The fashion industry: The use of culture, personal identity and graphic design to create eminence

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The fashion industry: The use of culture, personal identity and graphic design to create eminence

Contents

ABSTRACT

Abstract:....................................3 Introduction:..............................4-5 Chapter one: Culture and the fashion industry: 1.1...................................6-7 1.2..................................8-11 1.3.................................12-15 1.4.................................16-19 Chapter two: Fashion and personal identity: 2.1.................................20-21 2.2.................................22-27 2.3.................................28-31 2.4.................................32-33 Chapter three: Graphic design and fashion: 3.1.................................34-37 3.2.................................38-47 3.3.................................48-53 3.4.................................54-55 3.5.................................56-57 3.6.................................58-59 3.7.................................60-61 Conclusion:..............................62-65

This dissertation looks at how culture, personal identity and graphic design help to create eminence in the fashion industry. In addition to a comprehensive review of literature surrounding the topic, the author carried out primary research in the form of questionnaires to specialists in the field of graphic design. Furthermore, primary research was conducted to determine how personal identity plays a role, with regard to the dissertation title. A case study provided an insight specifically into the relationship between the graphic and fashion designer. The conclusion reached is that the way in which each of the three elements contributes to the prestige and status of the fashion industry, is multi-faceted.

List of images:..........................66-69 Reference list:..........................70-71 Bibliography:............................72-75 Appendix:................................76-89

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INTRODUCTION

Fashion is an incredibly fast paced industry, which is constantly evolving, endeavoring to stay relevant and so be successful. This dissertation will explore the key factors which are responsible for creating eminence within the fashion industry. There are many elements that determine eminence within this industry, however of all the components, there are three which are key: the role of culture, the influence on personal identity, and the relationship between fashion and graphic design.

city gangs of New York City of the 1980s and 1990s. Whilst subcultures and their relevant groups have a specific role with regard to generating eminence in the fashion industry, the latter part of this chapter will focus on the binary opposition of social groups, which is that of the fashion individual. Primary research conducted for this section of the essay will provide an insight into the emotive states which propel the individual to purchase a fashion item.

It will begin by examining the importance of culture in the fashion industry. One of the biggest influences on fashion is music. In this section, the spotlight will look at the impact of hip-hop, rap, and R&B music, moving from the 1980s through to the 1990s. Intrinsically linked to the impact of the culture surrounding music on the world of fashion, is the growth through the early 21st century of the collaboration between the fashion designer and the music artist to produce must have merchandise.

Research will examine the work of up and coming fashion designer Jerry Lorenzo, in partnership with the music artist Justin Bieber. A study by Anita Elberse will be part of the final section, which will consider how the flourishing culture surrounding social media and brand endorsement is having an impact on the fashion industry.

A final focus for this dissertation is the relationship between graphic design and fashion.

The secondary research in this chapter will consist of a case study of the work by Peter Saville, and his work with the fashion designer Yohji Yamamoto. It will give an insight into how his ground breaking graphic design work and collaboration with other creatives provided a turning point for graphic design and its role in the fashion industry, starting at ‘Year Zero’ in 1985, moving through to 2014. This section will explore how the graphic designer has become invaluable in terms of creating brand identity, and the growing relevance of a once seemingly irrelevant platform, packaging. To ascertain the importance of the collaboration between graphic design and fashion, the primary research consists of a questionnaire which was sent to graphic designers and creatives who have worked within the fashion industry.

The concluding part of this section looks at the graphic designer’s work to create an experience in retail space, which will reflect on my independent practice.

Personal identity and its role in creating eminence in the fashion industry will be the focus of the second chapter, looking at different social subculture groups, in particular the Punk movement of the 1970s, and the inner-

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Chapter 1: Culture and the fashion industry 1.1 - intro The first part of this section will focus on the question of the importance of culture in the fashion industry, an idea promoted

by Harriet Worsely (2011), fashion writer and journalist. We live in a society that is dominated by celebrities whereby platforms such as television, print, social media and web disseminate the multi-dimensional intimacies of the rich and famous, which is undeniably having an impact on the fashion industry.

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1.2

- The 1980’s

Street culture is in many ways heavily influenced by the medium of music. A particularly important example of this originates from the music of the 1980’s produced and consumed in The Bronx, New York. It was the Caribbean American, African American and Latino youths who were generating this new street culture, which was built around breakdancing, graffiti, hip-hop and rap music.

What started as something small, was soon to spread around the United States and Europe, where it was quick to take over the 1980s. It became apparent that it wasn’t just the music that

was a new trend, but it was intrinsically linked to what you were wearing.

So how was this new culture of music related to fashion? An obvious springboard seems to be the decision by hip-hop group Run DMC to wear their Adidas shell toe trainer’s unlaced, as seen in figure 1, copying the style of inmates who had to hand their laces over on entering jail. This new style of wearing trainers and tracksuits was a direct nod to if you’re going to judge us as being criminals, then we’re going to dress like them.

Throughout the 80s with the release of every album, came an increase in fan base latching on to not only the music, but the attire that went with it. Designers were quick to capitalise on this culture.

During the early 1990s, German designer Isaac Mizrahi created a collection inspired by the hip-hop culture, it consisted of black catsuits, black fur bomber jackets (figure 2) with chunky gold chains. Chanel also latched onto this trend, by adorning outfits with padlock chains (figure 3) inspired by Treach (figure 4), the lead rapper of Naughty by Nature (Worseley, 2011, p.174).

Here it was clear that there was a direct influence between fashion and music.

Fig. 1. Run-DMC wearing Adidas sneakers (circa 1980) 8

Fig. 2. Linda Evangelista, fall (1991)

Fig. 3. Chanel 1991, model: Marpessa Hennink (circa 1991)

Fig. 4. Naughty by Nature (1991) 9

Lisa Armstrong, fashion journalist, wrote in UK Vogue in 2003: ‘Fashion and music are now so embedded in one another’s cultures that some artists feel that designing clothes is the next logical outlet for their creative impulse.

(Worsley, 2011, p. 128)

Inspired from the vibe of the 1980s and 1990s, and the copycat effect the music culture had on its audience, the 1990s saw hiphop artists such as Jay Z and 50 Cent create their own fashion labels. Jay Z co-founded the clothing line Rocawear (figure 5) alongside Damon Dash in 1999, these clothing lines helped to promote their own styles.

Fig. 5. Rapper clothing lines (circa 1990)

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1.3 - Merchandise From what once was a memento that fused people together who had similar interests in a certain band or music artist, the cultural distinction related to tour merchandise is now larger than ever. It is now a symbol of how intuitive a person is to the latest fashion trends. Thirty years ago, purchasing a top from a music concert was a tangible token of your experience. Today, people purchase a piece of merchandise to show that they were lucky enough to buy it before that product sold out (Amarca, 2016).

Minogue in 2002. Although this was a relationship of mutual inspiration, Dolce & Gabbana were provided with the advantage of reaching out to two brand basis, their own, and that of Kylie Minogue. Now, it’s the artists seeking out up and coming fashion designers to work and collaborate with. It’s not only the look of the design which is attracting artists to a designer’s work, but the message they portray; whether it be their outlook on life or their cultural beliefs, there must be some form of connection.

A valuable example of this is the work of Fear of God founder and designer Jerry Lorenzo (figure 6), collaborating with Justin Bieber for his Purpose tour merchandise in 2016 (figure 7):

Previously, well known big name fashion houses provided celebrities with looks and parties for their tours, as Dolce & Gabbana did for Kylie

Fig. 6. #purposetour x @vfiles ...image @highsnobiety (2016)

‘I really am just as much attached to him as a person as I am to the message of Purpose. The message is what’s connected us and has what has kind of kept us fans of each other.’

(Lorenzo, J, 2016)

Fig. 7. Justin Bieber to Launch Purpose Tour Pop-Up Store at VFILES (2016) 12

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Are people actual fans of these music artists, or are they just buying into the illusion of exclusivity? The clothes from the collaboration between Jerry Lorenzo and Justin Bieber have seen the music artists audience demographics dramatically change. It no longer only consists of screaming teenage fan girls (figure 8), but includes two other audience demographics, hypebeasts and resellers; which are pictured in the queue for the merchandise, New York City, figure 9. Music artists are starting to lose their original and true fan base, it has been diluted down by the street wear culture where teenagers get a high off buying a product with a certain ‘hype’ about it, hence the name, hypebeasts.

