found that doing the mood board's helped me with creating a more focused mood board about each theme. I was able to break down each trend, and know what I wanted to include. I then completed two mood boards on high street trends; ‘Geometric’ and ‘Suede Bohemian’. They included images of actresses, and architecture, which all related to the style and patterns on each mood board. I could see the link between the trend and the designs on each website. I was able to understand further how influence is a broad term that can be related to anything outside of fashion, but still connects when you research it thoroughly. The final task relating to high street trends, was a comparison between what is high street, compared to high end and mass market fashion. I wrote in depth, and in great detail what each term meant, and how it related to different consumers and age groups; taking into account their lifestyle, income, and location. This was when I began to full focus on the consumer, and what kind of consumer shops at different kinds of brands, and why they choose to shop with that brand. Continued on next slide-
UNIT EVALUATION For the next task, we had to choose an artefact out of a list. I chose a Zebra. We had to complete a mood board based on this artefact, with the customer in mind, and include colour palettes and fabric swatches. The reason I chose a Zebra, was not because of the obvious connotations of the Zebra print, was because I felt it was a really broad item to choose and I could go anywhere with it, and relate it to my customer without forgetting about them. My customer was a frequent shopper in Zara, and was into contemporary styles on the catwalk. My mood board was filled with neutral tones, relaxed tops and slim trousers. The customer was in her mid twenties, and was into fashion but had a style of her own that relied on key pieces of the season to keep her on trend. I felt this was an unconventional path to choose, since others had gone down the more obvious route of Zebra patterns and a loud aesthetic, but I knew the customer I was buying for and I was confident in my in-depth research. Reporting on cultures, and how they affect fashion globally, was the next task. We had to complete three mood boards, I chose; Chinese Fashion, Hip Hop Sub Culture and Religious Iconography. With all of the three themes, I researched in great detail the history, and meaning, behind everything that lead to the current styles of each culture. I found this a really great task, and was able to use my knowledge of pop culture, and trends, to create a broad and well thought out mood board for each culture. I showed the growth of each culture as a trend, and how we see it everywhere in the mass market today; we always see an ‘oriental’ print on dresses for spring/summer on the high street, and baggy jeans, and relaxed styles in the summer also which reflect the hip/hop culture. The religious iconography is especially interesting, because religious is such a taboo subject in today’s world, but we all wear items of clothing and accessories that have religious connotations and think nothing of it; printed t-shirts, rings, earrings, bags. It’s become so mainstream in fashion, we don’t connect it to Christianity, Hinduism, or Buddhism anymore. There is a disconnect, and that was fun to research. I delved deeper into fashion history, and how Chinese Culture has been appropriated and modern Chinese fashion design has been overlooked by westerners. I researched designers like Guo Pei who have become more known this year thanks to Rihanna wearing one of her designs for the MET Gala. A lot of up and coming Chinese designers talk about how western fashion has appropriated a stereotypical take on Chinese history, which they believe is misrepresenting them as a culture. I thought this was important as a buyer to research, because I known a lot of companies have made mistakes regarding cultural appropriation and offending certain cultures, with their choice of print designs, and accessories i.e Zara’s holocaust pyjama top, with the star of David; Native America headdresses being used as a summer trend, along with Bindi’s from the Hindu religion. I also researched ‘fast fashion’ trends, using the recent MTV VMA’s as a starting point, where Nicki Minaj called out Miley Cyrus on stage for her lack of knowledge or care about the oppression of black artists in the music industry. Her quote ‘What’s good, Miley?’ became a t-shirt within 24 hours of the awards show taking place, and the whole context behind the argument was lost. This is a problem with fast fashion, because it is a vicious cycle of taking pop culture, squeezing what you can out of it, then discarding it. There could have been an intelligent argument about race, but instead it was turned into a fad and nobody cared about the meaning behind Nicki’s anger. Part of this task was to look at social influences on trend forecasting. I conducted primary research around Liverpool, finding the cultures I was reporting on in different retail environments. I found a correlation between subcultures like the Club Kids in NYC in the 80’s, and how a lot of designers like Jeremy Scott, have taken this underground culture and trademarked it with their own designs. I found that there is nothing the fashion industry won’t take and make their own. This is a good thing, as it takes a creative culture and spreads it to the wider public, but it’s bad as well because that culture gets watered down by mass fashion and ultimately lost. As well as looking at the trends, and pop culture in the fashion industry, I researched racism in the fashion industry. Racism is prevalent throughout the fashion industry, this includes designer brands all the way down to mass market. There is little to no representation of non-white models on adverts. In the high fashion circle, a lot of white models are painted in ‘black face’ instead of hiring a model of ethnicity, they crudely portray different cultures for the sake of editorial art, and catwalk art. For instance, I found out that Prada have only ever had two non-white models walk in their catwalks; Naomi Campbell in the early 1990’s, and Jourdan Dunn in the late 2010’s. I found it shocking that it is so obvious how racist the fashion industry is, and how little is done to change that. For the next task, we had to choose three social influences on fashion forecasting. Kate Middleton has a great social influence, and it can be seen in every high end store in every city. Women of a certain age (30+) and who are matriarchs of their families, and want to be fashionable, see Kate Middleton as a fashion icon- (continued)
