FUR
market visual awareness: A brand / retail promotion and visual analysis report
Benedetta Barucco N0647294 Fashion Communication & Promotion
TABLE OF
1 CONTENTS 7 11 23 31 -i-
ADVERTS RETAIL CREATIVE CULTURAL BIG IDEA Visual analysis of two pieces of advertisement from two different market levels.
Visual analysis of two pieces of visual merchandising of two different brands.
Visual analysis of the broader creative context outside of fashion: film, literature and music.
Visual analysis of the broader cultural context: historical, social and political.
Contextual analysis, idea and concept: re-appropriation of the product example into an alternative promotional context. - ii -
an
ICELANDIC fairytale ‘W
inter is coming’ according to Moncler’s 2015-16 Autumn/Winter advertising campaign. Drawing on Nordic sagas and traditional Russian and Slavic folklore, Moncler presents a gorgeous and dark fairy tale shot across the stark moors, ink-black sands and monumental rocks of Iceland. While shot in alien and dreamlike landscapes, the images look almost too familiar as they reference well-known stories that range from Andersen’s Snow Queen to HBO’s Game of Thrones, with Moncler’s Ice Queen looking quite reminiscent of Tilda Swinton in The Chronicles of Narnia. The style and feel of the images recall those of recent fantasy and science-fiction movies, and it comes as no surprise that the same snowy landscapes have been used in movies such as Interstellar, Prometheus and the latest Star Wars instalment as a standin for faraway worlds.
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Fig 1. Moncler: An Icelandic Fairytale (2015). Lucky and Pyper explore the land.
Market Visual Awareness • FASH10105 [ 2 ]
Fig 2. Moncler: An Icelandic Fairytale (2015). Lucky encounters the Ice Queen.
Photographed by Annie Leibovitz, the campaign was gradually released through social media following a carefully-curated narrative structure, so that each image encapsulated a piece of the tale: this enabled Moncler to engage with the consumers on an emotional level and keep the public’s interest in the campaign fuelled. The centrepiece is Moncler’s iconic down jacket, however the main focus of the images is centred around the characters and the story rather than the clothes, allowing the audience to connect with the campaign at a personal level. The release of a “making-of ” video contributed to give life and relevance to the campaign by involving the consumers directly. The timeless and almost allegorical landscape is the perfect stage for Moncler’s heritage as a coldweather performance wear brand, and reflects the brand’s philosophy of synergy with nature while still looking chic.
[Nature] is not the stage upon which the events are played out, nor is it designed to act as a mere backdrop for the action. The landscape […] actually plays a leading role. The campaign expresses the mutual, heartfelt relationship with nature which has always embodied the Moncler approach. Moncler brand statement (Jones, 2016)
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LANDICFAIRYT ICFAIRYTALEIC IRYTALEICELA ICELANDICFAI ALEICELANDIC DICFAIRYTALE ELANDICFAIRY AIRYTALEICEL Fig 3. The Ice Queen captures Lucky.
Fig 4. The twins escape from the Ice Queen with the help of a wolf.
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SURV
FI
Fig 5. Ted Baker: Survival of the fittest (2012).
I
n stark contrast to Moncler’s campaign, Ted Baker’s Autumn/Winter 2012 lookbook features more toned-down, autumnal shades of “burnished berries and earthy hues” which make up a heart-warming palette that embraces “rustic beauty and rural charm” (Autumn/Winter 2012 Lookbook - Ted
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Baker, n.d.). Considered a “celebration of Great Britan’s Great Outdoors”, it remains firmly settled in a mild English countryside, as opposed to Moncler’s snow-white arctic setting. Also borrowing fairy tale elements, the campaign is set in a kind of enchanted woodland, glowing with an all-enveloping
VIVAL OF THE
ITTEST
golden light. In these two images, the play on the fairy tale motif of the little girl lost in the woods is underpinned by the outfit choices, which are evocative of Little Red Riding Hood (fig. 5) and Snow White (fig. 6). Unlike Moncler’s campaign, here the images rely heavily on the articles of clothing themselves, which are indeed the main focus. The overall campaign, which includes both men and women collections, has got a retro, dapper and charming quality which reflects the brand’s signature British heritage and eccentricity: with traditional fabrics and classic silhouettes sitting alongside modern pieces, the collection claims to be “perfect for any occasion; all cut out for the survival of the fittest” and it features an array of functional pieces and the exquisite work of details which are second nature to Ted Baker. Fig 6. Ted Baker: Survival of the fittest (2012).
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Fig 7. Prada window display at Barneys Madison Avenue, New York (2014).
