Autumn Winter 16 Trend Report

AUTUMN

WINTER 16 TREND FORECAST

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CON PRINT & GRAPHICS

MENSWEAR

IN-STORE

TENTS | PAGE 3 |

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CONNOTATION ILLUSTRATION

FIG 1.

Capitalising on the wearer’s cultural capital, the trend encapsulates wearable illustration through satirical slogans and comical imagery.

The thin linear marks create an authentic connection with relatable phrases, dramatic stories and expressive qualities.

Referencing zine styles, subversive illustrations and

FIG 1. | ASHISH SS16 |

anarchic slogans nod to artists such as David Shrigley’s often dark satirical illustrations and Tracey Emin’s ‘Neon Romance’ series.

The trend allows for illustration to become a direct translation from sketchbook to clothing. A punk attitude is merged with luxury garments to subvert the original DIY aesthetic.

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HUMOUR AND WIT ARE PORTRAYED IN AN ELEVATED FASHION IN COMPARISON TO SLOGAN TEES

FIG 2.

FIG 4.

FIG 3.

IN A HIGH FASHION CONTEXT THE BODY BECOMES A WALKING CANVAS DISPLAYING THE ART WORK IN ALL ITS COMPLEXITIES

FIG 6.

FIG 5.

FIG 2. | ASHISH SS16 |FIG 3. | SHRIMPS | FIG 3. | PETIT DES HAUTS SEEK TRADESHOW | FIG 4. | ELIZABETH ISLEY | FIG 5. | CHRISOPER KANE AW15 | FIG 6. | URBAN OUTFITTERS INSTORE |

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GRAPHIC BOTANIC

FIG 7.

Organic and digital become one fusing together indoor tropics with computerised design. The trend takes indoor botanicals and either juxtapositions them against clean, slick minimal fonts or reimages them through digital and photographic media.

Taking a strong influence from graphic design compositions, the leaves are reprinted into a pattern

FIG 7. |KAREN HOFFSTETTER |

and layered onto garments.

Bringing botany to autumn winter, the aesthetic maintains a muted colour palette.

The print forgoes palm leaves and transitions to more indoor based floras such as the cheese plant, rivalling the over popular spring summer cactus print for dominance.

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HEAVIER WEIGHT FABRICS LIKE FUR AND WOOL TRANSITION THE PRINT FROM SPRING SUMMER TO AUTUMN WINTER

FIG 8.

DARKER & LARGER SCALE PRINTS CREATE A MORE SOPHISTICATED TAKE ON BOTANICAL PRINTS AVOIDING TROPICAL HOLIDAY CLICHÉS

FIG 10.

FIG 9.

FIG 8. | GUCCI SS16 |FIG 9. | MARC JACOBS SS15 | FIG 10. | NOON BY NOOR SS16 |

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HEAVY METAL AND REFLECTIVE

FIG 11.

FIG 11. |BLISSKER a. |

Subverting material traditionally used within workwear clothing; reflective detailing is worked into the pieces.

The reflective abilities of the graphic allow for a dynamic graphic changing in differing lighting.

Typography and linear graphics fuse together to create a minimal display. Evolving sportswear into streetwear the reflection is purely aesthetic in relation to its usual functional capabilities.

Styled with leathers and fetish detailing the trend appeals to an alternative audience elevating away from sportswear and streetwear style tribes.

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FIG 13.

STREETWEAR & SPORTSWEAR COMBINE FOR AN ALTERNATIVE CULTURED AUDIENCE FIG 12.

SLOGANS CREATE CULTURAL AND SATIRICAL STATEMENTS TARGETED AT THE ARTISTIC AND CREATIVE STYLE TRIBES

FIG 15.

FIG 14.

FIG 12. | NNXS |FIG 13. | BLISSKER b. | FIG 14. | BLISSKER c. | FIG 15. | ARROGANT ARTISTS |

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NO PRESSURE

FIG 16.

Soft and clean shapes fuse with muted palettes and textures, combing for comfort.

Unpretentious style and minimal aesthetics emphasise the intelligent forward thinking nature of its followers. Focusing on soft structures and Scandi influences, relaxed simplicity embodies autumn and winter

FIG 16. | CRAIG GREEN |

comforts. Taking influence from minimal contemporary Scandinavian furniture design, the clean minimal shapes are reflected into the clothing.