They buy a product with only one desire, to impress others with the feeling of exclusivity and status.

While this may be bad news for music artists, it’s good for up and coming designers enabling them to get their name out there, and reach out to a whole new audience.

Fig. 8. Here’s What Went Down at the Justin Bieber Tour Merch Pop-Up at VFILES (2016)

Fig. 9. Here’s What Went Down at the Justin Bieber Tour Merch Pop-Up at VFILES (2016) 14

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In 2009, statistics showed that Jordan continued to boost Nike’s bottom line with the Jordan Brand taking 75% of the basketball shoe market, and a 10.8% share of the overall shoe market in the United States.

1.4 - Social media Over the past few years the explosion of social media and the growing culture surrounding social media, is having an increasing impact on the world of fashion. It allows us to see into the everyday lives of celebrities, whether it’s posts on their instagram, or a ten second Snapchat describing their day. By allowing the audience to see into their lives, this has the power to make the brand endorsements seem much more believable as the audience now feel they have a connection with that celebrity, therefore making the endorsement successful.

(Bradic, 2015)

on the entertainment, media and sports sectors, has found that on average, if a brand promotes a product through celebrity endorsement then the sales for that product will go up by an average of 4%. These sale boosts can go up by a ‘career triumph’, for example, if Serena Williams won Wimbledon (Sager, 2011).

Although professionally retired, basketball legend Michael Jordan (Jumpman logo - figure 10) still has a massive fan base. In 1984, Nike launched an athlete endorsement campaign, (figure 11), the Nike Jordan shoe brand.

Michael first wore the Air Jordan I – ‘Notorious’ trainers in 1984 (figure 12), and they launched in stores in 1985. This later became the most successful athlete endorsement campaign in history:

Brands see social media as the most compelling way to engage with their audience, predominantly the youth culture as social media is their preferred way to socialise (Bradic, 2015), from receiving news on the latest streetwear drop over Twitter, to seeing what Kim Kardashian wore last night on her Instagram.

Increasingly, there are websites such as http://stealherstyle. net/ and http://www.whowhatwear. co.uk, which enable followers of celebrities to keep up to date with the latest fashion hits and looks of their favoured celebrity; and the ultimate opportunity, how to dress like them. A study by Anita Elberse (Bradic, 2015), Professor of Business Administration at Harvard Business School and leading expert

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Fig. 10. The “Jumpman” logo (1984)

Fig. 11. The Jordan 1 "Jumpman" Poster (1984-85)

Fig. 12. Michael Jordan 1984-1985 (1984) 17

Is it all long-term success for the brand endorsement culture?

For bigger brands, the endorsement through social media has more longevity as they already have a name and reputation for themselves, but unfortunately in most cases, the impact of brand endorsement is far more short-term for smaller brands. For smaller and less well-known designers, getting a big artist or name to wear their product feels like winning the lottery, but the fan base is only interested in keeping up with

owning the must have product at that point in time, so the hype about that certain product doesn’t necessarily endure (Contributor, 2016). The co-founder of the small fashion label NASASEASONS, Alexandre Daillance, a.k.a.

Millinsky, used Instagram to message celebrities hoping that they would wear his hats to help get his business started (figure 13) - this was a successful tactic as Rihanna was first seen wearing his product in 2015 - evidence to prove this phenomenon:

Fig. 13. Rihanna rocking the “I came to break Hearts” hat (2016)

“The thing with Kanye is that, if he wore my hat, everybody would buy it and it would boost the sales for, like, two months. But it would eventually become an unfashionable item, because people don’t want what Kanye wore a year ago, they want what Kanye wore yesterday.”

Gregk (Foley, 2016), a freelance fashion writer, agreed that in this day and age when social media is so alluring, a short-term hype about a product is a big concern.

The consumers are less concerned with knowing about a brand’s story and integrity, and are more concerned about getting their hands on a product a celebrity has been seen wearing (this will predominantly be seen on their Instagram feed), which is an extensive difference. The hype about one product will more than likely be killed off by another trend or product coming around.

Although consumers will try hard to own a product because of it’s relationship to a celebrity, it’s believed that there is a distinct group of people who care enough to learn and recognise the true meaning of the product and the narrative of the brand behind it.

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(Millinsky, 2016)

Chapter 2: Fashion and personal identity

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2.1 - intro How exactly does the fashion industry define who and what we are? Malcolm, Senior Lecturer in Visual Culture at Loughborough University, has stated that fashion and clothing ‘may be the most significant ways in which social relations between people are constructed, experienced and understood’ (Barnard, 1996, p. 7).

This has been shown over the past few years from different social groups to certain individuals, where clothes have become a language of their own. People have always used clothes as a statement to make themselves stand out from the crowd, to use them in an almost whimsical fashion, is this still true today? Certainly people use clothes as a way of making themselves look unique or to show a belonging to a group, in many ways, the rationale as to how and why they do this is less whimsical and more to represent the psychological and social aspect of a person’s life.

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2.2 - Social groups So how is fashion linked to the social aspect of a person’s life? Historically fashion and music have intrinsically linked in various forms of subcultures, such as the Teddy Boys of the 1950s, Mods and Rockers of the 1960s, and Rude Boys and Skinheads of the 1970s. Each group had a style of dress, which one could say represented a uniform, a statement to others, of the music and its messages to which they were connected. However, one of the standout social groups over the last 50 years is that of the

Punk movement of the 1970s. The music was anti-establishment, it was rebellious, and angry, the followers of this music dressed to reflect it. The style of dress of the followers of the Punk movement, shaved heads, chains, safety pin earrings (figure 14) and Dr. Martens, gave out two important messages, as highlighted by the British fashion writer, Colin McDowell (2013), firstly to show contempt for a society that excluded them, secondly, showing their belonging to a smaller, somewhat exclusive group.

Fig. 14. 1970 Punk (circa 1970)

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Fig. 15. Antique gold caetano penis single stud (2016)

Whilst the golden era of the Punk period has gone, it’s influence on the world of fashion can still be seen, specifically in the work of the fashion designer Vivienne Westwood. Her more recent designs could be considered far more mainstream than her designs of the Punk movement of the 1970s, even post-punk, they still have a rebellious nature about them.

Those seeking out her designs may be more conformist, but still want to reflect the anti-establishment strand of their personality, a personality that wants to shock with their designer antique gold caetano penis single studs (figure 15), to their sterling silver jubilee safety pin earring (figure 16).

Fig. 16. Sterling silver jubilee safety pin earring (2016)

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Another social group, as defined

by Professor Research of Fashion and Textiles at RMIT University, Melbourne, Jennifer (Craik, 1994, preface viii), where fashion plays an integral part in reflecting their identity in terms of membership to that group, reputation and, therefore, their self-esteem, is that of the inner-city gangs of New York City in the 1980s and 1990s. Here, as opposed to the individual Punk, where the outfit in its entirety was essential, it was the brand of clothing that was especially important in terms of reflecting their membership to a gang. For the Lo-Life Crew, an inner-city gang, the Ralph Lauren clothes worn were ‘more than just a designer brand – it was almost a religion’ (Diaz, 2015). In terms of their personal identity, what they portrayed was a feeling of exclusivity and a sense of security, people on the streets knew who they were from their Ralph Lauren uniforms (figure 17), this gave them a sense of feeling indestructible, possessors of a special power, and wealth. Although the LoLife Crew had a negativity surrounding their culture - from stealing jewellery to designer coats - they opened up a bigger demographic for Ralph Lauren.

Whereas previously his clothing appealed to the rich and the affluent, now a more impoverished but aspirational demographic was opened up to the label.

Fig. 17. The Secret History of the Lo-Life Crew (circa 1990)

‘In the ghetto, children don’t grow up playing polo, sailing or skiing, so a brand like Polo helps them project a sense of affluence.’

(Dallas, 2012)

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2.3 – Individuals

The flip side of using fashion to express our personal identity in the sense of belonging to a group, is the individual who uses clothes to express their own unique, individual personality. So here we are looking at individuals taking a range of fashion items from a whole magnitude of designers and brands, and thus using fashion as an art form. One could compare the creation of their look to an artist who carefully puts together the elements to create his masterpiece, as expressed by designer Zandra Rhodes (2008) ‘I think fashion is an art form… because the same amount of

artistic expression goes into clothes, a piece of pottery or a painting’ (Rhodes, Z 2008).

