Brand Audit

BRAND AUDIT antonia salt b4004894

STEPHENSPROUSE 1

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CONTENTS

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INTRODUCTION BRAND PHILOSOPHY INTERNAL AUDIT BRAND POSITIONING STATEMENT VISUAL IDENTITY

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BRAND IDENTITY PRISM BRAND PERSONALITY THE FOUR P'S PESTEL RECOMMENDATIONS BIBLIOGRAPHY 5

mother had monthly subscriptions to, “by the time Stephen was eleven, he was sketching full fashion collections.” When Stephen was just fourteen years old, his father agreed to take his sons designs to Dorothy Fuller at The Art Institute of Chicago. She was amazed by his talent at such a young age and “managed to set up an appointment for Stephen to meet Norman Norell.” (The Stephen Sprouse Book 2009) Impressed with his tephen Spouse - the designer, art- designs, Norell contacted various ist, trend-spotter and everything in different fashion columnists and between, fought hard from a young directors, and Bill Blass offered age for his brand to be seen, heard Stephen an internship. and worn by everybody who was anybody - but it didn’t always work out for him. Although his designs “When Stephen was workwowed the fashion world through- ing for Halston in the early out his career, commercially, they weren’t a success. “He appeared Seventies, he liked to tease to be an outsider, with his lanky, the designer.” seemingly adolescent and sullen manner, his wig, his watch cap, his When the time came around for postpunk/pregrunge appearance.” Stephen to select a college, he se(The Stephen Sprouse Book, 2009) lected Rhode Island School of DeBorn September 12th 1953 in Day- sign, although didn’t last long here. ton, Ohio, Stephen lived with his It was the winter of Freshman year, mother and father, Joanne and when Stephen started to work for Norbert Sprouse. “Norbert was in Leo Narducci. “Although Narducthe Air Force at the time, but in ci loved working with Stephen, he 1955 he became president of the saw a similarity in his designs to Vernco Corporation, a manufac- those of Halston, and encouraged turing company founded by his fa- him to call Halston for a job.” (The ther, Vernon Sprouse, a successful Stephen Sprouse Book 2009) Halengineer.” (The Stephen Sprouse ston invited Sprouse for an interBook 2009) Within the same year, view and hired him there and then Stephens younger brother, Brad, on the spot, after seeing his vibrant was born and they all re-located talent. “When Stephen Sprouse to Columbus, Indiana where the was working for Halston in the company was based. “Whilst Brad early seventies, he liked to tease was athletic, Stephen sported a the designer. “Okay, here we go,” strong artistic streak.” (The Ste- he’d say. “Another shirtdress for the phen Sprouse Book 2009) From as old ladies.” Sprouse loved Carnaby young as nine years old, Stephen Street and miniskirts. He wantstarted drawing and designing ed to see women’s legs again, and items of clothing, with inspiration pestered Halston constantly about from his Mother, who strongly it.” (New York Mag 2004) It wasn’t supported Stephens artistic inter- until two days before the New York ests. After spending his childhood Show in 1974 that Halston let Ste“pouring over” copies of Vogue phen have his own way. Stephen and Womens Wear Daily that his

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was always cutting clothing up, scrawling all over it and that was his statement all the way through his fashion career. So, when Halston let him do this, he quite literally started cutting the bottom off dresses off whilst Halston was shouting “Skimp it! Skimp it!” (NY Mag 2004), and it became known as the ‘Skimp’, in Halston’s collection.

Whilst at Halston, Stephen met close friends “jewellery designer, Elsa Peretti, illustrator Joe Eula, and house model Karen Bjornson.”

(The Stephen Sprouse Book 2009) It was also at Halston that Stephen met close personal friend, and idol Andy Warhol. It was Warhol that influenced Stephen the most throughout his career, but also spent time with him, in the other half of his life, the social scene. It was said that Sprouse lived a dual life whilst at Halston, spending his “days doing fittings on socialites, movie stars, and the fashion cognoscenti, and then he spent the nights exploring the city’s underground music scene, frequenting places like CBGB and Max’s Kansas City.” (The Stephen Sprouse Book 2009) Whilst entertaining these locations, Sprouse moved into a loft in the Bowery, where glamorous rocker Debbie Harry lived. New to the punk scene, Debbie formed the group Blondie with Chris Stein, who Stephen Sprouse became a huge fan of, just as Debbie became a fan of Stephens designs. He dressed her for her stage appearances, nights out and everything in between “really polishing off her look” and using her as a “living canvas for his work”. She became the impetus he needed to leave Halston, and the next few years they became creatively inseparable. The mid-seventies was a creative whirl pool for Stephen, whilst he “whilst he

introduction

worked round the clock on his designs for friends, whilst barring the busy tables at Max’s Kansas City to keep himself financially afloat.”

(The Stephen Sprouse Book 2009) Sprouse invested in a colour Xerox machine, which made his work the epitome of popularity at this time.

Taking images of rock stars and news headlines, blowing them up until they became distorted, and replicated the images with paint on canvas. “These were the first paintings that Stephen integrated into his photography as backdrops” (TSSB 2009), and soon became a statement for Sprouse throughout his work as an artist and designer. With public self destruction as a recurring theme throughout Sprouse’s, glamourising them rather than moralising them, “one of his most famous series of paintings from this period was taken from a New York Post cover than showed a disgraced Patricia Hurst under the headline “Patty Free on $1M Bail”.”

(TSSB 2009) Throughout this period, Stephen was also inspired

by Andy Warhol’s friend, Edie Sedgwick - not by her upper class background, but by her doomed life followed by overdose at the age of 28. He was said to “romanticise fallen heroes and embraced the ‘live fast, die young’ attitude.”

(TSSB 2009) Steven Meisel was another important influence and friend in Stephens life, as he started to focus more on photography than illustration and influenced Stephens shoots. Sprouse said in the press once that, “Meisel’s photographs really freaked me out, and I wanted to create clothing for him photograph”. (TSSB 2009)

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BRAND PHILOSOPHY With his keen interests in art, street culture, photography and the underground music scene, “Sprouse was the first fashion designer to successfully merge street culture and high fashion.” (TSSB 2009) It was clear that Stephen never really had core values, except for the fact that all he wanted was for his fashion to be cool and be enjoyed by everyone. Teri Toye - a transgender model, best friend, and star of the show at his breakthrough show at the Ritz nightclub in May 1984, described him as “androgynous, sort of rock and roll - but not punk - his designs were always very clean.”

(TSSB 2009) He had statement/ recognisable styles, fabrics, and colours rather than core values.

The use of Day-Glo colours, 60’s inspired graffiti, camouflage and splashes of black, were recurring

themes throughout all of his collections, whether it be micro-minis, nylon leggings or neon sequin dresses. From the Kezia Keeble show in 1982, show casing emerging designers, to his 2001 collection with Marc Jacobs for Louis Vuitton, Stephen always included the use of luxurious fabrications, and materials / fabrics. The use of Italian melton and cashmere, silk, clear sequins to show the luminous colour of the fabric through, straw on silk organza for the ‘Burnout 88’ collection in Spring 1988 and also, the use of lamb leather coated in silver for items in the Fall 1984 collection, inspired by NASA. Found in his archives was a hand written note that stated, “Too far, is not far enough”, and this was clearly show throughout his collections. Stephen always had a more down to

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earth, honest approach to fashion and was the complete opposite to what was happening at the time.