Promoting a relaxed minimalistic lifestyle the trend capitalises on soft textiles with no tailored close fit restrictions.

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TEXTURE AND FABRIC ARE CRUCIAL TO THE MINIMAL DESIGNS

FIG 17.

FIG 18.

A HEAVY FOCUS ON SLOUCHING SHAPES AND LOOSE FITS

FIG 19.

FIG 20.

FIG 17. |THE WORLD IS YOUR OYSTER |FIG 18. | COS | FIG 19. | THE MAZE | FIG 20. | HERMÈS AW15 |

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BOYS DON’T CRY

FIG 21.

Looking towards sensitive masculinity and its relation to menswear; Boys Don’t Cry questions male sensitivity and the growing rise of gender neutrality.

Exploring more feminine colour palettes, prints and shapes on typically male dominated clothing such as street and skate wear. Questioning hyper masculinity the trend enables the exploration of gender and

FIG 21. | CHAMPION |

what it means to be male in 2016.

Referencing style staples like the bomber jacket and the sweatshirt, the designs are reimagined with shorter crops, tactile textures and sometimes with illustrative print. Redefining past associations with the feminine colour palette the trend evolves creating a rebellious impact.

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PINKS FEMINIME CONNOTATIONS ARE MERGED WITH MASCULINE SILHOUETTES

FIG 22.

FIG 23.

STREETWEAR BECOMES LUXE WITH TAILORED SILHOUTTES PAIRED WITH CASUAL ACCESORIES

FIG 25.

FIG 24.

FIG 22. | SUPREME a. |FIG 23. | FIG COLLECTIVE | FIG 24. | MISBHV | FIG 25. | SUPREME b. |

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EVERYTHING YOU’VE COME TO EXPECT

FIG 26.

Combining rockabilly and new mod, a timeless contemporary style is created.

Drawing upon notable style from the 50’s through to the 80’s, an eclecticism of nostalgia draws itself forth.

Referencing classic rock star style from Elvis to Buddy Holly, the trend takes classic era influences reimagined for a relaxed tailored revival.

FIG 26. | PORT MAGAZINE |

Fluid materials and high waists, emulate casual classics blending together relaxation and sophistication.

Encompassing on kitsch, casual jumpsuits take influence from 1970’s Glam rock merging together 1950’s utility wear. The bowling-shirt also makes a resurgence, nodding towards casual sportswear fashion.

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FIG 27.

FIG 28.

FIG 29.

STRUCTURE IS KEY TO REFLECT A UTILITY AESTHETIC

FIG 30.

FIG 27. | DAVID BOWIE |FIG 28. | ALEXANDRE MATTIUSSI SS15 | FIG 29. | NICOLE FARHI SS14 | FIG 30. | CARVEN SS14 |

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ARTISINAL MERCHANTS

FIG 31.

With a focus on purposeful design, the visual merchandising trend reimagines traditional craft workspaces in a retail environment.

Stripped back raw materials and craft furniture references provide a stark contrast to the current minimalist technological approach.

FIG 31. | MEGATRENDS AW16/17 WGSN |

Providing a relatable aesthetic the design creates a relaxed open environment appearing more approachable to consumers.

A craft dexterity emits from the spaces eluding to a sense of workmanship.

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FIG 32.

RUSTIC FURNISHES PAIR WITH HIGH QUALITY FINISHES ELIMINATING THE FEEL OF SHABBY CHIC

SPACES ELUDE TO HUMBLE BEGINNINGS CREATING THE FEEL OF A FAMILY MADE BRAND

FIG 33.

FIG 34.

FIG 32. | AESOP CHESTNUT STREET |FIG 33. | FOLKLORE INSTORE a. | FIG 34. | FOLKLORE INSTORE b. |

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SUDDEN SURROUNDINGS

FIG 35.

With the constant demand for fast fashion retail spaces need to quickly adapt their visual merchandising in keeping with that week’s aesthetic.

Looking towards technological advances with 3D printing, spaces will be able to print props and storage facilities quickly adapting to fast fashion

FIG 35. | DIGITAL GROTESQUE: 3D PRINTED ROOM |

demand allowing the space to become more dynamic.