Individuals with their unique styles, challenge the concept of beauty within fashion with a look that shouts out look at me, I’m creative, I’m a one off, I’m original (figures 18 - 20).

According to fashion journalist Luciana Zegheanu (2016), although many consumers still follow fashion trends as dictated by the fashion industry, it is safe to say that the individuals putting together their own unique look are creating new trends and influencing the fashion industry itself.

Now, anyone with a curiosity for fashion and access to the Internet and television can draw his/her own conclusions. “The trend story is passé,”

Fig. 18. Here’s What the UK’s Most Stylish Wore to London Fashion Week SS17 (2016)

Fig. 19. Another day another challenge... Or another fur.

(2016)

(Burke, 2016)

Fig. 20. Here’s What the UK’s Most Stylish Wore to London Fashion Week SS17 (2016) 28

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The world of fashion is constantly evolving and moving forward; new trends are quick to appear, its audience is far more widespread and more easily targeted than it ever was. This can have implications for those who seek to use clothes to express their links to a particular social group. Those items that distinguished them from others and display their affiliation to a specific movement, overtime become mainstream and therefore lose their value with regard to conveying their true meaning.

Primary research for this section included interviews, whose aim was to identify if people thought brands were losing their core identity. What came to light was that for some brands, their identity can become blurred and in some cases even conventional. An

answer from one of the respondents (Al Bander, 2016) highlighted a good point regarding Vans. Vans were an exclusive brand and had a definitive target audience, which was predominantly the skateboarding community and symbolised the Southern California youth culture (figure 22), but now they are widely popular, and that feeling of exclusivity is lost. The lure of big profits for such brands is outweighing the negatives of them, moving away from their original target market. What is the impact of this on the individual, of those looking to use this brand as a mean of reflecting their personal identity? They can only sit and watch, as a brand to which they had a personal connection becomes diluted and more commercial (figure 21). The impact is lost.

Fig. 22. How Vans tapped Southern California skate culture and became a billion-dollar shoe brand (circa 1960)

What is the most important thing in (almost) any industry? Money. If a niche brand can widen their market appeal, in order to make more money, they will.

(Deighan, 2016)

Fig. 21. 15 ways to wear checkered Vans slip-on sneakers (circa 2014) 30

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2.4 - Emotion

The driving forces behind our desire to purchase new clothes are many and varied.

Through the interviews conducted for this research, for some, the rationale of buying clothes is the desire to present a new persona and appearance. It was evident that the need to buy an item of clothing to express a vibe or an emotion was the impetus (BromleyHall, 2016). In addition, an individual’s mood can have a direct influence on their desire to buy clothes, and determines the choices they make. Feeling low or blue, then the purchase of a new top or new trainers can

provide us with instant, but transitory, gratification. With the ease of access to purchasing clothes, it is a possible gateway to addiction, to the momentary pleasure and high we feel when we buy a new item. Primary research carried out certainly supported the phenomena of personal gratification acquired via the acquisition of new clothing. When asked about the reasons behind buying new clothes, rarely were the responses ‘because I need them’, but were all intrinsically linked to self-gratification (Appendix A.1.1-A.1.3).

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Rarely do I buy clothes because I ‘need’ them. I buy clothes when I’m bored, sad, wanting to treat myself/ congratulate myself. It may be a short-lived thrill but, a thrill all the same.

(Deighan, 2016)

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Chapter 3: Graphic design and fashion 3.1 – intro Creativity and experimentation have always existed in the fashion industry, but over the last 30 years the increased freedom of this creativity and experimentation has perpetuated and strengthened the relationship with the graphic designer. A mutually beneficial relationship now exists between the fashion industry and graphic design, with the two interlocked, one with the other. At its core, the fashion industry evolves around labels, branding and identity, and underpinning these elements is the graphic designer.

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(Blanchard, 2004, p. 7)

It is just a tiny rectangle of fabric, sewn into the back of a jacket. But what power it holds. Tied up in that little label is money, aspiration, sex appeal and status. Unpick it, and the jacket might as well be worthless.

3.2 - Case study: Peter Saville

Fashion catalogue

A seminal turning point in the relationship between the fashion industry and graphic design was the collaboration between graphic designer Peter Saville and fashion designer Yohji Yamamoto, along with art director Marc Ascoli, and photographer Nick Knight.

Saville had initially found fame with a series of iconic record album covers he designed in the late 1970s as a founding member of Factory Records, for bands such as Joy Division and New Order.

With these album covers, Peter challenged our understanding of graphic art by taking an image or drawing from one genre and recontextualising it in another.

An example of this is the FantinLatour ‘Roses’ painting combined with a colour coded alphabet on the album cover of New Order’s Power, Corruption & Lies album, 1983 (figure 23).

1985, the year Saville starting working on his first fashion catalogue with Yohji Yamamoto, is referred to by Saville as ‘Year Zero’ for fashion publishing.

The collaboration saw a move away from the fashion catalogues as a document or a commercial product, and a move towards creating a catalogue to represent a means of communicating the ideas and desires of the fashion designer, fusing art and fashion. Saville’s contribution to the catalogues was key, ensuring the layouts never overwhelmed the photography, creating stark and striking graphic layouts as seen in figure 24.

Fig. 24. Yohji Yamamoto’s ground-breaking catalogues (1985)

Fig. 23. Power, Corruption & Lies (circa 1983) 38

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In the 80s fashion campaigns, such as that of Dior’s 1980s Spring Summer campaign, portrayed women as being glamorous (figure 25), as articulating their sexuality, and often showing a fair amount of bare flesh.

With Yohji’s Autumn Winter 1988 women’s catalogue, Saville and his collaborators, Knight and Ascoli, had the task of visualizing Yamamoto’s notion of women being seen to be intellectual, not sexual. It was with this project that Saville was instrumental in moving further away from the conventions of fashion campaigns at the time. Saville’s innovative editing, inspirational layout and final assembly of the catalogue, successfully contributed to fulfilling Yamamoto’s perception of women being intellectual, not sexual. The final catalogue showed a series of artistic images, with the collection embedded in colourful, abstract paintings (figure 26 - 28).

Fig. 26. Yohji Yamamoto AW 87/88 Lookbook (1988)

Fig. 25. 1980s Fashion (circa 1980)

Fig. 27. Yohji Yamamoto AW 87/88 Lookbook (1988)

In a period of the 1980s dominated by glamorous, Amazon-like models, materialism and logo-mania, Yohji Yamamoto, Marc Ascoli, Peter Saville and Nick Knight advocated a new vision: intellectual, sensitive, showing almost no skin.

(2015)

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Fig. 28. Yohji Yamamoto AW 87/88 Lookbook (1988) 41

Fig. 30. ‘Game Over’ – Yohji Yamamoto A/W 1991-92 (1991 – 1992)

Fig. 29. ‘Game Over’ – Yohji Yamamoto A/W 1991-92 (1991 – 1992)

Game Over ‘Game Over ‘ by Yohji Yamamoto, Autumn Winter 1991-1992 campaign saw the relationship between fashion and graphic design reach new creative, even shocking heights. The campaign put together with Peter Saville and influenced by the recession of the early 90s, not only didn’t include a single image of the clothes, but instead a series of nihilistic statements on contrasting photographic images (figure 29 - 31).

Yamamoto’s distributors were shocked by the lack of photos of the clothes, and the fact the statements could be construed as foreseeing the end of Yamamoto’s career.

However, this prognosis was incorrect, as Yamamoto’s career is still going strong.

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Fig. 31. ‘Game Over’ – Yohji Yamamoto A/W 1991-92 (1991 – 1992)

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Fig. 32. Peter Saville’s “MEANINGLESS EXCITEMENT” for Y-3 (2014)

Fig. 33. SPRING 2014 READYTO-WEAR Y-3 (2014)

Fig. 34. SPRING 2014 READYTO-WEAR Y-3 (2014)

Meaningless Excitement More recently, in 2014 Peter Saville teamed up with Y-3, the sportswear hybrid between Adidas and Yohji Yamamoto, to create Meaningless Excitement (figure 32), providing more evidence of how interwoven the relationship between the fashion and graphic designer can become. The relationship is so entwined, Saville’s avant-garde typography and colourful prints were incorporated not only in the campaign itself, but also

in the actual prints on the clothing (figure 33-35). As in his work in the 1970s, Saville brings together what would seem to be unrelated references such as images and words from online forums and blogging platforms to create something unique. His inspiration for the campaign, and the timely messages on the prints, being the present-day internet culture where we are all looking for the next big thing, this meaningless excitement!