There was never a focus on a specific product, but the whole first official collection for both men and women in Spring 1984, was a ‘modern wardrobe’ featuring micro mini dresses, “motorcycle boots produced by the best (and most inexpensive) shoemakers” (TSSB 2009), silver alphabet pins by jeweller Janis Savitt, “mimicking his graffiti, which attached to the coats and were personalised by each buyer; and wrap skirts for over trousers, for men, which foreshadowed the Jean Paul Gaultier version in 1985.

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P INTERNAL AUDIT

ast customers overall were automatically attracted to Stephen’s aesthetic, and connected with his love of the New York underground music scene, which influenced his designs to a high degree. Before the collaborations with Louis Vuitton, Target, Keith Haring etc, the consumers were a smaller more specific, niche market who were drawn to Stephens work in a personal way, not because he was a luxury designer. His friends were the marketing for his brand, and so fans of these individuals also loved and wore the Sprouse brand. From what has been researched the target consumer was envisioned as an uptown New Yorker, with class and elegance, but with a downtown vibe, featuring a rough around the edges personality. However, this was a very small group of people and therefore, Sprouse struggled to keep the brand alive. Queens of Vintage (2017) stated, “Immediately adored by editors and celebrities alike (outfitting Blondie, Duran Duran and even Billy Idol in the early Nineties), his first collections hit a high note aesthetically and were scooped up at once by Berdorf Goodman and Henri Bendel…but, his collections were still too avant garde for the consumer at large and failed once again to turn a profit.”

When research took place to identify new potential consumers, a lot of thought went into what kind of brand Stephen Sprouse could be revived as. It was clear that from what was to be kept the same from the old brand, a womenswear line

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needed to be included, however with millennials and new generations / consumer groups being identified on the regular, newer elements needed to be created to draw in a larger consumer group. (ref) With this in mind, many concepts were thought about including an American arcade / Alien theme to coincide with the popularity of TV show, Stranger Things, and the mass audience and age ranges that has fallen in love with it over the past couple of years. The Guardian (2017) stated that, “There will be Stranger Things ‘takeover’ in the brand’s [Topshop] stores in London, Birmingham, Liverpool and Manchester in the run-up to Halloween.” The whole article featured reasons as to why Stranger Things has taken over fashion, and households all over the country are obsessed with the show. It was therefore thought about to include something similar for the 2020 launch of Stephen Sprouse, for it to appeal to all consumer groups.

Worldwide consumers including China, were also taken into account when deciding on the final concepts for the brand. With Stranger Things in the back of the mind, the neon theme became apparent in recent Chinese fashion campaigns, which related back to the arcade theme that was considered. It also meant the combination of neon and graffiti could be included, but give it that radical edge of the space / stranger things inspiration. This would put the brand at the forefront of future fashion, above competitors who gained inspiration from the original Stephen Sprouse brand such as, Moschino and Chris Leba’s R-13. It will also appeal to emerging consumers Generation Z, as they look for the most radical fashion. Vogue (2016) stated that, “The group of people born from 1995 to 2010 currently make up a

quarter of the population, and by 2020 they will be one third.” and then went on to say, “Inspiration matters more than prescription - I think [Gen Z’s] taste and their style is their own. I don’t think a prescription appeals to them.” Meaning that, they may look to the past for inspiration, which would work in Sprouse’s favour with his brand being born in the 70’s / 80’s.

When the Sprouse brand was at its peak, “American sportswear designers Calvin Klein and Ralph Lauren became global names, and high-fashion designers like Thierry Mugler and Azzedine Alaia pioneered new shapes in womenswear.” (Leaf 2017) However, in regards to design, Stephen Sprouse was a very unique brand that crushed the boundaries of luxury fashion. A rebellious, outgoing, punk vibe was not usually seen in uptown NYC fashion, something that halted the growth of the brand at the time, but would be seen as radical and groundbreaking in fashion today. Now, the likes of Moschino and Chris Leba’s R-13 gain inspiration from old Sprouse designs, possibly making them competitors of today. Gucci reaching the number one spot for luxury fashion in 2017, touching on an alien / space theme zeitgeist, which could make them another competitor in terms of engaging in radical, zeitgeists and connecting with the millennial and generation Z consumer. However, as of November 2017 “Spanish fashion brand Balenciaga has been named as the hottest brand in fashion, jumping two places and stealing Gucci’s crown.” (Financial 2017) To make Sprouse different from these brands, a lot of detail will be need to put into the marketing strategy of the brand to connect with new consumers, new generations and previous consumers of the brand.

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The radical elements that Stephen used in the past, that have been forgotten about such as connecting politically, bold statements and the use of neon colours will make the brand stand out from competitors.

It will also ensure that the revival has a ‘wow’ factor, and shocks both consumers and competitors and that may not see it coming. Without these heritage aspects of the original brand, Stephen Sprouse may have fallen behind. “A brand must have heritage; there are no shortcuts.” (Cult of the Luxury Brand 2010) However, it may also still be difficult to stay on top as the way that Stephen Sprouse has been radical in the past, is now more accepted in modern society and not as radical as it was back in the Seventies / Eighties. The competition is now a lot higher with more heritage brands, as well as new entries being successful quicker than ever.

It appears the main focus when it comes to competitors being strong in the market, includes elements such as strong, consistent and coherent designs. Things that make it obvious what brand it is, without even having to look properly. For example, Moschino have their logo on everything and are quite different in terms of what they provide as luxury fashion compared to the likes of Chanel or Dior. The State of Fashion 2017 stated that, “Luxury and mid-range fashion companies have been hit particularly hard with a growth rate of just 0.5 - 1 percent, well below the industry average.”

However, as the 2018 State of Fashion Report was recently published it was said that, “The fashion industry is turning a corner. Looking towards 2018, there is a new sense of optimism in an industry plagued by uncertainty.” Therefore, Stephen Sprouse is in a positive position to relaunch, against competitors, in a once again growing industry.

THREAT OF SUBSTITUTION Throughout Stephen Sprouse’s career as a fashion pioneer, especially in the seventies, Sprouse was the only one doing what he was doing with fashion, at the time. It was difficult to identify where a threat of substitution would have come into play, until after his death when ‘everyone’ gained inspiration from his graffiti slogans. The likes of R-13 and Moschino gaining inspiration from the designer, makes one wonder how Sprouse never stayed on top. CEO of R-13 Chris Leba stated in an interview in 2016 by fashionista.com, that “I’m a huge Stephen Sprouse fan, so I love all that graffiti stuff,” said Leba. “It’s sort of a homage to him and a statement to right now.” Did he worry about the impact of such a political statement? “I did for a second, but I felt strongly enough about it — that’s what it is to be American.” (Fashionista 2016) In an article about Moschino’s graffiti inspired 2015 collection it was said that it “highlighted the primitive more destructive side of the urban culture” (Urban Gypset 2017) - just as Stephen did. To ensure there is minimal threat of substitution in regards to the Sprouse brand making a come back, the heritage of the brand needs to be apparent throughout, to attract the original consumer group who relate to his art, music and older collections. Furthermore, the need to attract Generation Z, must also be assessed to ensure that this newer and younger consumer group doesn’t go elsewhere, e.g. somewhere where they can get a similar product cheaper, or access a similar product in an easier way. “Generation Z also scrutinis-

es brands more carefully: “They’re much more ambitious about going out and learning the back stories of various brands, to make sure that the choices they make with their fairly limited funds are ones that they feel comfortable making.”