PRADA
MADISON AVENUE O
n the occasion of the reconciliation between New York luxury chain Barneys and Italian fashion house Prada in Summer 2014, creative director Dennis Freedman and his team set up this haunting installation at the retailer’s Madison Avenue flagship. The final display includes Prada’s women and men autumn collections, and is the result of a long creative process which entailed a lot of research into the inspirations behind Miuccia Prada’s shows. The imagery and concept of these windows are grounded in 20th-century German avant-garde art, namely in the works of Rainer Werner Fassbinder and Tadeusz Kantor, whose films and set designs had been a source of inspiration for Prada’s Autumn/Winter 2014 collections.
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Here the fur-trimmed coat recalls the 1950s ideal of glamour; however, the moody colours, together with the dark and cold background, contribute to the unnerving feel of the scene. The raw props – such as bare wooden planks and a ‘curved plywood stairway extending into infinity’ (Foley, 2015) – the abstract backdrop and the obscure references suggest an intellectual reach which narrows down a rather specific target audience. Their intent was to provoke, to engage the audience on an emotional and psychological level, and to explore nonstandard notions of beauty.
Miuccia is an intellectual designer interested in exploring the complexities of life. She constantly poses the questions: what’s beautiful? what’s ugly?—and she isn’t afraid to talk about the dark spaces.
Fig 8. Close-up of fur-clad woman on infinite stairs.
Dennis Freedman, Barneys Creative Director (Davison, 2014)
The use of non-traditional, hyper-realistic mannequins, made in resin cast from ordinary people through a long and painstaking process, reinforces the element of theatre, which goes beyond the simple pieces of clothing, and further positions the display on a high-market level.
Fig 9. Close-up of mannequin’s face.
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Fig 10. Fendi window display at Saks Fifth Avenue, New York (2015).
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Fig 11. Colourful post-it notes as backdrop.
W
Fig 12. Grid of handbags.
FENDI
hile also a luxury Italian house and also presenting its Autumn collection to the public, Fendi proposes a very different take on their fur display. Their windows feature a number of striking mannequins set against various backdrops, including colourful post-it notes, giant Fendi’s alphabet fur balls and a grid of handbags. Compared to Prada’s, this display is more accessible to a simpler palate, presenting a playful and lighthearted approach and colours which would perhaps be more appropriate for spring. The style of the set is immediately ascribable to Fendi, known for its beautiful and colourful displays which work as an attraction point for their stores and are arguably an important part of the brand’s marketing strategy. Their collaborations with creatives
to produce one-ofa-kind installations and their window display concepts are often shared on social media, which creates anticipation and attracts foot traffic to their locations. In light of the controversy surrounding Karl Lagerfeld’s opinions on the legitimacy of the use of real fur in fashion, the display appears almost uncannily provocative: ‘For me, Fur is Fendi and Fendi is Fur, Fun Furs! Fendi is my Italian version of creativity. The Fendi Haute Fourrure fashion show is the opportunity to stage the Royal Furs of Furs,’ stated Lagerfeld when announcing the brand’s first couture show (Sharkey, 2015). This display captures Fendi’s playful and almost childish tone while still maintaining its signature of ‘undaunted luxury and urban freshness’ (Patino, 2014).
FIFTH AVENUE
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Fig 13. Justin Turrentine, Cruella’s Coat (2012).
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WOMAN THE FUR-CLAD
I
nfamous villain of a crime, who would wear book and multiple capacity for terror CRUELLA DE VIL: her films, Cruella de and violence on her Vil can perhaps ‘POISED FASHIONISTA’ sleeve.’ This is reflected be considered the in her excessiveness, epitome of the fur-wearing woman. Her both in her looks and in her manners, flamboyant signature look – a heavily- which contrasts with Anita’s “normal”, flounced mink coat and black-and- and therefore desirable, model of white partitioned hair – recalls that of femininity. Disney’s Cruella is ungainly glamorous Hollywood stars, but in an and witch-like, almost farcical; whereas exacerbated manner: seen through in the original book, Smith’s portrayal the eyes of the puppies, her passion is that of a sleek, beautiful femme for furs is interpreted as outrageous fatale, a ‘poised fashionista’ (Tarrant and unnatural. Cruella’s character and Jolles, 2012), a concept renewed embodies the stereotype perpetrated in the 1996 live-action adaptation, by anti-fur campaigns, as described in which Cruella is the powerful and by Julia V. Emberley in The Cultural ruthless CEO of fashion house De Politics of Fur (1997): ‘[The fur-clad Vil: here, fur symbolises not only her woman] comes to figure as a cold and wickedness but also her prestige and cruel monstrosity, an accessory to the success.