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Fig. 35. Y-3 and Peter Saville’s “Meaningless Excitement” (2014)

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Fashion finds it difficult to get over Peter Saville. That’s because Saville isn’t just fashionable. His work is a style unto itself. He’s the original.

(Peter Saville & Yohji Yamamoto, a Colourful collaboration, 2015)

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3.3 - Brand identity Since the mid 1980s, the graphic designer has become indispensible when it comes to creating, maintaining and communicating brand identity in fashion. Fashion expresses its brand through its graphic identity, which enables it to communicate with its customer through a variety of visual languages displayed from invitations, labels, packaging and lookbooks, to retail space and fashion presentations. Today, fashion trends are moving at an ever-increasing pace, and it’s the role of the graphic designer to ensure their brand identity keeps up with these changes. The best brands know their audience, their needs and their desires, and constantly evolve and move forward, at the same time they are clear and consistent, a concept supported by Mike Toth (2003), founder of creative agency Toth+Co. The same concept was shared when for part of the primary research, questionnaires were sent to graphic designers that work, or have worked with the fashion industry. When asked what they considered to be the greatest graphic design work for a fashion brand/house, Simon Taylor, one of the founding members of creative agency Tomato stated:

‘Chanel, because it is consistently iconic. I don’t think the work is ground breaking but it is very successful because it is consistent. It has a standard, a flag if you like, and a series of supporting assets that shift and change to suit the market. Chanel understands its audience very well’.

(Taylor, 2016)

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Fig. 36. The New Woman (1921) 49

Fig. 38. Chanel Boutique (1991) Fig. 37. “Every woman alive…”

(1957)

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Fig. 40. Willow x Chanel (2016)

Fig. 39. Nicole Kidman (2005) 52

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3.4 - Packaging

It’s true, these bags are often far from disposable, being kept as a trophy.

A prime example is the trend for those making a purchase from the street wear label Supreme, keeping hold of the plastic bag displaying the red box logo (figure 41). It may only be a plastic carrier bag to some, but tied up in that bag is exclusivity, status and aspiration.

Packaging brings another creative avenue to enhance the brand experience. Packaging can amplify the consumer experience in a unique way, it communicates the brand, and behind it is the graphic designer. One highly successful use of packaging is the branded shopping bag; these provide a mutually beneficial relationship between the fashion label and the consumer. Whilst they are a promotional tool for the company, they are a tool that the consumer is happy to profess their allegiance to.

Fig. 41. 12 Supreme shopping bags (2016)

A combination of powerful brand association and well-executed design, packaging solutions are far from disposable.

(Hess and Pasztorek, 2014)

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However, as Mathias Augustyniak (2004), founder of M/M (Paris), a creative agency asks, ‘what is more powerful, the image or the object?’ (Augustyniak, M, 2004).

In a fast growing industry with each company fighting for a slice of the action, is the product itself having less worth than

the packaging? With the graphic designer moving up the hierarchy of the fashion industry, there is a risk that presentation is becoming everything. Nonetheless, whilst they hold onto that bag, invitation, label or trainer box, the brand lives on.

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3.5 - Retail space Brand identity is not only confined to the item of clothing, the label, the logo, the bag, but ultimately to their final resting place, the retail space.

The ultimate goal of the fashion industry is to sell their product and key to this is the nature and form of retail space of which the graphic designer plays a pivotal role. With the use of lighting, sound, touch, window displays and even interactive instillations, the graphic designer aims to create immediate impact and communicate the identity of the

company. Brand vision is what makes a retail space powerful, and by collaborating on the fashion display and the spatial layout of the shop, the graphic designer makes the brand vision stand out. A prime example of this is the graphic display of the futuristic interior in Marni’s flagship London store, where the retail space is as innovative, unique and non-standard as the clothes on display and perfectly purveys the company’s brand identity (figure 42- 45).

Fig. 43. Marni London : Sloane Street Store (2003)

Fig. 44. Marni London : Sloane Street Store (2003)

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Fig. 42. Marni London : Sloane Street Store (2003)

Fig. 45. Marni London : Sloane Street Store (2003) 57

3.6 Personal practice As part of my personal practice I have undertaken a negotiated project to create a concept shop for the new and upcoming fashion label Everyday Beautiful (figure 46). This has helped enhance the research for this dissertation by exploring how retail space helps to carry its identity onto the high street and allow the audience to understand the brand, not just the clothes. It has involved researching how to make the retail space a lasting experience for the customer, and to keep the retail shop alive in the face of the growing might of online shopping. The research has revealed that the store environment is the unrivalled setting to enable the physical interaction between the brand and the customer. A prime objective in creating the concept shop for Everyday Beautiful is to submerge the customer in the brand and to bring it to life with originality and creativity.

Fig. 46. Everyday Beautiful logo (2016)

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3.6 - Future

The primary research for this dissertation included questionnaires that were sent out to graphic designers working with the fashion industry. All concluded that the outlook was positive and exciting. Fashion is an industry that never stands still, with the advances in new technology, the creative possibilities for the graphic designer are seemingly endless, and their role increasingly indispensable. Working within the fashion industry gives the graphic designer the chance to experiment with new production techniques and follow more progressive ideas.

As the two weave into each other, the face of fashion continues to be manifested in a manner that is as multifaceted as ever. Bigger, better, more, in every sense. We believe it is a process that will change the landscape of fashion, graphic design and media as we know it.

(Victionary, 2007)

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CONCLUSION

This dissertation has examined the three key factors that help to create eminence in the fashion industry, the use of culture, personal identity and graphic design. There is an increasing number of new fashion brands, labels, outlets, whilst the consumer market is growing at a less steady rate. The challenge, therefore, for the fashion industry is how to survive this highly competitive market.

Creating prestige and prominence from many different platforms, is vital to its evolution and survival.

The first part has looked at the role of culture in creating eminence in the fashion industry.

Research showed that it was music and the subculture that went with it that was having considerable influence on the fashion industry.

The evidence ran the spectrum of fans copying the dress style of the music artist, to fashion labels such as Chanel being influenced by the look and vibe of the artist, to musicians such as Jay Z creating their own fashion labels. Research showed that tour merchandise attached to an artist has now become a major fashion trend. However, it became clear that collaborations between music artists and fashion designers, whilst helping to create eminence in the fashion world for the designer, for the musician, it was diluting their true and original fan base. It then analysed the impact of social media and brand endorsement within the fashion industry and highlighted how celebrities are using various social media platforms to endorse a product or brand, the result being the creation of sales and status.

The second chapter looked at how personal identity creates eminence within the fashion industry. Research showed how clothes have become a language of their own, and how we use clothes to express ourselves and make statements. It focused on social groups, this idea was supported by the Punk movement of the 1970s, whose outfits expressed their rebellious and anti-establishment sentiments.

What was particularly interesting was that their influence still lives on, albeit in a more diluted and conformist way, with the prestigious designs of Vivienne Westwood.

An interesting dichotomy came to light when researching this section, between the hard core, often criminal, reputation of the innercity gangs of New York City in the 1980s and 90s and the fashion attire which they used to communicate this persona, and their influence on Ralph Lauren. This unusual mix of influences, the hard core and the conformist, enabled Ralph Lauren’s clothing range to evolve and appeal to a much wider demographics. However, in some instances, brands that identify with a certain social group can lose their core identity and become more mainstream, as in the case of Vans.

Moving on to the discussion of ‘the individual’, questionnaires were conducted to gain an insight into an individual’s rationale behind a clothing purchase. The answers supported the hypothesis that the reasons we buy new clothes are incredibly varied, ranging from a need, a mood, a desire for self-gratification. It was apparent that individuals who create their own unique persona with a mix and match of various styles and materials were creating their own

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CONCLUSION

trends and thus having an influence on the prestige and status of aspects of the fashion industry.