(Business of Fashion 2016) As well as, Generation X,Y and Z and Millennial buyers doing more research into the brands they buy and where their products come from, in hopes to find a cheaper or sustainable option, baby boomers still like to use more traditional methods of purchasing. “When they’re shopping in stores, boomers place high importance on customer service (helpful salespeople, for example) in judging the quality of their experience.” (Business Insider 2015) Placing much more importance on customer service, they may reach for well-renowned brands such as Gucci and Louis Vuitton who they know and trust - over a brand that has died. As brands such as these are now launching in ‘street-wear’ for their ready to wear collections, this could mean a threat of substitution for Stephen Sprouse.

“Streetwear sites like Highsnobiety and Hypebeast used to focus on the latest Supreme drops. Now, they work with luxury brands like Louis Vuitton, Dior and Gucci.”

(Business of Fashion 2017) The article also stated - “Last November, Gucci partnered with Highsnobiety on a shoppable lookbook promoting its graffiti inspired Cruise 2017 collection…”, with clear inspirational features from past Stephen Sprouse looks, supporting my theory of threat of consumers choosing higher valued brands.

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As the revival of the Stephen Sprouse brand is technically going to be a new entrant onto the luxury market, since the final attempt at relaunching in 1998; the brand will also be in competition with other new entrants. Similar to Sprouse, Salvatore Ferragamo seek to revive themselves from a sleeping beauty state, with their CEO Eraldo Poletto, aiming “to outperform the luxury sector average by a factor of two, surpassing €2 billion in revenue by 2020.” (Business of Fashion 2017) Although Salvatore have an advantage of not being completely dormant, and still having a consumer base, “Over the last few years, the brand has revamped more than 150 stores. But the brand’s historical sales strategy is linked to US department stores and vertical integration in retail has not driven strong performance.” (Business of Fashion 2017) Therefore, it seems they are still behind the times in regards to, technological innovation and meeting the demands of Millennial buyers and Generation Z. The State of Fashion 2018 are actively collecting “current, groundbreaking research” into searching for the ‘new luxury’. “Searching for the new luxury explores new definitions of luxury in response to urgent environmental and social issues: less waste and pollution, more equality, welfare and inclusiveness.” (State of Fashion 2018) This means that for new and emerging brands, considering environmental and societal issues, could give them an advantage into the large consumer groups they attract. “The rise in the percentage of respondents aged 15 - 20, also known as Generation Z, who are willing to pay more for products and services that come from companies who are committed to positive social and environmental

impact was also strong—up from 55% in 2014 to 72% in 2015.” (Nielson 2015) This could be a major advantage for the Stephen Sprouse brand, in response to new entrants, as his personal heritage comes from a place of always tapping into what was happening on the streets, including political, environmental and societal factors, which will be later discussed through PESTEL. However, “whether consumer concerns about sustainability actually drive purchase behaviour remains debatable”, as consumers are still not fully ‘attracted’ to brands that focus on sustainability, over look of the products. On the contrary, millennial buyers are slowly becoming more in touch with the intangible aspects of luxury products as well as the tangible.

POWER OF CONSUMER BUYERS As a whole, the Sprouse brand is not extremely reliant on existing customers. Although the brand is dormant, and hasn’t been taken over since the death of Sprouse, it was only 17 years ago that the brand collaborated with ongoing power house Louis Vuitton. Therefore, the consumers that were drawn to and bought this collection will be influenced by the new revival, feeling a sense of nostalgia - a way in which the brand will retain the original consumers. “When we feel or care for something, we’re much more likely to act. Share a compelling blast from the past with a millennial, and you’re likely to reach them on an emotional level — the holy grail of brand marketing.”

(Forbes 2016) The main concern throughout the revival, is to attract the new generation of consumer.

Generation X and millennial buyers are not the only consumer the

fashion world needs to be worried about impressing. Generation Z is reportedly the new one to win over.

“Born between the mid-1990s and mid-2000s, the births of U.S. Gen Zers outpaced Millennials by 3 million, hold $44 billion in buying power and are definitely a different kind of shopper.” (Forbes 2017) With Stephen Sprouse reviving surrounded by the generation Z consumer, the brand will need to compete with technological advancements to attract this powerful buyer. “The 61 million members of Gen Z are defined as the first generation of truly digital natives, born into an era in which the internet had always existed and was never a novelty. As a result, more than any other generation, they are drawn to the ephemeral nature of apps like Snapchat, and shy away from owning products in favour of renting.” (DigiDay 2017) This has clearly impacted the way they spend their disposable incomes (if any), and is something that needs to be considered. For example, bricks and mortar stores are now less popular to generation Z, after growing up with technology where they can buy anything they want online. “Today’s teenagers are more likely to ask for smartphones, tablets or wearable technology for Christmas and birthday presents, instead of clothing.”

(Business of Fashion 2016) Therefore, luxury fashion needs to act on this and provide a personal service online as well as in store. With minimal disposable income, and also a sudden rise in surrounding the awareness on mental health, more of generation Z and millennial buyers prefer to stay at home, and look at luxury fashion online, with intention to save up, than feel embarrassed and anxious going to look in a physical store. “Rates of depression and anxiety among teenagers have increased by 70 per

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cent in the past 25 years.” (Independant 2017) Due to millennials and generation Z, reaching for the ease of online shopping over physical store experiences - most of the time - the Sprouse brand will need to ensure they have a quick turn around with each collection, whilst ensuring that every part of the collection can be enjoyed by any age, culture, religion etc., as Stephen always wanted in the past. The use of technological advances such as interactive wardrobes and dressing rooms could attract consumers to go back to bricks and mortar experiences, over non-personal, e-commerce. Supporting this Huffington Post stated in 2016 that, “The Future of Luxury Products Isn’t Products. It’s Experiences.”

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BRAND POSITIONING STATEMENT With not a lot being said about the brand or Sprouse himself since ‘The Stephen Sprouse Book’ being released in 2009, it was difficult to research into the brand community for 2017. However, with friends of Sprouse still alive and his position in the fashion world still apparent, it is clear that is personal influence, including his style, personality and designs, still has a huge inspirational impact on fashion. Anna Sui said in ‘The Stephen Sprouse Book’ (2009), “I wish that he had been able to do more work and had more years to continue his art, because it’s so influential and impactful.” Consumers value his individuality, and the way he never conformed to societal norms. He wanted people to feel they could be different, and this was portrayed through his clothing. The future of the brand must directly and indirectly approach fashion with intangible value. Ensuring that the old and new brand community believe that brands future is connected with that of its past. When visiting Harrods in London, it was very difficult to find consumers who even remember Stephen Sprouse, and therefore it was apparent that those who did remember him, were genuine fans. When visiting the Tate Museum where some pieces of Andy Warhol’s work is present, two individuals were willing to talk about Stephen and his brand. They discussed that “I’ve never really thought that deeply into why Ste-

phen Sprouse was only successful for a short amount of time, but I do believe that going down the art route, kept his brand alive. People valued that he tapped into art, politics and fashion all at once.”

Following with his wife stating, “I loved that he was friends with artists and musicians. He connected everything and made sure he stuck to his roots. I don’t think you have to be number one, to be successful.

Just be genuine and people will follow.” Candy Pratts Price also said something similar about Sprouse in The Stephen Sprouse Book (2009) stating, “…when you align yourself with music or art, your clothes have greater reference. You stretch your audience. And Stephen lived a broader kind of design life.” It is clear that even from the smallest elements of research that, it is important for the brand to release energy from music and art, and connect to all groups in society, to ensure that people feel they can be themselves; when reviving the Stephen Sprouse brand.

what these students did in their social lives, or what they wore (as they were in uniforms), however the intention was to gain an overall view. One male student referenced the outfits as ‘costumes’ and said, “he would find it difficult to feel comfortable in something like that”. Three of the girls agreed and one said, “I would love to be able to dress like that, but I think people would laugh at me. I would have to go for something a bit more ‘dressed-down’. The bright colours are quite intimidating to me.” From the responses gained, the vibe received from the students was that it would be a more appropriate collection for millennials. Noticeably, they preferred black to colour, as how comfortable they felt wearing the clothes was the main factor.

