BETH CARPENTER YEAR 2//FASH20031 REFLECTIVE ESSAY
WHAT IS FASHION COMMUNICATION AND WHAT ARE YOUR ROLES AS A FASHION COMMUNICATOR?
The roots of communication begin with the power of connection, to express and project information, which - through exchange of thoughts, messages and ideas – generate a response and reaction. As the most common and direct form of communication, the media, or ‘Mass Media’ uses various mediums to generate worldwide exposure. Combinations of digital, print and broadcast media allow industries to connect with their consumer - whether conscious or subconsciously – for means of commercial entertainment, or simply to generate sales. Communication theory identifies the model of communication in 3 stages: sender, message and receiver, however, more complex marketing models such as AIDA - awareness, interest, desire and action – highlight the consumers development from unawareness to awareness, interest to desire, resulting in their action of purchase. (Easey, 2009) Methods of marketing stem from understanding and building indepth knowledge of the consumer; highlighting variables such as age, sex, race and demographics that all determine sales, popularity and expansions of a brand.
For example, in terms of the fashion magazine ELLE, their consumer is identified as 90% female, who earn a high income, with a median age of 33, therefore targeting middle-aged women as is evidenced throughout by clothing advertisements with mature styles. In comparison, style magazine ID is directed at the young professional, represented through their choice of editorials and coverage of music, film and other upmarket features. The constant change and development of the fashion industry depends highly on the pace and systems of the media, as areas of PR, journalism, print and advertising induces public recognition and future demand. Other marketing methods including visual merchandising and visual marketing, create the ideal experience for the customer. Window displays and store layouts allow the brand to create an attraction and therefore, a response that differs from advertisements and billboards.
“A SPACE FOR IMAGE-MAKERS AND CONSUMERS TO EXPERIMENT WITH AND CHALLENGE MAINSTREAM NOTIONS OF PHYSICAL DISPLAY.”
Maintaining brand awareness, social presence and consumer targets are all roles played in fashion advertising. High-end brands such as Chanel and Dior (fig.1) rely heavily on advertising due to their specific place within the market, compared to middle-market brands that traditionally rely on stores and showcasing products. (Easey, 2009) From the beginnings of fashion advertisements in magazines such as Vogue in 1893, such publications sprouted the innovation that lead to images that: “…Document metamorphoses: from alabaster Victorian homemaker to painted flapper in just a generation, from conformist fifties mom to miniskirt-clad iconoclast only a decade later, from power-suited yuppie of the eighties to the techno selfstylist of the new millennium.” (Hill, 2007)
The immediate recognition of ready-towear garments exists through forms of image styling. Factors including setting, mis-en-scene, props and colours, all provide stimuli that enable consumers to develop an emotional response to the campaign, and to the brand. This provides a window for expression, exposing differences in social culture, political views, current affairs and ideas. Arnold (2001) identifies it as “a space for image-makers and consumers to experiment with and challenge mainstream notions of physical display.”
Fig. 1: Miss Dior Bag Fall Winter 2012 Ad Campaign featuring Mila Kunis
As a brands fashion campaign is used to reflect the brands identity or the perceived identity of its consumer, this questions the ideas behind shock advertisements; provoking controversy and uproar when referencing issues such as sex, violence, drugs and culture. Indeed such a creative platform allows freedom of speech and expression; however again we question – how do they get away with it? Firstly, this underlines one of the main differences between fashion magazines, the vast dissimilarities between publications such as Vogue, Elle and Harpers Bizarre, compared to ID, Dazed and Confused and Love.
Style magazines such as ID and Love – recognised not only for their overall difference in house style and imagery at first glance - obtain and attract a vastly difference audience, allowing and accepting creative and social variation. Such magazines encourage the pushing of boundaries, what is acceptable and inspiring shock factor and irony when looking at everyday fashion, lifestyle and culture. Many editorials and campaigns featured combine elements of homosexuality, eroticism, race and drug references, as well as an undeniable pastiche to magazines such as The Face.
Fig. 2: Kate Moss and Lea T, Love Magazine: Androgyny issue Feb 2011
In comparison to this, the flush edges of magazines such as Vogue, present an indefinite fashion lead focus. Presenting covers of the most popular and beautiful faces from film, music and fashion, the magazine contains “Fashion news daily, catwalk videos, backstage photos, fashion trends, supermodel interviews, beauty trends and celebrity party photos.” In contradiction however, the pages of Vogue Italia break the stereotypes associated with the other domestic trade publications such as British and American Vogue. Editor Franca Sozzani is known for her radical rebellion within the fashion world, highlighted for her interpretation of the BP Oil Spill disaster in 2010. 22 pages of the 2010 issue shot by photographer Steven Meisel, featured model Kristen McMenamy covered in crude oil, with her body splayed across a polluted beach, wearing items including Alexander McQueen gloves and a Dior fox-fur coat. (Adams, 2011)
Causing much controversy and debate over the glamorisation of the disaster, others identify this as ‘an artistic method of creating awareness’ (Laneri, 2010). Various shoots by Meisel including the ‘Make Love Not War’ series featured in Italian Vogue in 2007, was again identified as glamorising civil war, however, seems to directly encourage its applied statement through provocative imagery contrasting with the dusty, desert-like settings. This use of current affairs and global news regularly grasps popularity within campaigns and editorials. Combining the creative and stylistic methods of the industry in order to project to a wider audience, encouraging understanding instead of disconnection to current disasters and social issues.