The final chapter investigated the role of graphic design in creating eminence in the fashion industry. A case study explored the work of Peter Saville, with fashion designer Yohji Yamamoto. It highlighted how the graphic designer had become less of a prop, and more of an integral part of the fashion industry.

Saville’s collaborative work with fashion catalogues starting in 1985, through to his graphic design work on the 2014 Meaningless Excitement collection and campaign, helped to propel and strengthen the relationship between the graphic designer and the fashion industry.

Graphic designers were contacted to gain an insight into the role of graphic design regarding the dissertation title. Although responses were not received from all who were contacted, those who replied, notably Simon (Taylor, 2016) of creative agency Tomato, supported the hypothesis that graphic design has become indispensable when creating brand identity in the fashion industry. It is envisaged that if there was more feedback from a wider range of companies, this would have given more support to the research, and so strengthened this argument.

Further investigation in this section revealed how presentation and packaging, previously considered inconsequential to promoting the status of a fashion label, are now considered to be key.

it is evident that the three factors of culture, personal identity and graphic design, all contribute to creating eminence within the fashion industry. In some instances, the three combine to work together to create status and prestige, whereas at other times, especially with the current evolution of social media and the cult of celebrity lifestyles, they work independently. As culture evolves and takes new directions, whether it be music, street culture, or social media platforms, it will always play a powerful role in influencing and promoting the fashion industry. The use of clothes as a communication tool, its ability to signal membership of a group, or our individual uniqueness has been shown to play a key underlying role. Although the relationship between graphic design and fashion in creating eminence is undeniably compelling, it would seem that graphic design for the fashion industry will follow the evolution of that industry, rather than influence it.

In conclusion to this dissertation question,

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LIST OF IMAGES Figure 1. Murphy, M. (2015b) ‘Fresh dressed’ and 4 elements of hip-hop style. Available at: http://www.nytimes.com/ interactive/2015/06/24/movies/24freshdressed-fashion.html (Accessed: 25 November 2016).

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Figure 3. Designer leather fashions — 80s-90s-supermodels: Chanel 1991 model:.. (no date) Available at: http://designerleather. tumblr.com/post/80805641290/80s-90s-supermodels-chanel-1991-model (Accessed: 24 November 2016).

Figure 4. Clements, E. (2011) Naughty by nature Waxes nostalgic on ’90s style. Available at: http://www. huffingtonpost.com/2011/12/01/naughty-by-nature-style_n_1113353. html?slideshow=true#gallery/199085/0 (Accessed: 24 November 2016).

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Figure 13. MILLINSKY (@millinsky) • Instagram photos and videos (no date) Available at: https://www.instagram.com/millinsky/ (Accessed: 20 November 2016).

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Figure 15. CommerceGuys (2016) Antique gold Caetano Penis single stud. Available at: http://www.viviennewestwood.com/en-gb/shop/ mens/jewellery/earrings/antique-gold-caetano-penis-single-stud (Accessed: 20 November 2016).

Figure 16. CommerceGuys (2014) Sterling silver Jubilee stud earring. Available at: http://www.viviennewestwood.com/en-gb/shop/ jewellery/earrings/sterling-silver-jubilee-stud-earring (Accessed: 20 November 2016).

Figure 17. Diaz, A. (2015) Lo end theory: The secret history of the lo-life crew. Available at: http://uk.complex.com/style/lolife-crew-history (Accessed: 20 November 2016).

Figure 6. Instagram photo by @jerrylorenzo • may 4, 2016 at 8: 07pm UTC (no date) Available at: https://www.instagram.com/p/ BE_4hPMDo7A/ (Accessed: 21 November 2016).

Figure 18. Leach, A. (2016) London fashion week SS17: Street style. Available at: http://www.highsnobiety.com/2016/09/22/ london-fashion-week-street-style-ss17-2/#slide-24 (Accessed: 21 November 2016).

Figure 7. Fischer, D. (2016) Justin Bieber to launch purpose tour pop-up store at VFILES. Available at: http://www.highsnobiety. com/2016/05/02/justin-bieber-launch-purpose-tour-pop-store-vfiles/ (Accessed: 25 November 2016).

Figure 19. Instagram photo by Mr. Fallback • mar 5, 2016 at 3: 18pm UTC (no date) Available at: https://www.instagram.com/p/ BCk3rCiOiAO/?taken-by=lukasabbat&hl=en (Accessed: 21 November 2016).

Figure 8. Amarca, N. (2016a) Justin Bieber pop-up shop at VFILES. Available at: http://www.highsnobiety.com/2016/05/05/justinbieber-pop-up-shop-vfiles/#slide-2 (Accessed: 20 November 2016).

Figure 20. Amarca, N. (2016b) Tokyo fashion week: Street style SS17. Available at: http://www.highsnobiety.com/2016/10/25/tokyofashion-week-street-style-ss17/#slide-8 (Accessed: 21 November 2016).

Figure 9. Amarca, N. (2016a) Justin Bieber pop-up shop at VFILES. Available at: http://www.highsnobiety.com/2016/05/05/justinbieber-pop-up-shop-vfiles/#slide-2 (Accessed: 20 November 2016).

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Figure 11. Astramskas, D. (2016) The origin of Nike’s Jumpman logo aka the $5.2 Billion Michael Jordan image. Available at: http://ballislife.com/origin-of-jumpan-jordan-logo/ (Accessed: 21 November 2016).

Figure 12. SneakerFiles (no date) Michael Jordan 1984-1985 rookie season. Available at: http://www.sneakerfiles.com/michael-jordan1984-1985-rookie-season/ (Accessed: 24 November 2016).

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Figure 21. Tschorn, A. (2016) How vans tapped southern California skate culture and became a billion-dollar shoe brand. Available at: http://www.latimes.com/fashion/la-ig-vans-turns-50-20160312story.html (Accessed: 20 November 2016).

Figure 22. Posted and Fashion, L. (2014) 15 WAYS TO WEAR CHECKERED VANS SLIP-ON SNEAKERS. Available at: http://www.lefashion. com/2014/08/15-ways-to-wear-checkered-vans-slip-on-sneakers.html (Accessed: 21 November 2016).

Figure 23. Last (2016) Power, corruption & lies. Available at: http://www.last.fm/music/New+Order/ Figure 24. Peter Saville & Yohji Yamamoto, a Colourful collaboration (2015b) Available at: https://agnautacouture.

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LIST OF IMAGES com/2015/02/22/peter-saville-yohji-yamamoto-a-colourfulcollaboration/ (Accessed: 25 November 2016).

Figure 25. • 1980s • FASHION • (2012) Available at: https:// uk.pinterest.com/thespidersweb/1980s-fashion/ (Accessed: 20 November 2016).

Figure 26. {{meta.data.title}} (no date) Available at: https:// www.vfiles.com/vfiles/3485 (Accessed: 20 November 2016).

Figure 27. {{meta.data.title}} (no date) Available at: https:// www.vfiles.com/vfiles/3485 (Accessed: 20 November 2016).

Figure 28. {{meta.data.title}} (no date) Available at: https:// www.vfiles.com/vfiles/3485 (Accessed: 20 November 2016).

Figure 29. Peter Saville & Yohji Yamamoto, a Colourful collaboration (2015b) Available at: https://agnautacouture. com/2015/02/22/peter-saville-yohji-yamamoto-a-colourfulcollaboration/ (Accessed: 25 November 2016).

Figure 30. Peter Saville & Yohji Yamamoto, a Colourful collaboration (2015b) Available at: https://agnautacouture. com/2015/02/22/peter-saville-yohji-yamamoto-a-colourfulcollaboration/ (Accessed: 25 November 2016).

Figure 31. Peter Saville & Yohji Yamamoto, a Colourful collaboration (2015b) Available at: https://agnautacouture. com/2015/02/22/peter-saville-yohji-yamamoto-a-colourfulcollaboration/ (Accessed: 25 November 2016).

Figure 32. https://agnautacouture.com/2015/02/22/peter-savilleyohji-yamamoto-a-colourful-collaboration/ Figure 33. Sherman, L. (2013) Y-3 spring 2014 ready-to-wear fashion show. Available at: http://www.vogue.com/fashion-shows/ spring-2014-ready-to-wear/y-3 (Accessed: 25 November 2016).