They thought Stephen as a person was ‘cool’, and particular zeitgeist they pointed out, as well as the older couple from previously, was how they feel that ‘style’, including hair, and music, was to become more mainstream in the future.

Following on from this, students were showed images of Sprouse’s collections from the past and also pictures of him, his friends and what their social lives consisted of. From this, the study was to find out if they related to this aesthetic, if they connected with this era, and what was going on at the time, and also if they thought any of it was relevant today. It wasn’t clear

Overall, the brand positioning strategy must contain elements of the brands heritage including black vs Day-Glo colours throughout collections and reference to Sprouse’s individuality through the use of current politics, street culture and music. This will maximise customer relevancy and competitive distinctiveness, in maximising brand value.

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VISUAL IDENTITY

Figure of Brands Creator Stephen Sprouse’s inspirations and thought processes will aim to be kept the same throughout the new revival. For example, the use of graffiti in elements of the garments, the Day-Glo colours used against fully black outfits to create contrast and open the brand up to different tastes and consumers; and inspirational art from, Andy Warhol and friends, whilst linking to political views from today, creating a visual style of coherent message.

THE TYPOGRAPHICAL LOGO Stephen never had a specific logo throughout his career in fashion.

He had his name in graffiti style writing that was on the labels etc.

Therefore, I have taken reference from the old signature style ‘logo’ and enhanced it to feel modern and contemporary, whilst keeping the old style as a feature. When researching into styles of typography, Forms of Rockin’ - Graffiti Letters and Popular Culture (2015) stated that, “At the end of the 1970’s the great US tangle of countercultural musical genres - punk, glam, electro, synth, retro-future, hip-hop and art rock - were categorised under the generic term ‘New Wave’.

Supporting the interlaced and fragmented nature of the phenomenon was the sexual identity-seeking nightlife in the clubs of New York.”

Commenting that this influenced a rebellious side to society, which then introduced ‘sub-way graffiti’.

Believing that Sprouse was influenced by this popular trend in the 70’s, it was later defined in the same

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book as, “the artistic process of writing ones chosen combination of letters with permanent markers or aerosol spray paint.” Describing it as, “spontaneous, cryptic and having an institution-free nature”. (Forms of Rockin’- Graffiti Letters and Popular Culture 2015) So in regards to Stephens original choice, it is clear to see how in the 70’s he was automatically influenced by graffiti, and the want to graffiti everything he came across.

Therefore I have kept the ‘Sprouse’ in graffiti style Fresh Marker, connecting with street culture from the 70’s and his original ideas, and a more basic, modern font, that everyone can relate to, Bebas Neue, for his first name, to connect with visual trends in luxury fashion logos today.

a visual symbol that accompanies the typographical signature There were various different graffiti inspired logos found in the Street Logos (2014) that suited the Stephen Spouse aesthetic. The individuals in this book were professional graffiti artists that each had a specific design or animation they used in all their work, which would be a fantastic collaborative aspect of the revival for Stephen Sprouse.

Including a paw print, alien, cat and humans hugging, they were all inspiring for what the Sprouse brand will stand for. Both the animated cat and paw print offered a cruelty free aspect, which could possibly increase the consumer base and drive on the fact that Sprouse will be cruelty free. The cartoon alien, is a relatable zeitgeist of a futuristic vibe, drawing

consumers into a newer modern fashion world. It could also relate to both older and younger generations such as millennials, baby boomers, Generation Z and even a new generation yet to be made.

One strong contender from the motifs is the humans hugging, which is seen around Lower Manhattan and Brooklyn area of New York. This links to a ‘love not war’ concept, relatable to politics and recent news stories, which Stephen Sprouse always liked to tap into.

A REPEATED VISUAL MOTIF It is possible that the new Stephen Sprouse logo could be used multiple times across products, as he has done in the past, to coincide with the graffiti theme. However, this has been done before with the Marc Jacobs for Louis Vuitton X Stephen Sprouse collection, so we would have to interpret it in a different way as to not copy the previous collection. If a visual symbol was chosen to accompany the logo, this could also be used in the same way, or just on its own, to give the new revival a signature look.

BRAND COLOUR A brand colour scheme has been established for the revival, including Day-Glo colours from the original collections, and black to be used throughout advertising, campaigns and the revival, for dramatic and dark effect, relating back to the underground music scene of the Seventies that Stephen and his friends were a part of. The orange for the main logo was chosen in response to one of the most popular colours from Stephens previous

collections, and the most current / contemporary and popular colour in today’s society from the DayGlo colour range. “Varying hues of orange dominated the runway during NYFW this year. From electric neon oranges to soft creamsicle pastels, from fiery sunset pallet of red oranges to warm cinnamon earth tone neutrals, and every shade of orange in between. Orange has never looked so appealing and wearable.” (The Mom Edit 2017) Although florescent orange is the typical colour to be used, pink, yellow and green will also be used for packaging, other logos, and throughout collections.

FAVOURITE MATERIAL A number one contender for the fabrics used in the new Stephen Spouse revival is Agave Silk. “This plant-derived silk has been made with the same process for centuries, by crushing cactus leaves and then washing and hammering the fibres, which are then woven into thread and dyed.” Research has been done to find the closest fabric to silk (as Stephen used it a lot in his collections), without any animal cruelty being involved. PETA (2017) states that, “It’s created through a cruel process in which silkworms, which are silk moth larvae, are steamed or gassed alive in their cocoons. Approximately 3,000 caterpillars are killed to make just 1 pound of raw silk.” Throughout Stephen’s collections he used a variety of fabrics to gain the required style he wanted.

For example, for the Fall 1984 collection, he wanted to tap into what was happening with NASA at the time. Throughout his catwalk show he showed projections of the rocket launch, whilst models walked down the runway in Nylon leggings, faux fur over coats, sequin trapeze dresses and lamb leather

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coats, dresses and trousers coated in silver, for both men and women.

(TSSB 2009) As stated previously, one of the main fabrics used was silk and also Italian leather and cashmere. This is an aspect of the heritage that will be reconsidered in the revival. With an increase in animal awareness and the amount of animal cruelty that is apparent in the fashion industry, it would be the best move to ensure that the Stephen Sprouse brand didn’t use real fur, or real animal skin throughout any of their products.

With Gucci standing against fur, and promising to never use fur again from 2018, Stephen Sprouse will to promise this, with the hope to gain the respect, trust and custom from the Gucci consumer.

“With this announcement, Gucci has signalled to the entire luxury fashion industry that it’s time to move away from using fur.” (Telegraph 2017)

CONSTANT HYMNS TO THE PRODUCTION Sprouse’s production techniques in the early stages of creating his brand, were unique in terms of, he would screen print from his own home his designs. He was one of the first people to own an Xerox printer, which he used to enlarge, duplicate and put together giant backdrops for his photoshoots, and then also used them for his designs. “He would take images of rock stars and news paper headlines, enlarge them multiple times until they became distorted and abstract, then replicate the images with paint on canvas.” (TSSB 2009) As the brand grew, he lost his touch with the personal side of production and there was nothing special about the making of the garments when the brand was at its peak.