Fig. 3/4: Make Love Not War series (Sep 2007) / Kristen McMenamy Water and Oil Vogue Italia, 2011 Stephen Meisel/
Fig. 5: snapshot from ‘Trainspotting’ (1996) (cinemasights.wordpress.com)
“TRAINSPOTTING GENERATION”
During the 90s, photographers such as Corrine Day were notorious for imagery described as ‘close to the bone.’ Working alongside magazines associated with youth culture such as The Face, the issue and popularisation of ‘Heroin Chic’ erupted. Described as a somewhat cynical trend, this anti-vibrant androgynous look shined a light on upon the ‘Trainspotting generation’ linked to the use of heroin and other cultural habits, revealed in the 1996 film ‘Trainspotting’ directed by Danny Boyle.
FASHION HONESTY: SEX, DRUGS AND UNDERAGE
The Vogue shoot titled ‘Under Exposure’ shot by Corrine Day in 1993 (fig. 6), featuring a young Kate Moss - caused chaos about the directions and intentions of the industry. The shoot was labelled as ‘beautifying’ anorexia and drug use, especially amongst teenagers. Known for her work in documentary photography, Corrine day answers that “photography is getting as close as you can to real life, showing us things we don’t normally see. These people’s most intimate moments, and sometimes intimacy is sad.”
American brand, Calvin Klein took quickly to the trending style, using Kate Moss to feature in underwear and perfume campaigns titled ‘Obsession.’ The voice and power of the media - through advertisements and campaigns, and the generation of negative and positive attention - provides ideas towards fashion honesty, emphasising the realisms of cultural uncertainties and moralities.
Fig. 6: Kate Moss ‘Under Exposure’ British Vogue (1993) photo: Corrine Day
"WE'RE GOING TO DO SOME ISSUES, STARTING NOW, THAT HAVE WHATEVER WE FEEL LIKE PUTTING IN THEM." Between the pages of current publications such as VICE – a free monthly magazine focussed on international arts and culture each issue stands prominently on the ironic and controversial voice of its content. Notorious for publishing articles and documentary imagery uncovering truths of society: race, sex, drug use and politics are only some of the topics laid bare to readers across 28 countries.
In 2007, VICE announced ‘we’re going to do some issues, starting now, that have whatever we feel like putting in them.’ Identified for it somewhat dubious morality and ethics, such publications clarify their avoidance of conformity, regularity and censorship present in the day-to-day dilution of the media landscape.
Fig. 7: Adria, “Tons of Fun”, Vice Magazine, photographer: Terry Richardson The juxtaposition between brash editorials and coverage of worldwide fashion weeks; creates the abrupt yet striking visual collage. Despite its colloquial commentary, Vice highlights creative and social variety, incorporating the work of photographers such as Terry Richardson – whom has his own page on Vice.com – as well as articles titled ‘Getting fresh with Wilbert – clumpy deodorant reggae rude boy swag’ and ‘Tennis Fashion.’
Fig 8. American Apparel Campaign, 2011 (gsws002.wordpress.com)
Constantly stormed for their endless provocative and voyeuristic campaigns featured in magazines such as Vice - LA born brand, American Apparel, are repeatedly in the limelight for their ‘sexually suggestive, gratuitous and flirtatious’ (Sweney, 2012) advertisements, featuring adolescent girls. With frequent use of snapshot style imagery, the brands bold palette of basics combined with a provocative pose and setting, make it apparent of their audience, or whom they’re targeting. Such imagery references the work of photographers such as Corrine Day and Larry Clark, known for their documentary snapshot style imagery that brought shock-exposure of youth culture to the forefront of a very much, sugarcoated portrayal of pre-adult lifestyle presented in the media.
The film ‘Kids’ directed by Larry Clark in 1995, (fig.9) ‘about the drug-fuelled, sexed-up, cruelly violent lives of New York City teenagers.’ was noted as a ‘wake-up call to the modern world.’ (Gibley, 2011) In terms of brands such as American Apparel, shocking campaigns such as these create a blur of youth and social culture – or in this case, their target audience. Used regularly throughout the brand landscape, ‘lifestyle’ is used as a main consumer attraction, sometimes obscured by the brands personal ideals.
Fig 9. Snapshot from film “Kids” (1995) Directed by Larry Clark
Identity is defined as ‘the fact of being who or what a person or thing is’ – whether speaking of a brand, a personality or an audience. In terms of reflecting a culture, identity speaks through choice of garment, style and attitude; captured and replicated in advertisements and campaigns. With this, it is clear to identify that every brand holds an identity to which, will eventually be absorbed by the consumer. But who is this consumer? We see tight pectorals and six-packs flaunted throughout campaigns from Abercrombie to Tom Ford however; the link between who is pictured within such campaigns can be seen as directly dishonest to who will be purchasing it. Of course this could stir debates from size zero to digital enhancements, however, it more simply reiterates the point of ‘fashion honesty.’ Indeed ideas of philanthropy can be placed here however, this can be identified more as fashion advocacy – the voice of culture, political debate, youth and change. When conducting primary research, and asked ‘What does fashion mean to you?’ recurrent words such as ‘expression’ and ‘identity’ were used, alongside ‘skinny models’ and ‘beauty.’