Figure 34. Sherman, L. (2013) Y-3 spring 2014 ready-to-wear fashion show. Available at: http://www.vogue.com/fashion-shows/ spring-2014-ready-to-wear/y-3 (Accessed: 25 November 2016).

Figure 35. Braddock, G. (2014) Get excited: Y-3 and Peter Saville’s ‘meaningless excitement’. Available at: http://thewindow.barneys. com/y-3-meaningless-excitement/ (Accessed: 20 November 2016).

the most Iconic Chanel no. 5 ads ever. Available at: http:// stylecaster.com/beauty/vintage-chanel-no-5-ads/#slide-1 (Accessed: 21 November 2016).

Figure 38. Limited, C. (2010) The 10 most iconic faces of Chanel. Available at: http://www.stylist.co.uk/fashion/the-10most-iconic-faces-of-chanel#gallery-3 (Accessed: 21 November 2016).

Figure 39. Connell, A. (2015) Happy birthday, coco: Here are the most Iconic Chanel no. 5 ads ever. Available at: http:// stylecaster.com/beauty/vintage-chanel-no-5-ads/#slide-1 (Accessed: 21 November 2016).

Figure 40. Willow Smith for Chanel Eyewear | online boutique (no date) Available at: http://www.chanel.com/en_US/fashion/ sunglasses/fall-winter-2016-17-collection/ (Accessed: 21 November 2016a).

Figure 41. Office (1995) 12 supreme shopping bags. Available at: http://www.ebay.co.uk/itm/12-Supreme-shopping-bags/182360147644?hash=item2a758306bc:g:GjQAAOSwXeJYMYpt (Accessed: 21 November 2016).

Figure 42. Welch, A. and McManus, D. (2009) Marni Sloane street, London shop, store. Available at: http://www.e-architect.co.uk/ london/marni-sloane-street (Accessed: 21 November 2016).

Figure 43. Welch, A. and McManus, D. (2009) Marni Sloane street, London shop, store. Available at: http://www.e-architect.co.uk/ london/marni-sloane-street (Accessed: 21 November 2016).

Figure 44. Welch, A. and McManus, D. (2009) Marni Sloane street, London shop, store. Available at: http://www.e-architect.co.uk/ london/marni-sloane-street (Accessed: 21 November 2016).

Figure 45. Welch, A. and McManus, D. (2009) Marni Sloane street, London shop, store. Available at: http://www.e-architect.co.uk/ london/marni-sloane-street (Accessed: 21 November 2016).

Figure 46. UltraZen (2015) Anna Smith — (top) - everyday beautiful’s original logo that.. Available at: http:// annamsmith.tumblr.com/post/144672120533/top-everyday-beautifulsoriginal-logo-that (Accessed: 30 November 2016).

Figure 36. Connell, A. (2015) Happy birthday, coco: Here are the most Iconic Chanel no. 5 ads ever. Available at: http:// stylecaster.com/beauty/vintage-chanel-no-5-ads/#slide-1 (Accessed: 21 November 2016).

Figure 37. Connell, A. (2015) Happy birthday, coco: Here are 68

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Contributor (2016) Kanye effect: How the artist impacts new designers. Available at: http://www.highsnobiety.com/2016/07/05/ kanye-west-effect/ (Accessed: 27 October 2016).

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Dunne, B. (no date) How One man is looking to make a fortune off a forgotten air Jordan relic. Available at: http:// solecollector.com/news/2015/08/air-jordan-1-1984-black-toesample-michael-jordan (Accessed: 20 November 2016).

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APPENDIX Appendix A A.1. Questionnaire with friends & friends of friends A.1.1 Evie-Rose Deighan Style icons: 1) who do you consider to be a style icon?

People most in the limelight I believe, ie Rihanna, the Hadid sisters, (as much as I’d hate to admit) the Kardashians. But of course there are past icons that still have resonance on today’s fashion/culture, such as Madonna, Audrey Hepburn, Marlon Brando.

2) who is or are your style icon(s) and why?

I wouldn’t consider myself having one definitive style icon, as my style itself fluctuates, depending on the season, depending on what I’m doing, and such. I get most of my style inspiration from social media, so rather than my influence being one iconic figure, it is a plethora of different styles from different, ordinary people.

3) how do they influence you I would say I’m most influenced by someone’s resourcefulness when it comes to style. Someone who doesn’t encourage the idea that in order to look good you must fork out. I’m always inspired by people who DIY or thrift.

4) what do you consider to be the most important medium or influence? E.g. Music, tv, social media Social media, predominantly Instagram as it is the most visual platform.

5) do you think past style icons such as Marilyn Monroe have greater longevity than current icons?

Absolutely. I feel that today’s icons, say Kim Kardashian, have a more fleeting impact, and their style is ever changing in order to stay relevant. But when you think of Marilyn Monroe, you think of that white dress and red lips, Hepburn; that iconic Breakfast at Tiffany’s outfit, and her enduring regleness, Brando; leather and a white tee. They are timeless. In a hundred years time there won’t be one enduring style you attach to today’s icon, at least I don’t think so.

6) who do you predict to be future fashion icons and why?

I would probably say Rihanna. She’s donned some incredibly iconic looks; the yellow gown at the MET ball, the diamond dress. They’re memorable.

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Personal identity and fashion: 1) for what reasons do you buy clothes? E.g. Because you need them, to make you feel good about yourself Rarely do I buy clothes because I ‘need’ them. I buy clothes when I’m bored, sad, wanting to treat myself/congratulate myself. It may be a short lived thrill but, a thrill all the same.

2) do you buy/wear an item because of the brand, or is it purely for the design of it?

I would like to say I wear/buy clothes purely based on the merit of its design, but, alas, I do not. It’s difficult to separate yourself from the idea that a brand equates quality, or a bigger price tag means a better product. When it comes to things like footwear, I do think brand is important.

3) does exclusivity play a role in your fashion choice? E.g.

Having pieces from the latest drop/having rare items Not so much for myself, but I can see the appeal.

4) do you run with the pack or consider yourself to dress as an individual?

I don’t follow trends avidly, but I am definitely influenced by them. I choose my clothing based on what makes me feel good, and if it doesn’t fit with a trend that doesn’t bother me.

5) do you think some brands are losing their core identity, if so, what brands? E.g. Non skaters wearing palace What is the most important thing in (almost) any industry?

Money. If a niche brand can widen their market appeal, in order to make more money, they will. Of course exercising integrity when it comes to a brand identity is important, but in the end money is what it’s all about. So yes, in some ways.

6) (carry on from 5) why do you think this?

Got ahead of myself and answered this in question 5.

Graphic design & fashion: 1) do shop window displays help entice you into it? If so, why?

Absolutely. A shop window should showcase the best that is on offer in a shop, it should inspire with its styling, it should tell a story. When I think of good visual merchandising/window dressing I think of Harrods at Christmas time. It can add so much to a shopping experience.

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APPENDIX 2) does packaging play a role in encouraging you to buy a product?

Yes. Packaging is so important, it is a direct reflection of the product inside.

3) do you think graphic design encourages or helps create brand loyalty? If so, why? E.g. Returning to a shop over and over.

Graphic design can build a brand’s familiarity, and so a consumer who recognizes a brand based on their visual marketing invests trust in the product.

4) have you ever bought a fashion item because it’s been launched as part of a collaboration? If so, what was the collaboration?

Not that I can remember, but I’ve always liked H&M’s collaborations. If I could afford the items/get hold of them I probably would have purchased something. I also liked Rihanna’s collaboration with Puma.

A.1.2 Felicity Bromley-Hall Style icons: 1) who do you consider to be a style icon?

Rihanna

I’m not sure. On one hand social media/ the digital age helps more people to get their stuff seen, so maybe more people remember it for longer (whereas they didn’t necessarily have that ‘en masse’ exposure before), but on the other hand social media makes everything so accessible that icons are perhaps more ‘disposable’. As sad as that is. I honestly don’t know - time will tell!!

6) who do you predict to be future fashion icons and why?

Donnika Anderson. Again social media - more people have access to her looks/ pictures from shoots etc. I think people like to see personality and that makes them like a person’s style even more - and obvs social media helps the ‘icon’ to share that personality. Also she’s just super super nice and I think that comes across too.