A WAY OF DOING THINGS THAT BECOMES TYPICAL OF THE BRAND - A SIGNATURE STYLE Throughout the whole of Stephen Sprouse’s fashion career, as discussed previously, the use of graffiti was apparent in all of his collections. This was especially popular and well known in the Marc Jacobs collection for Louis Vuitton, and was used in other artists work, as a tribute to Sprouse. Using this again in the revival, will create a sense of nostalgia for previous consumers and also, show relevance to modern society in new consumer groups such as millennials. The New York Times (2015) discussing seventies and eighties fashion states that, “Clearly the period retains an emotional pull.”

ref: design addict.com

ref: AGNAUTACOTURE.COM

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Ref: Sandra Harris Article - Pintrest

REF: DIETCH PROJECTS ref: cj dellatore

ref: the stephen sprouse book (2009)

ref: shrimpton couture

ref: pintrest

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THE BRAND IDENTITY PRISM 20

INTERNAL FACETS OF THE BRAND

the

STEPHEN SPROUSE GIVES YOU THE POWER TO EXPRESS YOURSELF IN WHATEVER WAY YOU DEEM TO BE, BEING YOU. TO BE INCLUSIVE OF EVERYONE AND TO GIVE AND HOLD A VIBRANT PERSONALITY.

independant, artistic, non-judgemental, caring of everyone and their beliefs

Y

CULTURE

EXTERNAL FACETS OF THE BRAND

P

brand personality Stephen in the past always fought for people to be able to be themselves. To be outgoing and vibrant and be able to wear what they wanted. Being heavily influenced by politics and the underground music scene, that him and his friends were apart of, Stephen felt strongly about the opinion of his consumers and their individual beliefs, which was portrayed in his work. This is why the revival of Stephen Sprouse will exude all the previous brand values, as well as more such as, the brand personality traits noted on the previous page, including enthusiastic, sociable and non-judgemental.

ude sleekness and professionalism.

This will be the same with advertising and promotion. Advertising shall be very ‘mysterious’ at first, with teaser campaigns in New York Times Square. A winking eye with the slogan ‘you missed me’ and glitching graffiti behind it, will be shown on all social media platforms, electronic billboards, television and music apps including Spotify. Throughout the revival, there will be more advertising introduced on a similar scale but longer, to introduce the collection.

Much like the A/W 2017 collaboration with Victoria Secret and Balmain.

The product offer will be a range of womenswear items such as DayGlo faux fur coats, vinyl bodysuits and silver thigh high boots, but the focus will not be put on ‘womenswear’. The line will be inspired by strong, independent women regardless of race, shape, and walk of life, but can be worn by everybody including, men and individuals who do not associate themselves with any gender.

The environment in which Stephen Sprouse was originally sold, came from the place in which the brand started. With elements of inspiration from his various apartments in down town New York, and his alumni of friends, Stephens work wasn’t sold in the typical department stores. He was picky about who could buy and where it was sold, but not much information is given on the exact places. With a millennial heavy consumer base in the luxury market currently, Sprouse will be sold online, with limited stock to entice consumers and give them an emotional attachment, just as Supreme do, which Sprouse could not do when originally selling his brand.

Packaging and display will be strongly in coherence with the new logo, featuring mainly orange and black, to begin with. Boxes, gift wrap and in-store displays will feature the logo repeatedly, to coincide with the heritage of Sprouse, but feature a modern, alternative twist of black throughout, to ex- Originally, Stephens reputation

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was outstanding. With connections and personal friends, known of high importance in the fashion world, made at Halston and various other places, Stephen’s brand was seen as a new era of fashion when he first launched. However, as Stephen started to realise his brand wasn’t selling well anymore, he hit problem after problem and eventually became bankrupt after trying to restart to brand four times. After his collection with Louis Vuitton and his collaboration with Keith Haring, Stephen went back to his art and focused on that, becoming unknown in the fashion world once again. Before his death he was to work with NASA which may have kickstarted his career again but, unfortunately he passed away before this could be executed.

With a new generation buying into luxury fashion, and after extensive research, it is believed that Stephen Sprouse will now be more successful in a modern world due to millennials and other generations feeling more positively about being individual and expressing themselves.

PRODUCT Previously, Sprouse tried to relaunch his brand five different times. With a graffiti, Day-Glo theme throughout the majority, consisting of mini dresses, faux fur jackets and seventies style boots; he then went from downtown to uptown and created something more delicate, than punk-rock, after the Burnout 88’ collection was described as a ‘disaster’ by Womens Wear Daily. (TSSB 2009) “He designed sedate, high-collared, Jackie Kennedy-esque shift dresses with matching coats and pant suits in pastel colours.” (TSSB 2009) Keith Haring worked with Stephen on the fabric designs for the collection, which for Stephen was a huge thing as he’d wanted to work with him for years. Although Stephens old colour palette was seen as a little tacky, this didn’t disregard that the products were of high quality. Moving on to a more uptown crowd with this pastel collection, this allowed to a wider audience to see the quality of his garments and by collaborating with Keith Haring, a trusting consumer base, too.

Looking at the future of the brand, it would be appropriate to revive for both men and women, as before, to ensure a wide consumer base can be targeted. Looking at the trends for 2020, Emma Farrow (2017), head of design at Toyshop says that, ““It is no longer about buying a garment,” she continued, “it’s about buying into an aesthetic that could be linked to music or a celebrity or the Punk exhibition at the Met. I think that’s what the modern customer gets excited by.”” Therefore, it is particularly difficult to determine what certain products are going to be on trend in 2020 for both men and women. AFMU (2016) also states that, “There is a lot of in-

formation on fashion 2020 trends and they find difficult to make the correct decision on a certain outfit or image.” There is also a current rise in technological product use in brands around the world, Business of Fashion (2017) discussed that, “Human designers cannot compete with AI-designers when it comes to synthesising complex data from multiple sources. They also can’t compete with AI-designers to action their findings and assemble, render, and launch entirely new products in seconds.” What this article was trying to explain was that, fashion brands must now refer to themselves as a tech brand that has a fashion focus, in order to be successful, as tech brands can get a product from idea to shelf a lot quicker than the fashion turn around.

PRICE When conducting research on the price of products in Stephen Sprouse’s luxury brand, it was said that “wholseale costs of his clothing reached upwards of $1000 for a simple wool overcoat.” (TSSB 2009) Other than this mere quote, it was difficult to find specific prices for individual products.

However, when Stephen declared bankruptcy in 1985, not long after did 24 year old Havard graduate, Andrew Cogan, approach Stephen about a new venture together. “With several million dollars of backing from GFI/Knoll, Andrew and Stephen announced their bold, multitiered merchandising strategy or The Sprouse Co. in February 1987”. (TSSB 2009) From this, it was found that their were three different price ranges in The Sprouse Co. The S label, which consisted of jeans, T-shirts, and accessories retailing at between $21 to $155. The Sprouse Label includ-

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ed suits, dresses, coats and shirts from $100 to $350; finally, The Stephen Sprouse Label encompassed the high end pieces from $250 to $3500. (TSSB 2009) Research was also conducted online to reveal the price at which ‘vintage’ items were auctioning off at on retail sites such as Ebay. With polaroids of Stephen Sprouse and friends being bid on at a minimum of $12,500 each, and March Jacobs for Louis Vuttion, Stephen Sprouse silk scarves, auctioning at over a £250, it was clear that the brand was respected as a luxury fashion house, in the past and that these items were rare, and special to individuals. As years have gone by, LVMH has seen a rise in luxury fashion buying, through their profit increase. “The world’s largest luxury group — home to brands from Louis Vuitton to Tag Heuer — reported its highest revenues of €37.6bn in 2016, a 5 per cent year-on-year increase. The group’s operating profit grew 6 per cent in the year to €7bn.” (Financial Times 2017) This could give Stephen Spouse significant guidance on price, as well as looking at the state of population, e.g ageing population, economic factors and many more.