UNIT EVALUATION -and like how she has brought back the ‘conservative’ style to the mass market. High street brands have begun to include these conservative designs in their collections, with the midi dress, wiggle dress, and co-ordinated outfits. The grunge scene in Seattle was the second social influence I decided to research. The style of oversized tomboy outfits, check flannel shirts, and light denim, started in the underground scene of Seattle as an opposition to the mainstream fashion and music industry of the 90’s. This can be seen today in a lot of designer catwalk shows, and every autumn/winter season. The effortless style goes back to the lack of care that young people had in the 90’s about their life, health, and work. Now, it’s contrived, and that social message of ‘fighting the man’ has disappeared. I also researched the skinheads in the 1960s and how they compare to the skinheads now, as a fashion statement. In the 60’s it was about the fashion, and then the style was taken on by the white supremacists, but now in 2015 the style is coming back into fashion and the fashion industry is reclaiming the skinhead connotations of the 60’s. It’s more about the ‘hard mods’, and skinny jeans, with braces and Doc Martens. The last social influence I researched was ‘Technology in fashion’. I mainly focused my research on Hussein Chalayan. Chalayan is an innovative designer who goes beyond fashion, and into the realm of what the future could look like. Tables transforming into skirts, and rain melting coats into evening dresses etc. This social influence can be seen on wearable technology that most of us have today; coats with Bluetooth headphones, watches that monitor our heart rate etc. The penultimate task was to research adverts, find out their link between the product and the branding, and then collate five successful examples of advertisements, and five unsuccessful examples. This was a great beginning to the branding project that was our last task. I never really thought about advertisements, but now I understand how nothing is a mistake, and that every decision has a reason behind it; childish words to appeal to younger audience, loud colours to attract teenagers, a more simple advert to appeal to the older audience. A lot of adverts can be controversial, just so they get the publicity even if they have to remove their adverts due to public concern. This helped me understand what is needed to attract your consumer to your brand, and what is needed to make the brand clear. The last task was the Branding Project. This project was the best task out of all them for me, because I was able to use all of the skills I had developed and I also developed new skills with the introduction of Photoshop to my portfolio. I decided to start my own brand, and base it around eco-sustainable materials; organic cotton, non-violent silk, and wool from community manufacturers that are paid a good wage, and have no child labourers. I researched thoroughly different suppliers who specialise in using and advertising ethical manufacturing in the retail industry. With my logo and slogan complete, I began to write my customer profile. This helped decide who I was aiming to attract with my brand, and who would buy it; why they would buy it, and I then conducted trend forecasting for next autumn/winter using WGSN, and from the information I gathered I produced a mood board with colour swatches, and a concept board. From all of the mood boards, and concept boards, I created a range of CADs for clothing, footwear, and accessories. I then learned how to use Photoshop, and coloured in the few pieces that I found represent my brand the most, and natural colour dyes that would be used on them. Using the information I found out during the advertisement project, I was able to design my own adverts. First, I created a mood board, and concept board. Then, I decided what models I would use and how that would reflect the mission statement of my brand. I decided on non-white models, and models from the countries where the suppliers and manufacturers are based; i.e India. I want my brand to be inclusive. I designed a viral marketing campaign, to promote the brand on social media with the help of well known celebrities, and a hashtag. I always developed the business card and promo leaflet for the Eco Cotton. It will be made from recyclable paper, and with sponsorship from charities like Oxfam and Water Aid we can promote the product with a solid backing from reputable charities. I also designed the store layout, customer flow, and the playlist for the store and the smell of cotton in the fitting room. We will also use drift wood for the doors, and for the visual merchandising stands. I thought I brought the mission statement into every detail of the branding, and I am happy with my result. It has given me more confidence going into the next unit. Throughout the unit we have always assessed each others work, and that has been really helpful for me. I could see how the Level 3’s laid out their mood board, and how clear their concept boards were, and that helped me develop my own.