Tradeshows in particular will be enabled to more diverse settings between stalls due to the quick cost effective nature of 3D printing, In contrast to the quick chipboard spaces of today, the designs will be able to become more complex, diverse with higher quality materials.

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CONCEPTUAL SPACES ARE PHYSICALLY REALISED CREATING MORE DIVERSE SPACES

FIG 36.

FIG 38.

FIG 37.

DIVERSE AND INTRICATE SHAPES ARE READILY AVAILABLE FOR QUICK DISPLAY CHANGES

FIG 36. | SUSTAINABLE 3D PRINTED FURNITURE a. |FIG 37. | SUSTAINABLE 3D PRINTED FURNITRE b. | FIG 38. | 3D PRINTED HOTEL ROOM |

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INDUSTRIAL DEVOLUTION

FIG 39.

Looking towards the past, retail spaces repurpose industrial machinery and spaces creating a sense of the before in luxury settings.

Regenerating the workhouse aesthetic with vintage signifiers such as traditional sewing machinery, exposed metal beams and large open spaces a sense of opulent Victorianism is contrasted

FIG 39. |MARDOU & DEAN |

with everyday objects such as lunch tables and record players.

Devolving from contemporary minimalism, a hardy character is created with open spaces and elevated ceilings, construction materials correspond with raw concrete and steel, referencing brutalist architecture.

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FIG 40.

CONTEMPORARY FURNISHES JUXTAPOSITION THE WORN INTERIORS CREATING A LUXURY AMBIANCE

FIG 41.

FIG 42.

FIG 43.

FIG 40. | URBAN OUTFITTERS INSTORE a. |FIG 41. | | FIG 42. | URBAN OUTFITTERS INSTORE b.| FIG 43. | ACNE STUDIOS |

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ILLUSTRATIONS Fig 1. VOGUE (2015) Ashish spring/ summer 2016 ready-to-wear (ONLINE) Available at: http://www.vogue.co.uk/ fashion/spring-summer-2016/ready-towear/ashish (Accessed: 1st March 2016).

Fig 2. London Fashion Week (2015) Shrimps SS16 (ONLINE) Shrimps. Available at: http://www. londonfashionweek.co.uk/designers_ profile.aspx?designerID=2509 (Accessed: 10th March 2016).

Fig 3. Goodwin, A (2016) Seek Tradeshow Berlin (PHOTOGRAPH) In possession of: Author: Goodwin, A. Fig 4. Ilsley, E (2016) SINNER SINNER CHICKEN DINNER (PHOTOGRAPH) Available at: http://www.elizabethilsley. com/#!garms/c1h47 (Accessed: 13 March 2016).

Fig 5. Blanks, T. (2015) Christopher Kane fall 2015 ready-to-wear fashion show (ONLINE) Available at: http:// www.vogue.com/fashion-shows/fall2015-ready-to-wear/christopher-kane (Accessed: 1st March 2016).

Fig 6. Goodwin, A (2016) Urban Outfitters Nottingham (PHOTOGRAPH) In possession of: Author: Goodwin, A. Fig 7. Karen, H. (no date) Karen Hofstetter (PRINT) Available at: http://www. karenhofstetter.com/ (Accessed: 1st March 2016).

Fig 8. WGSN (2015) Gucci SS16: Forecast to Catwalk Confirmation S/S 16.

(PHOTOGRAPH) Available at: http:// www.wgsn.com.ezproxy.ntu.ac.uk/ content/board_viewer/#/62948/ page/8 (Accessed: 1st March 2016).

Fig 9. VOGUE (2016) Marc Jacobs SS15.

(PHOTOGRAPH) Available at: http:// www.vogue.co.uk/brand/marc-jacobs (Accesses: 1st March 2016).

Fig 10. WGSN (2015) Noon by Noor: Forecast to Catwalk Confirmation SS16.

(PHOTOGRAPH) Available at: http:// www.wgsn.com.ezproxy.ntu.ac.uk/ content/board_viewer/#/62948/ page/8 (Accessed: 1st March 2016).