Premium pricing will be used in the revival of Stephen Sprouse as it is believed there is a uniqueness to the new brand and products, which will also conicide with the fact it is a luxury brand to be sold in deparment stores such as Selfridges, Harvey Nichols and Bergdorf Goodman. Psychological pricing will also be used to ensure the conusmer responds to the revival in an emotional, nostalgic way, connecting with the products on a level of emotion.

PROMOTION

than 80 per cent of both Generation Y (born 1980-2000) and Generation X (born 1965-1979) described their views as either “quite liberal” or “very liberal”. Yet the majority of teenagers from the new Generation Z – 59 per cent – described their views as “conservative”.”

PLACE Stephen Spouse started in New York, and this was where his fame was made, both for his fashion and art. Within research, it was found that he stayed in New York and didn’t have much of a global reach, apart from his Marc Jacobs for Louis Vuitton collection. If Spouse had lived past the age of 50, his fashion future may have reached much further. All of his inspiration came from is NY friends, NY streets and NY clubs, so was automatically popular there. He created brand touch points by relating to the population of New York on a personal level, enabling them to consider the purchases before even thinking about it properly. His stores from different collections and stages of his fashion career, all remained in New York, bar his collaborations with Louis Vuitton, Target and other various stores / brands. His love for fashion and art collaborated greatly, to attract New York as a whole, and doing things so differently to everyone else in fashion.

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THE FOUR P'S

It is obvious that throughout the research of Stephen Sprouse, that when he has collaborated with another designer, artist etc., his collections have resulted in more success. When Kezia Keeble announced him as an emerging designers in 1982, to promote the new Polaroid SX-70, he became a US phenomenon. As well as the success of the collections with Keith Haring, Louis Vuitton, and the constant reference to Andy Warhol, Steven Miesel and dressing socialites such as Debbie Harry and Teri Toye. He always put on a gobsmacking, dark and intimidating show for his new collections, and this was what attracted the fashion world. He did things that nobody else dared to do. This also allowed the brand to become more wellknown. Sprouse mainly promoted throughout the US in department stores as he was based in New York, however, the UK was also targeted and the word was spread all over the world, of Stephens outlandish designs. With technology not being as apparent then as it is now, the revival of Sprouse can be spread all over the world, with the use of social media and basic online presence. “81% of millennials check Twitter at least once per day.”

(Word Stream 2016) With Sprouse always doing the opposite of what was happening at the time, this often lead to unsuccessful fashion lines, as compared to now, not many people were rebelling against societal norms. Now, it is often heard of such as, more awareness over vegetarianism / veganism, feminism and racism. Therefore, if Sprouse was to relaunch now, most of his unsuccessful campaigns, would most probably be a success.

Telegraph (2016) stated that, In [a] study, people of various ages were asked to describe their views on a range of social issues, ranging from illegal drug use to tattoos. More

PESTEL POLITICAL AND LEGAL American politics was always at the forefront of Stephen Sprouse’s mind when organising his designs mentally. A political connection with his consumers was important, and 2017 couldn’t be more of an intense time to focus in on politics in the US. With a tax cut looming in America, this could change the buying habits of consumers. “Almost a year ago Donald Trump won the presidency on the promise he would serve the “forgotten American”. In the coming weeks Congress is likely to pass the first serious bill of the Trump era: a tax cut.” (Financial Times 2017) As a rule, Millennials have more disposable income than the likes of baby boomers and Generation Z, therefore, by targeting this consumer at such a crucial time for America financially, consumers may be more open to buy luxury products, either investing in one particular product or buying more casually. “This generation is young, well informed, and they have money to spend because they are not yet bogged down by mortgages or children.” (The New Economy 2014) When thinking about reviving the brand in the UK as well as America, it is important to consider the effects of Brexit that may occur in 2020. “…fashion could face “serious harm” if the UK fails to reach a comprehensive free trade agreement with the European Union.”

(The Business of Fashion 2017) The import of fabrics and materials

could seriously effect the revival of Stephen Sprouse in 2020, if a positive deal is not put in place for UK. Especially, if the company decides to launch in other countries such as China. “Theresa May’s speech in early January outlined a 12-point plan that could see Britain pursue a free trade agreement with the EU, which could still allow for the free movement of fabrics, textiles and finished garments between the UK and Europe, something many in the fashion industry depend on.”

(BOF 2017) If the luxury of moving garments to different countries is capped, this could affect brands on a large scale, as they won’t be able to be sold in other countries, affecting trends as a whole. “The BFC also argued it could lead to “effectively closing down London Fashion Week as a platform to promote British businesses,” meaning if designers or companies had to register and show their designs in the EU first to benefit from its intellectual property protections, this could make London Fashion Week an uncompetitive option.”

(BOF 2017) America could have the same issue with Trump in power, “If, as threatened, the President-elect and his team move to dismantle longstanding free-trade deals and impose new tariffs on imports in a bid to bring back domestic jobs, the fashion industry, with its global supply chain, could suffer significantly. Indeed, 97 percent of clothes sold in the US — the world’s largest consumer market — are manufactured abroad.” (BOF 2017)

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The “UK unemployment rate declined to 4.3 percent in the three months to August of 2017 from 4.5 percent in the March to May period.” The is apparently the lowest amount of jobless individuals since 1975. (Trading Economics 2017) American was only slightly better with a decline to 4.2 percent from 4.4. If the decline continues, this could mean a lower amount of consumers buying luxury goods.

Inflation rates are also up in America at 2.2% compared to 1.9% a few months ago, and in China they are at 4.4%, a huge difference. Inflation rates mean, “As inflation rises, in addition to businesses being forced to raise their prices, banks are forced to raise interest rates in order to maintain a profit margin and higher rates means that marginal businesses will fail, thus increasing unemployment and harming the overall economy.” (Inflation Data 2009) Launching in the UK could benefit the company as a whole, with inflation prices in the UK being much lower at 0.25 percent.

Asia and the middle east having a ban on some social media sites by law, could significantly decrease the chance of Stephen Sprouse becoming popular if the brand was to launch in this country, as a huge amount of the promotion and advertising will be on social media platforms. This could give the brand a chance to move away from technological advances, and create a more ‘down to earth’ approach, as Sprouse always did in the past. “Internet services were cut 28 times over the past five years, and in 2016

the Indian government blocked in- 13.6 million American adults with ternet signals for five months.” (Al- a net worth above $1 million. That jazeera 2017) is over 40 percent of the worlds millionaires, and more tan the next eight countries combined.”