This association to ‘beauty’ and ‘models’ in the fashion industry underlines a very stagnant impression to its consumers. With this, the importance of statement within communication cannot be overseen. As brands obtain certain identities, this imposes space for brand voice and opinion. As various brands fall into the simple formulaic fashion-beauty structure, this passes possibility for a more direct and informative connection to their consumer, through the appeal of advocacy. Although seen negatively, the ‘Water and oil’ shoot in Italian Vogue (as mentioned) conveyed message, purpose and opinion, using the fashion format and platform in order to succeed in expressing the issue. Other cooperation’s such as PETA regularly target the fashion industry for their use of fur yet, various fashion brands and faces responded to this through antifur campaigns and catwalk shows.
“FASHION HAS PROVIDED A FERTILE REALM FOR NEGOTIATING NEW MORALITIES, ABLE TO CONSTRUCT AND REFLECT CONTINUOUSLY MUTATING MORALITIES AND REPRESENTATIONS THROUGH THE DIRECTNESS OF VISUAL DISPLAY” (ARNOLD, 2001)
REFERENCES: BOOKS: ARNOLD, R., 2001, Fashion, Desire and Anxiety: Image in the 20th Century, London, I.R.Tauris. EASY, M., Ed., 2009, Fashion Marketing, 3rd.Ed, Oxford: Blackwell Publishing HILL, D. 2007, ‘As Seen in Vogue: A century Of American Fashion In Advertising, Texas Tech University Press WEBSITES: ADAMS, W. 2011, “Franca Sozzani: Fashion’s Rebel With A Cause” (online), Milan, Available at: time.com/time/world/article/0,8599,2093368,00.html (Accessed 21st January 2013) GIBLEY, R. 2011, “Larry Clark: Teenage Rampage” (online) London, Available at: guardian. co.uk/culture/2011/feb/13/larry-clark-photography-teenage-rampage (Accessed 20th January 2013) LANERI, R. 2010, “BP Oil Spill provides inspiration for Italian Vogue Shoot” (online) Available at: forbes.com/sites/raquellaneri/2010/08/06/ bp-oil-spill-provides-inspiration-for-italianvogue-shoot/ (Accessed 21st January 2013) SWENEY, M. 2012, “American Apparel Ads: sexually suggestive and gratuitous. ASA Rules” (online) London, Available at: guardian.co.uk/media/2012/dec/05/ american-apparel-ads-ofcom (Accessed 21st January 2013)
ILLUSTRATIONS: Fig.1 – Miss Dior Bag Fall Winter 2012 Ad Campaign, Featuring Mila Kunis Fig.2 – Kate Moss and Lea T, Love Magazine: Androgyny issue Feb 2011 (http://fashion.telegraph.co.uk/) Fig.3/4 - Make Love Not War series (Sep 2007) Kristen McMenamy, “Water and Oil” Vogue Italia, 2011, photographer: Stephen Meisel (styleite. com) Fig.5 - Snapshot from film ‘Trainspotting’ (1996) (cinemasights.wordpress.com) Fig.6 - Kate Moss ‘Under Exposure’ British Vogue (1993) photo: Corrine Day Fig.7 - Adria, “Tons of Fun”, Vice Magazine photographer: Terry Richardson Fig.8 - American Apparel Ad Campaign, 2011 (gsws002.wordpress.com) Fig.9 - Snapshot from film “Kids” (1995) Directed by Larry Clark
BIBLIOGRAPHY: cyber.law.harvard.edu/people/tfisher/Suk%20fashion%202-5.pdf customwritten.com/Writing/mass-media-american-pop-culture.html democracynature.org/vol5/fotopoulos_media.htm forbes.com/sites/raquellaneri/2010/08/06/bp-oil-spill-provides-inspiration-foritalian-vogue-shoot/ fashion.telegraph.co.uk guardian.co.uk/media/2012/dec/05/american-apparel-ads-ofcom guardian.co.uk/media/2012/dec/12/american-apparel-ad-banned-asa guardian.co.uk/culture/2011/feb/13/larry-clark-photography-teenage guardian.co.uk/society/2009/aug/15/scotland-trainspotting-generation-dying mindtools.com/pages/article/AIDA.htm pscmag.wordpress.com/2010/02/12/love-magazine-front-cover-controversy/ styleite.com/media/steven-meisel-water-oil-photos/#0 tip.sas.upenn.edu/curriculum/units/2009/02/09.02.04.pdf time.com/time/world/article/0,8599,2093368,00.html. venusbuzz.com/archives/24015/nsfw-controversial-fashion-ads/
BETH CARPENTER (2013)