Personal identity and fashion: 1) for what reasons do you buy clothes? E.g.

Because you need them, to make you feel good about yourself I see fashion/ clothes as another way to express myself lol (so pretentiousđ&#x;™„). But genuinely, if I think that an item of clothing will express a vibe/ an emotion that I wanna give across - I’ll buy it.

2) who is or are your style icon(s) and why?

2) do you buy/wear an item because of the brand, or is it purely for the design of it?

Rihanna and my best friend Donnika Anderson lol (@donnikaa). Both have very distinctive “I wear what I want� attitudes towards clothes; they put pieces together that you most likely wouldn’t ever see in a shop window, or even expect to ‘go’ together and make them a look. They’re also fashion chameleons - Donnika will channel literally any vibe/ concept into her outfit for the day and kill it every time.

Design for defffffinite. Most of my clothes are from like my mum/ a charity shop/ old lady stores. (Literally cos I can’t afford clothes - not even tryna be like “ooooOoo I get all my stuff from charity shops I’m so cool�). Also I kinda like to buy ‘pieces’ and wear them to death, or I’ll imagine a look in my head and make it/ put it together from anywhere and everywhere.

So old lady shops/ charity shops are good places to do that..

3) how do they influence you “I wear what I want.�

3) does exclusivity play a role in your fashion choice? E.g.

Having pieces from the latest drop/having rare items

4) what do you consider to be the most important medium or influence? E.g. Music, tv, social media

I like rare items, but that’s generally just cos I like weird stuff and people don’t usually wanna wear them. Like I bought a pair of blue suede flares the other day that I haven’t seen around anywhere. I don’t care at all about latest drop items tbf - I’m awful I honestly have no clue what’s ‘in’ at any moment of time.

Social media for sure; everyone has their favourite person on insta who always wears cool stuff lol. I think music videos also have a huge influence too - I think people sometimes wanna recreate the vibe of the video in their own lives, by wearing the same/ similar outfits.

5) do you think past style icons such as Marilyn Monroe have greater longevity than current icons?

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4) do you run with the pack or consider yourself to dress as an individual?

Haha erm I hope individual but I’m sure everyone says that??

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APPENDIX I used to get ripped to shreds at school though (loved it) cos I used to go to sixth form in triple denim, gold trainers and a giraffe-print backpack. Nobody else was doing that at the time.

5) do you think some brands are losing their core identity, if so, what brands? E.g. Non skaters wearing palace Hmm yeah probably. Things like caps/ certain trainer brands that people used to call ‘chavvy’ back in the day everyone has now jumped on cos they listened to Skepta one time and now wanna be a ‘roadman’........... (Obvs this is fine and tastes change, but I just think people should just be respectful of anybody’s clothing choices at any time, and not be horrible about it/ the people wearing the clothes in the first place... You can’t hate the culture one minute and then put it on the next.)

6) (carry on from 5) why do you think this?

Social media influences; everything’s accessible now, not just to niche markets (both good and bad points to that I think!)

Graphic design & fashion: 1) do shop window displays help entice you into it? If so, why?

As above, because you can tell she isn’t copying anyone else’s style - she moulds the trends by expressing her own individuality, and wears unusual pieces which makes her style authentic. She’s also heavily endorsed by major brands such as Puma, Dior and Balmain which means that she’s recognised amongst the elite fashion moguls as being a pioneer for something new (which is essential for a brand to stay relevant and popular).

She’s constantly pushing boundaries and there’s expectation on what she’ll create or wear next.

3) how do they influence you I wouldn’t say her style influences me in a way that I would then be encouraged to emulate it, but I think the influence lies within her attitude to wear whatever she wants and not care about what others think about her choices. I don’t think her style can be easily replicated which could influence others into finding their own personal style too.

4) what do you consider to be the most important medium or influence? E.g. Music, tv, social media

3) do you think graphic design encourages or helps create brand loyalty? If so, why? E.g. Returning to a shop over and over.

A few years ago I would have said tv, but nowadays social media, and specifically Instagram is the pioneer for not only creating yourself as a brand, but promoting what you wear and how to wear it. Like a lot of young women my age I follow a fair amount of girls who have generated a large following for being a ‘fashion blogger’ and consequently become recognised by big brands to wear and promote their items. It’s stifling but it works, the majority of the time if a popular blogger posts a photo of an accessible and chic item, it will sell out very quickly. I think that in itself yields great power, and these ‘fashion bloggers’ are using social media outlets to boost major brand sales while the major brands boost the bloggers following.

Maybe yes if people are interested in a particular brand. I think the style of graphic design can make it instantly recognisable.

5) do you think past style icons such as Marilyn Monroe have greater longevity than current icons?

4) have you ever bought a fashion item because it’s been launched as part of a collaboration? If so, what was the collaboration?

I don’t think so. I think past style icons are stuck in the time frame that their style was most influential. I think if someone were to emulate Marilyn Monroes style now it would almost come off as gimmicky and a caricature of that person, almost as if you were impersonating them instead of being influenced by their style. I think style icons today will be the same, e.g Rihanna’s style won’t have longevity, it will be stuck in today’s time frame because fashion is constantly both evolving and revolving (meaning clothing comes in and out of style very rapidly) - and so I don’t think any particular icon can obtain any longevity unless they’re consistently recreating themselves.

Not really. I don’t have enough money to shop in shops that have cool window displays!!!

2) does packaging play a role in encouraging you to buy a product?

Not really - I’m a really tactile person so I’m more interested in the texture/ look etc. of the actual product. The rest is just extra!

I don’t think so A.1.3 Sara Al Bander Style icons: 1) who do you consider to be a style icon?

I would have to say Rihanna hands down.

2) who is or are your style icon(s) and why?

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6) who do you predict to be future fashion icons and why?

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APPENDIX Any celebrity who’s young right now and already is being recognised as being effortlessly fashionable. Lily Rose Depp comes to mind for me.

Personal identity and fashion: 1) for what reasons do you buy clothes? E.g.

Because you need them, to make you feel good about yourself All of the above and I mostly buy new clothes when I want to feel good and comfortable if I’m going out somewhere new.

2) do you buy/wear an item because of the brand, or is it purely for the design of it?

Purely the design, I’m rarely grabbed by brands clothing wise, but i often am attracted to and wear branded trainers.

3) does exclusivity play a role in your fashion choice? E.g.

Having pieces from the latest drop/having rare items Never 4) do you run with the pack or consider yourself to dress as an individual?

I would say a bit of both, I’m definitely influenced by certain trends (whether that’s subconsciously through good marketing or genuine interest) but I don’t entirely follow what I see everyone else doing. It has the opposite effect on me, if I see an item is really popular amongst people and almost rinsed by the masses it loses its edge for me. I try to dress in whatever I feel comfortable in, I don’t think I have a definitive individual style that could be easily pinned down. Although I always find it interesting and confusing when shopping with friends and someone says “That’s so you” about an item.

5) do you think some brands are losing their core identity, if so, what brands? E.g. Non skaters wearing palace I think that brand identity can become blurred and become mainstream. It makes me think of when Vans were quite exclusive had a definitive target audience, and now they’re popular amongst everyone. I’m sure the positive monetary outcome of a brand becoming very popular outweighs the negatives of them becoming decentered from their original target market. This indeed is good for the brand, but less rewarding for the target market who watch a brand they specifically relate to become widely recognised and commercial.

6) (carry on from 5) why do you think this?

I think the main issue with brands losing their core identity is that customers who originally felt connected to the brand from 82

the beginning get left amongst the masses that also eventually become consumers of the same items. The more people wearing the same item, the less unique it becomes.

Graphic design & fashion: 1) do shop window displays help entice you into it? If so, why?

Never, 2) does packaging play a role in encouraging you to buy a product?

I can appreciate it, but that would never make me buy a product 3) do you think graphic design encourages or helps create brand loyalty? If so, why? E.g. Returning to a shop over and over.

Definitely, if a brand is designed and marketed in an individual and striking way it will become memorable and so more people are likely to want to familiarise and associate themselves with it.

4) Are you aware of the relationship between graphic design and fashion? If so, how important do you think this relationship is?

I wouldn’t say I’m fully aware of how certain graphic designs boost a brand but I recognise that it plays a major role in generating memorability about a brand, and thus, repetitive sales.