Fig 11. WGSN (BLISSKER a.) (2016) Blissker, Seek tradeshow 2016 (PHOTOGRAPH) Available at: http://www.wgsn.com.ezproxy.ntu. ac.uk/content/image_viewer/#/ image.23972435 (Accessed: 3rd March 2016).

Fig 12. WGSN (2016) NNXS, Seek Tradeshow 2016 (PHOTOGRAPH) Available at: http://www.wgsn.com. ezproxy.ntu.ac.uk/content/image_ viewer/#/image.23972435 (Accessed: 3rd March 2016).

Fig 13. BLISSKER b. (2016)

Blissker Women’s Collection 2016 (PHOTOGRAPH) Available at: http:// www.blissker.com/ (Accessed: 3rd March 2016).

Fig 14. BLISSKER c. (2016) Blissker Women’s Collection 2016 (PHOTOGRAPH) Available at: http:// www.blissker.com/ (Accessed: 3rd March 2016).

Fig 15. WGSN (2016) Arrogant Artists AW16 (PHOTOGRAPH) Available at: http://www.wgsn.com.ezproxy.ntu. ac.uk/content/image_viewer/#/ image.23972435 (Accessed: 3rd March 2016).

Fig 16. Carrellison, L (2015) Craig Green | #BoF500 | the business of fashion.

(PHOTOGRAPH) Available at: http:// www.businessoffashion.com/community/ people/craig-green (Accessed: 1st March 2016).

Fig 17. Gildbey, D (2014) Soft Pop Men’s Collection SS16: The World Is Your Oyster (PHOTOGRAPH) Available at: http:// www.wgsn.com.ezproxy.ntu.ac.uk/ content/board_viewer/#/53684/ page/9 (Accessed: 6th March 2016).

Fig 18. COS (2015) COS Lookbook AW15 (PHOTOGRAPH) Available at: http:// www.cosstores.com/at/Studio/Lookbook (Accessed: 1st March 2016).

Fig 19: Smith, T (1967) The Maze (SCULPTURE) Available at: http://www. matthewmarks.com/new-york/artists/ tony-smith/ (Accessed: 1st March 2016).

Fig 20. VOGUE (2015) HERMÈS AW15 (PHOTOGRAPH) Available at: http:// www.vogue.com/fashion-shows/fall2015-menswear/hermes (Accessed: 1st March 2016).

Fig 21. De Mora, A (2016) Champion (PHOTOGRAPH) Available at: http:// alexdemora.com/overview#/id/ i10869656 (Accessed: 6th March 2016).

Fig 22. SUPREME a. (2016) SUPREME SS16 Loobook (PHOTOGRAPH) Available at: http://www.supremenewyork.com/ lookbooks (Accessed: 6th March 2016).

Fig 23. FIG COLLECTIVE (2015) Fig Collective ss15 (PHOTOGRAPH) Available at: http://www.figcollective.com/15-ssmen/ (Accessed: 6th March 2016).

Fig 24. MISBHV (2015) MISBHV (PHOTOGRAPH) Available at: http:// www.wgsn.com.ezproxy.ntu.ac.uk/ content/board_viewer/#/64133/ page/1 (Accessed: 6th March 2016).

Fig 25. SUPREME b. (2016) SUPREME SS16 Loobook (PHOTOGRAPH) Available at: http://www.supremenewyork.com/ lookbooks (Accessed: 6th March 2016).

Fig 26. Port Magazine (2014) Port

Magazine (PHOTOGRAPH) Available at: https://models.com/work/ port-magazine-spring-summercollections/242101 (Accessed: 6th March 2016) Fig 27. Newton, H (1982) David Bowie, Monte Carlo (PHOTOGRAPH) Available at: https://www.artsy.net/artwork/ helmut-newton-david-bowie-montecarlo-1 (Accessed: 6th March 2016).

Fig 28. THE FASHIONISTO (2015) Alexandre Mattiussi SS15 (PHOTOGRAPH) Available at: http://www.thefashionisto. com/6-trends-paris-fashion-weekspringsummer-2015/5/ (Accessed: 6th March 2016).

Fig 29. GQ MAGAZINE (2014) Nicole Farhi SS14 (PHOTOGRAPH) Available at: http://www.gq-magazine.co.uk/gallery/ new-menswear-trends-spring-summer2014-men-ss14 (Accessed: 6th March 2016).