Therefore, with the right changes, Stephen Sprouse can aim to target Economic factors can impact con- millennials, in an intangible way, sumer spending power and also connecting with their beliefs and consumer confidence. With mil- achievements, and the more afflulennials putting more research into ent generation, to create a wider luxury brands and products, be- consumer base. fore purchasing, and being more careful about how they spend their Within in the UK, fashion is one money, this is having a major affect of the biggest economical induson the luxury goods game. “This tries, providing 800,000 jobs and a generation, thanks to the inter- worth of £26 billion. (British Fashnet and how it has uncovered the ion Council 2016) British Fashion “smoke and mirrors”, on which the Council also stated that, “22% of allure of luxury brands are based, young people in countries that are discovering they can acquire are strategically important to the luxury-quality goods at significant- UK cited fashion as being somely lower prices.” (Forbes 2017) This thing that made the UK attractive means that due to draining econo- to them.” With fashion being the my, American millennials are less at the heart of the UK, it would likely to buy luxury goods now. be a positive move for Stephen “Over one fourth of the Ameri- Sprouse to launch here. In recent can millennials report no luxury news, the pound as soared against purchases of $500 or more in the the dollar and the euro, to “0.9 per last 12 months.” (Forbes 2017) cent against the dollar at $1.3260, In the study of “Millenials on the while it was 0.8 per cent up versus Road to Affluence” by Deloitte, the the euro at €1.1257.” (Independent qualitative outcome for post grad- 2017) Another positive reason to uate millennials, was that “Luxury start business in the UK. is nothing but a marketers label”, meaning it was overpriced. The study also explains that status symbols are not the same to millennials, as they are for luxury brands. Changing social structures, deAlthough millennials value status, mographic changes, popularity it is defined by ‘who they are’ and of leisure actitivites are so much ‘what they have achieved’, rather more will affect the revival of the than owning expensive products. Stephen Sprouse brand, and level It explains there is a gap to filled of fashion consumption. “Changes and “there is an opportunity for in the amount and type of leisure luxury brands to re-examine their activity have resulted in a move roots and rethink their offerings away from formal codes of dress to and messaging to reflect what the much more casual styling.” (Fashconsumer is looking for.” (Forbes ion Marketing 2009) This is par2017) It is also worthy to note that tially due to the amount of people the US has most number of affluent that now have the ease of workconsumers. Credit Suisse reports ing from home, “shorter working for Forbes (2017) that, “there are hours and more electronic help in

ECONOMIC

SOCIO-CULTURAL

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the home”, freeing up more time for hobbies and leisure activities thus the need for more clothing to wear in these hours.

When it comes to the internationalisation of fashion, many ethic or cultural groups are “still not catered for by mainstream fashion.” (Mastering Fashion Marketing 2009) Recently, many luxury brands have opened up to and executed the idea of having more than just ‘white and black’ models on the runways. This stems from millennials and generation Z boycotting brands they “have come to disrespect due to cultural appropriation.” (BOF 2017) Jessica Andrews, digital editor at Teen Vogue goes on to say, “[The younger generation] is thoughtful about their purchases, and they want to spend with fashion brands that are inclusive when it comes to casting models and hiring staff — fashion brands that make a concerted effort to respect cultures other than their own.” (BOF 2017) With the use of models, staff etc., inclusive or race, it will allow consumers to see that the brand has grown to include everyone, and not just based around one demographic.

Another advantage to launching in the UK and US socio-culturally, is that they are the two largest places that are ‘dress-tolerant’, as well as multi-cultural. Mastering Fashion Marketing (2009) stated that, “Many of the foreign-based students who have been taught [by the authors] speak enthusiastically about the freedom and inspiration they enjoy when they come to London. They say that, as few dress codes and protocols are expected of them, London is a very tolerant and relaxing fashion capital.”

As well as location, it is also crucial that climatic and hemispheric issues are discussed, and their im-

plications on fashion industry segmentation. Consumers in the UK are generally less likely to invest in summer targeted items, as they are in America, due to the colder climate. With that in mind however, both the UK and America, have uncontrollable and unpredictable weather patterns throughout the year, especially with imminent climate change occurring. Gather and See (2017) states that, “As an industry that is reliant on the very raw materials that are being diminished, for it’s own future it must act. The more we shop ethical and sustainable and engage in the issues, the more we can help.”

about this new service, however Amazon say that it is completely safe. A camera will be installed at your front door, and when the parcel is delivered, the courier will scan the barcode which ‘sends a request to Amazons cloud’. “The cloud grants permission by sending a message back to the camera, which starts recording.” (The Verge 2017) When it all checks out, the courier swipes his/her app, and is granted access. When the drop is complete the camera saves the video and sends it to the individuals phone. This is more likely to go ahead and be successful before the drones, however will raise safety concerns for individuals. For new luxury brands, politics and the economy is putting strain on fashion, so these technological advancTechnologically, fashion as well es will make it easier to distribute as the rest of the world, is evolv- fashion all over the world. ing every single day. Most recently, Saudi Arabia has been the first Amazon being at the forefront of country to give citizenship to a ro- technology have also invented ‘Bobot. The robot, Sophia, itself said to dyLabs’. Founded in 2013, the 3-D the audience at the Future Invest- body imaging software uses artifiment Initiative, “this is historical cial intelligence to create a “3D imto be the first robot in the world to age of a customers body based on be recognised with a citizenship”. just a single image.” (WGSN 2017) (Business Insider 2017) This could It claims that it could help customeffect fashion in ways such as, less ers to find clothes that fit them first jobs available due to robots taking time around, which is revolutionroles over humans. However, could ary for fashion. It would mean a negatively impact retail, as the feel boost in customer satisfaction, an of an in store experience could be in-home style advisor and a loweffected, due to it not being ‘real’ er return rate, which “estimates customer service. Following on have suggested make up a third of from this, it could increase the all web purchases.” (WGSN 2017) use of e-commerce, even more, if When looking further down the robots could be used as 24/7 cus- line, this could increase online tomer service, answering questions sales, and help luxury companies and delivering items faster. Fur- like Stephen Sprouse to create perthermore, Amazon have started sonalised items, which could result this movement by testing drones to in a USP for the brand. deliver orders, cutting out distribution channels, and ‘Amazon Key’, “a service that will allow Amazon couriers to open your front door and put your package safely inside In a study named “Millenials on your home.” Many are sceptical the Road to Affluence” by Deloitte,

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ENVIRONMENTAL 26

they stated that, “millennials are most motivated by in their purchases by quality, followed by uniqueness, the brand name; its ethics and image did not particularly motivate them when comparing a luxury versus a more affordable alternative.” (Forbes 2017) By making Stephen Spouse a more environmentally friendly luxury brand, it will set the bar for other luxury brands, just as Gucci has recently with the ban on fur. Brand ethics are slowly becoming a bigger factor on which millennials are purchasing luxury goods, but according to the study, isn’t at the top of their priority. By making sure that Stephen Sprouse promote with their ethics and beliefs in the priority bracket, such as animal cruelty and climate change; this will slowly start to subconsciously remain at the front of consumers minds, making them more aware of what they are buying.

The way in which brands source their materials and where their garments are made, is also an aspect of concern, and more people are ensuring that people have a greater awareness of where their products come from. “Customers should consider if buying cheap clothes is worth that many factory employees work under strenuous conditions and facing poverty.”

(Labour Economics 2013) Climate change is one of the number one fear factors of the world, currently, and WWD 2016 states that, “one easily noticeable effect of the impact of climate change on fashion apparel and retail, are sales of outerwear. [Last years] lack of “sweater weather” caused by record warmth during October, November and December, resulted in excess inventory of sweater, jackets and coats.” This kind of weather behaviour must be assessed

through the year to ensure that, in the future, Sprouse don’t hit this predicament of excess stock, due to dramatic weather changes. With Sprouse being revived for Spring / Summer 2020, it is something to think about moving forward.

A great revolution in fashion recently has been founded for brands and companies that want to lower the amount of damage that clothing, particularly unwanted clothing, has on the planet. Science

Daily 2017 states that, “The environmental impact of our clothing has now been mapped in the most comprehensive life cycle analysis performed to date. For the first time, the makes it possible to compare the environmental effects of completely different types of textiles. The results will be used to create a practical tool for clothing manufacturers that want to lighten their environmental load.�

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RECOMMENDATIONS • Keep neon aesthetic featuring aspects of graffiti • Introduce a larger ‘space’ influence with inspiration from Stephens Rock on Mars collection, and his unfinished work with NASA before his death • Relaunch in New York as his previous work was heavily influenced by the NYC underground music scene and friends including, Andy Warhol, Steven Miesel, Debbie Harry and Halston. but also, launch to the uk afterwards.