5) Do you think the fashion industry would succeed without the work of a graphic designer?

I don’t think so, I think graphic design entices potential consumers into wanting to become affiliated with a certain brand.

It’s vital for communicating what the brand stands for.

Appendix B B.1. Questionnaire with graphic designers who work/have worked within the fashion industry B.1.1 Guy Marshall 1) How and why has graphic design become a valued part of the fashion industry?

I guess its 2 fold, for us… graphic design for fashion if done well enhances the product and retail experience. it also adds value.. in a market where one product is often very like another it gives differentiation and enables consumers to understand brands and their products….

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APPENDIX 2) Can you succeed in the fashion industry without the work of a graphic designer? yep I think there are lots of brands who have their own unique hand writing they often have developed these without any help from any graphic designer… but sometime we can really help bring a external view to a brand..

3) What do you consider to be the greatest graphic design work for a fashion brand/house? Why? chanel logo, the nike swoosh… simply perfect...

4) What do you believe are the key elements in a well produced and managed graphic identity for a fashion brand? knowing who you are… it sounds basic but you would be amazed how many brands can’t define themselves in a simple paragraph or image.

5) How do you see the relationship between graphic design and fashion evolving over the next decade? well its all digital, its all faster, its all B.1.2 Karen van de Kraats 1) How and why has graphic design become a valued part of the fashion industry?

Many years ago they did not put labels with logos in clothing to show which brand or fashion house it was made at.

Since they started doing this, graphic design became more and more important as a valued part of the fashion industry.

2) Can you succeed in the fashion industry without the work of a graphic designer?

I think you can, nowadays fashion becomes more and more multidisciplinair and fashion designers learn and are capable of creating a graphic layer for their communication themselves.

See Maison the Faux: https://www.google.nl/search?q=maison+the+faux&client=firefox-b&s ource=lnms&tbm=isch&sa=X&ved=0ahUKEwiz_6HepN_PAhWJ2BoKHXU3DcAQ_ AUICCgB&biw=1280&bih=672 3) What do you consider to be the greatest graphic design work for a fashion brand/house? Why? Kenzo: ?

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Since owners of Opening Ceremony became the head of design it evolved into a more fun and playful brand with a much younger target group than before.

This set the stage for many other brands to change their identity and communication.

It shows graphic design and concept can make or break a brand.

Christian Lacroix: Antone et Manuel Illustrational work that is not very much communicating but nonetheless very much fitting the classic fashion house. check: https://www.google.nl/search?q=christian+lacroix+antoine+ %2B+manuel&client=firefox-b-ab&source=lnms&tbm=isch&sa=X&ved=0ahU KEwi5quiNo9_PAhWKDxoKHaJuA7QQ_AUICCgB&biw=1280&bih=672 Viktor&Rolf: Mevis & van Deursen Well fitted logo and identity.

It really shows a combination of a classic fashion identity, but plays with conceptual and Dutch soberness.

This combination creates a very international and high-fashion feel. check: https://www.google.nl/search?q=Viktor%26Rolf+Mevis+ %26+van+Deursen&client=firefox-b-ab&biw=1280&bih=672&source =lnms&tbm=isch&sa=X&ved=0ahUKEwiMmo2yo9_PAhVESRoKHUpNCK0Q_ AUICCgB#imgrc=p755pkXmWFPCrM%3A Vetements What can I say, this brand changed the fashion industry last year, they totally knew how to reach the young urban kids and now are conquering the fashion world!

4) What do you believe are the key elements in a well produced and managed graphic identity for a fashion brand?

—Great concept that is well connected to the (new) vision of the brand.

—Well produced communication material with a high standard.

—Very well thought of target group; what do they like, how can we reach them, so they believe in us and want to buy and promote us?

—Being honest and transparent —Great connection between graphics and photography 5) How do you see the relationship between graphic design and fashion evolving over the next decade?

That is a tough question, I think it will always be part of the fashion industry, but because the typical fashion or graphic designers will be more and more multi-disciplined or specialized in a certain direction, I see more of a mix of creative designers working together and creating the world they would like to make.

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APPENDIX B.1.3 Paul Khera 1) How and why has graphic design become a valued part of the fashion industry? graphic design is permeating all industries, as they want to communicate more efficiently, with fashion, custom typography is a way to espose individuality (Prada) copy cat typography is a way to borrow the values, (anyone that uses Didot derivatives, after looking at a Vogue cover) 2) Can you succeed in the fashion industry without the work of a graphic designer? yes of course, make great clothes with amazing tailoring, beautiful fabrics, thoughtful colour sense. rampant use of social media, evocative photography some companies survive & flourish, despite having some awful graphic design because they exploit the vernacular 3) What do you consider to be the greatest graphic design work for a fashion brand/house? Why? 4) What do you believe are the key elements in a well produced and managed graphic identity for a fashion brand? see below* 5) How do you see the relationship between graphic design and fashion evolving over the next decade? within the design of clothes itself: personalisation bespoke printed fabrics B.1.4 Simon Taylor 1) How and why has graphic design become a valued part of the fashion industry?

I think that question has several answers depending or era that you want to discuss. Fashion is fashion If we look at the contemporary moment to answer the I would say that the idea of brand has reached such 86

on the period after all! question diverse

proportions that the graphic representation of the “image” has become the shorthand or necessity for owning a presence in the marketplace. When I say this I’m talking about the entry point into the marketplace all the way through to luxury brands like Balenciaga, Hermes, Dior, etc.

This presents an opportunity and conversely a problem. Graphic design is essential but also constrained. How does a designer maintain a sharp edge when the pace of change and overwhelming pressure to conform blunts the impact before it has had a chance to cut through?

The moment is very interesting but not specifically from a design point of view, definitely from a strategic point though.

2) Can you succeed in the fashion industry without the work of a graphic designer?

Yes. But the area is less about market place and more about reputation.

I read a piece last week on a woman from the Balkan states who came to study in London some years back. She now dresses the Duchess of Cambridge and Samantha Cameron, etc. Most people have never heard of her but she is fantastically successful.

The “public” marketplace for fashion isn’t about fashion per se, it’s about accessories, perfume and brand value for shareholders. Graphic design is essential to this area.

3) What do you consider to be the greatest graphic design work for a fashion brand/house? Why? Chanel because it is consistently iconic. I don’t think the work is ground breaking but it is very successful because it is consistent. It has a standard, a flag if you like, and a series of supporting assets that shift and change to suit the market.

Chanel understands its audience very well.

Prada made a very big impact during the early 90’s when the brand moved from being a bag company into ready to wear fashion.

It’s worth checking the work of David James Associates, you can find their studio online. They are responsible for all of the Prada work over many years. The art direction is the key her rather than graphic design. The understanding of the image as an connected entity not just the logos and layout.

4) What do you believe are the key elements in a well produced and managed graphic identity for a fashion brand?

As I touched on in the last answer, I think it’s about understanding the creative direction; brand story (legacy, invention, audience, marketplace) combined with understanding the wider context of global consumer trends for each specific market area.

This point isn’t only relevant to graphic design for fashion, 87

APPENDIX but any mass communication. An interesting example would be the recent work for Sadler’s Wells dance theatre company. Very well executed with a strong graphic design philosophy that understands its subject and audience as well as the wider expectation associated with public poster and pamphlet campaigns.

5) How do you see the relationship between graphic design and fashion evolving over the next decade?

Graphic design for the fashion industry will follow the evolution of the industry itself not influence it. The fashion designers and their owners are in the driving seat. However the room allowed to the graphic designer to articulate the subject in graphic terms is very exciting. I think getting the right balance between understanding the subject matter and how it’s visually communicated is the key.

Fashion itself is going through a huge and tumultuous change at the moment due to the influence of “fast fashion” brands; cheap, high turnover and disposable, at one end of the scale and a battle for ultimate luxury at the other. The middle is under pressure like never before.

Interestingly, the retail corporations (that I speak to) are interested in developing stronger brand identity to create consumer loyalty within the upper middle section of the market. This is seen as a counter to the “race for the bottom” scenario that is underway for many middling brands.

Having said that, Uniqlo and others have a very well integrated graphic design and art direction strategy borrowed from high brand philosophy that have helped them take lower market share.

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