Fig 30. WGSN (2013) Carven SS14 (PHOTOGRAPH) Available at: http:// www.wgsn.com.ezproxy.ntu.ac.uk/ content/board_viewer/#/35976/ page/8 (Accessed: 6th March 2016).

Fig 31. WGSN (2014) Megatrends AW 16/17 (PHOTOGRAPH) Available at: http://www.wgsn.com.ezproxy.ntu.ac.uk/ content/board_viewer/#/55992/ page/8 (Accessed: 6th March 2016).

Fig 32. AESOP (2016) Aesop Chestnut Street Instore (PHOTOGRAPH) Available at: http://www.aesop.com/uk/article/ aesop-chestnut-street.html (Accessed: 6th March 2016).

Fig 33. Fearson, A (2016) Folklore Instore by Danielle and Rob Reid [a.]

(PHOTOGRAPH) Available at: http:// www.dezeen.com/2012/07/01/folkloreby-danielle-and-rob-reid/#more-222060 (Accessed: 6th March 2016).

Fig 34. Fearson, A (2016) Folklore Instore by Danielle and Rob Reid [b.]

(PHOTOGRAPH) Available at: http:// www.dezeen.com/2012/07/01/folkloreby-danielle-and-rob-reid/#more-222060 (Accessed: 6th March 2016).

Fig 35. DESIGNBOOM (2013) Digital grotesque: Full-scale 3D printed room realized (PHOTOGRAPH) Available at: http://www.designboom.com/ architecture/digital-grotesque-full-scale3d-printed-room-realized/ (Accessed: 3 March 2016).

Fig 36. Li, C (no date) Sustainable 3D-Printed furniture by NOWlab [a.]

(PHOTOGRAPH) Available at: http:// www.ignant.de/2015/11/11/sustainable3d-printed-furniture-by-nowlab/ (Accessed: 10 March 2016).

Fig 37. Li, C (no date) Sustainable 3D-Printed furniture by NOWlab [b.]

(PHOTOGRAPH) Available at: http:// www.ignant.de/2015/11/11/sustainable3d-printed-furniture-by-nowlab/ (Accessed: 10 March 2016).

Fig 38. HOBSSTUDIO (2014) First time for 3D printing at the sleep event – we 3D printed a complete hotel room!

(PHOTOGRAPH) Available at: http:// www.hobsstudio.com/first-time-for-3dprinting-at-the-sleep-event-we-3d-printeda-complete-hotel-room/ (Accessed: 11th March 2016).

Fig 39. Saunter, L. (2015) Mardou & Dean: Soft Industrial (PHOTOGRAPH) Available at: http://www.wgsn.com.ezproxy.ntu. ac.uk/content/board_viewer/#/58922/ page/9 (Accessed: 12th March 2016).

Fig 40. Goodwin, A (2016) Urban Outfitters Nottingham Instore [a.]

(PHOTOGRAPH) In possession of: Author: Goodwin, A. Fig 41. The Jewish Museum (1937) Tenements, New York (PHOTOGRAPH) Available at: http://www.vintag. es/2015/08/amazing-vintage-photosof-laundry-in.html (Accessed: 12th March 2016).

Fig 42. Goodwin, A (2016) Urban Outfitters Nottingham Instore [b.]

(PHOTOGRAPH) In possession of: Author: Goodwin, A. Fig 43. Saunter, L. (2015) ACNE Studios: Soft Industrial (PHOTOGRAPH) Available at: http://www.wgsn.com.ezproxy.ntu. ac.uk/content/board_viewer/#/58922/ page/9 (Accessed: 12th March 2016).

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Ilsley, E (2016) SINNER SINNER CHICKEN DINNER (APPAREL) Available at: http://www.elizabethilsley. com/#!garms/c1h47 (Accessed: 13 March 2016).

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Lau, S., Colombo, L. and Dazed (2015) Christopher Kane AW15. Available at: http://www.dazeddigital.com/fashion/ article/23778/1/christopher-kane-aw15 (Accessed: 3 March 2016).

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Projekt Samsen - Sonnenbrillen (no date) Available at: http://projekt-samsen.de/ (Accessed: 1 March 2016).

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