• Launching as a ‘womenswear’ line but this is not the focus. The collection can be worn by everyone and anyone including men, children, transgender and those who do not identify as any gender in particular.

• Sexy, vibrant, rebellious and non-judgemental • launch everything as limited edition to begin with, to draw consumers in and give a sense of urgency to buy and power / uniqueness to those who own an item.

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bibliogrpahy Padilha, R. Padilha, M. (2009) The Stephen Sprouse Book: Stephen Spouse’s Personality. Rizzoli International Publications, Inc. Padilha, R. Padilha, M. (2009) The Stephen Sprouse Book: Stephen’s fathers career. Rizzoli International Publications, Inc. Padilha, R. Padilha, M. (2009) The Stephen Sprouse Book: Sibling personalities. Rizzoli International Publications, Inc. Padilha, R. Padilha, M. (2009) The Stephen Sprouse Book: Stephens early year sketches of full fashion collections. Rizzoli International Publications, Inc. Padilha, R. Padilha, M. (2009) The Stephen Sprouse Book: Stephens appointment with Normal Norell.

Rizzoli International Publications, Inc. Padilha, R. Padilha, M. (2009) The Stephen Sprouse Book: Narducci encouraged Stephen to call Halston for a job. Rizzoli International Publications, Inc. NY MAG (2004) Stephen pestered Halston: Retrieved from: http:// nymag.com/nymetro/arts/features/n_10106/ NY MAG (2004) Skimp it!

Skimp it!: Retrieved from: http:// nymag.com/nymetro/arts/features/n_10106/ Padilha, R. Padilha, M. (2009) The Stephen Sprouse Book: Close friends that Stephen met. Rizzoli

International Publications, Inc. Padilha, R. Padilha, M. (2009) The Stephen Sprouse Book: Dual life whilst working at Halston. Rizzoli International Publications, Inc.

note found by family. Rizzoli International Publications, Inc. Padilha, R. Padilha, M. (2009) The Stephen Sprouse Book: Motorcycle boots. Rizzoli International Publications, Inc.

Padilha, R. Padilha, M. (2009) The Stephen Sprouse Book: Worked at Queens of Vintage (2017) Stephen Max’s Cansas City. Rizzoli Interna- and his legacy: Retrieved from: tional Publications, Inc. http://www.queensofvintage.com/ stephen-sprouse-and-his-fashionPadilha, R. Padilha, M. (2009) The legacy/4/ Stephen Sprouse Book: Intergrated friends into the backdrops of his Guardian (2017) How Stranger photography. Rizzoli International Things won fashion in 2017: Publications, Inc. Retrieved from: https://www. theguardian.com/fashion/2017/ Padilha, R. Padilha, M. (2009) The oct/16/haute-hawkins-howStephen Sprouse Book: Patty Free stranger-things-won-fashion on $1 Million bail. Rizzoli International Publications, Inc. Vogue (2016) Inspiration matters more than prescription: Retrieved Padilha, R. Padilha, M. (2009) The from: https://www.vogue.com/ Stephen Sprouse Book: Live fast, article/gen-z-fashion-lovers-fashdie young. Rizzoli International ion-culture-design-panel Publications, Inc. Leaf.Tv (2017) New shapes in Padilha, R. Padilha, M. (2009) The womenswear: Retrieved from: Stephen Sprouse Book: Steven https://www.leaf.tv/articles/calvinMiesel inspiration. Rizzoli Interkleins-impact-on-fashion/ national Publications, Inc. Independent Financial (2017) Padilha, R. Padilha, M. (2009) The Balenciaga take Gucci crown of Stephen Sprouse Book: Merged hottest luxury fashion brand: street culture and high fashion.

Retrieved from: http://www.

Rizzoli International Publications, independent.co.uk/life-style/fashInc. ion/balenciaga-gucci-world-hottest-fashion-brand-trend-luxuPadilha, R. Padilha, M. (2009) The ry-a8042111.html Stephen Sprouse Book: Teri Toye description of Stephen. Rizzoli Chadha, R. Husband, P (2006) International Publications, Inc. Cult of the Luxury Brand: Inside Asia’s Love Affair with Luxury Padilha, R. Padilha, M. (2009) The 2010 (2nd Ed) Retrieved from: Stephen Sprouse Book: Archival http://bit.ly/2CvlY9e

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Business of Fashion (2017) The State of Fashion 2017: Retrieved from: https://www.businessoffashion.com/articles/news-analysis/ the-state-of-fashion-2017 Business of Fashion (2017) The State of Fashion 2018: Retrieved from: https://www.businessoffashion.com/articles/news-analysis/ the-state-of-fashion-2018 Fashionista (2016) Chris Leba Quote: Retrieved from: https:// fashionista.com/2016/09/r13spring-2017-trump Urban Gypsy (2017) Moschino 2015 similarities: Retrieved from: https://urbangypset.com/graffiti-fashion/moschino-whos-next/ Business of Fashion (2016) Generation Z: Retrieved from: https:// www.businessoffashion.com/ articles/intelligence/tapping-generation-z Business Insider (2015) Baby Boomers: Retrieved from: http:// www.businessinsider.com/sc/howmillennials-and-baby-boomersshop-2015-4?IR=T Business of Fashion (2017) Street Wear in Luxury Fashion: Retrieved from: https://www. businessoffashion.com/articles/ intelligence/how-luxury-came-tolove-streetwear-sites-hypebeasthighsnobiety Business of Fashion (2017) Threat of new Entrant: Retrieved from: https://www.businessoffashion.com/articles/opinion/salvatore-ferragamo-waking-a-sleeping-beauty Business of Fashion (2017) Threat of new Entrant: Retrieved from: https://www.businessoffashion.com/articles/opinion/salvatore-ferragamo-waking-a-sleep-

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es/2017/03/170314092800.html Design Addict (2014) Stephen came design: Image: Retrieved from: http://www.designaddict. com/forum/General-discussion/ Swedish-Army-Camo2 AgnautaCouture (2016) Stephen Sprouse designs: Image: Retrieved from: https://agnautacouture. com/2016/01/03/stephen-sprousenever-made-it-from-cult-figureto-legend-part-one/ Pintrest (2017) Stephen Sprouse writing in Pink: Image: Retrieved from: https://www.pinterest.co.uk/ pin/365424957245517445/ Pintrest (2017) Sandra Harris Article: Stephen Spouse x Louis Vuitton Image: Retrieved from: https://www.pinterest.co.uk/ pin/148900331409699661/ Dietch Projects (2009) Stephen Sprouse rock on mars invitation: Image: Retrieved from: http://deitch.com/archive/rock-on-mars Padilha, R. Padilha, M. (2009) The Stephen Sprouse Book: Stephen Pink Design: Image. Rizzoli International Publications, Inc. CJ Dellatore (2013) Teri Toye in silver: Retrieved from: http://cjdellatore.com/fashion-american-punk-legend-stephen-sprouse/ Pintrest (2017) Stephen green fabric design: Retrieved from: https://www.pinterest.co.uk/ pin/545357836100052872/ Shrimpton Couture (2017) The moon red: image: Retrieved from: https://www.shrimptoncouture. com/blogs/curated/vintage-newsdesigner-stephen-sprouse-got-tonasa-first

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