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Fig 14. Original book illustration of Cruella de Vil (1956).
Fig 15. Glenn Close as Cruella de Vil in 101 Dalmatians (1996 film).
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The fur-clad woman comes to figure as a cold and cruel monstrosity, an accessory to the crime, who would wear her capacity for terror and violence on her sleeve. Julia V. Emberley, The Cultural Politics of Fur (1997)
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THE FUR-CLAD femme fatale:
VENUS IN FUR Nothing can intensify my passion more than tyranny, cruelty, and especially the faithlessness of a beautiful woman. And I cannot imagine this woman, this strange ideal derived from an aesthetics of ugliness, this soul of Nero in the body of a Phryne, except in furs. Leopold von Sacher-Masoch, Venus in Furs (1870)
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C
ruella’s feral nature is redefined in the fetishism of the fur-clad mistress. Fur’s sexual connotations are rooted in Freudian discourse, where it is associated with a ‘fixation on the sight of the female member’ (Bolton, 2004). A material, therefore, charged with sensual and seductive magnetism, considered the ‘ultimate “fabric of desire”’ (Harper, 2008) and fundamentally related to female sexuality, as portrayed in paintings like Rubens’s Hélène Fourment in a Fur Coat (1638) and Titian’s Venus with a Mirror (page 16). The latter was the inspiration behind Leopold von Sacher-Masoch’s Venus in Furs (1870), the novella which gave birth to the stereotype of the fur-wearing dominatrix (Bolton, 2004). In it, fur has a very strong association with the femme fatale, described as a cruel, cold-hearted despot who plays with men’s hearts to suit her own whims.
All the women whom the great book of history has placed under the sign of beauty, lust and violence: Libussa, Lucretia Borgia, Agnes of Hungary, Queen Margot, Isabeau, the Sultana Roxelana and the Russian Tsarinas of the last century, all wore fur garments and ermine robes. Leopold von Sacher-Masoch, Venus in Furs (1870)
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Fig 17. Movie poster of Venus in Furs (1969).
Fig 16. Book cover of Venus in Furs (1870) by Leopold von Sacher-Masoch.
This is analogous to Elizabeth Taylor’s role in Daniel Mann’s 1960 drama BUtterfield 8, where she plays Gloria Wandrous, a Manhattan call-girl with a reputation of “man-eater”, whose fur coat comes to symbolise her moral degeneracy and sexual transgression (Bolton, 2004). While in both instances it is the woman who seemingly holds the power in the relationship, it appears clear that their purpose is to satisfy the male sexual fantasy, where fur becomes the defining attribute of the woman as a sexual toy, much like a doll.
Fig 18. Gloria seduces her lover in a fur coat (BUtterfield 8, 1960).
Fig 19. Gloria wears the fur coat she stole from her lover’s wife (BUtterfield 8, 1960).
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‘Pimp’ is kind of like the complete definition of a person who basically has it all together and knows how to dress. They’ve got style. They know the talk, they know the walk. Derek Jaeger, vice-president of marketing for PimpIt.com
D
rawing on fur’s history as emblem of wealth and power, the music industry has claimed the “ghetto-glamorous” coat as identifier of hip-hop culture, picking on the archetype of the pimp, whose nature of sexual entrepreneur requires him to keep his image flawlessly polished for the success of his business (Lager, 2006).
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Sean “P. Diddy” Combs’s flashy persona is a perfect example of this phenomenon, as portrayed by Annie Leibovitz in this shot for American Vogue (fig 20): his white fox fur, together with his white Mercedes and white girlfriend (Kate Moss), flaunts economic and sexual supremacy and reaffirms his dominance as male (Bolton, 2004).
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Fig 20. Sean “P. Diddy” Combs wearing a fur coat (ca. 1999).
Fig 21. Wiz Khalifa poses shirtless wearing a leopard fur coat for his album cover.
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Fig 22. Still from the music video of Macklemore’s hit “Thrift Shop” (2012).
Interestingly, counterculture rapper Macklemore featured a vintage fur coat in the video of his hit single “Thrift Shop” (fig. 22) in order to make a statement against other rappers’ blatant display of their overpriced possessions in an increasingly consumerist-led industry (What Went Wrong With...?, 2013).
This song is kind of standing for, like, “let’s save some money, let’s keep some money away, let’s spend as little as possible and look as fresh as possible at the same time.” Macklemore on “Thrift Shop” (2013).
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Fig 23. Cover of The Saturday Evening Post featuring young college men wearing raccoon coats (1929).
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T
he 1920s witnessed a sudden popularity of the raccoon coat. These full-length, wide-collared garments were brought under the spotlight by Ivy League undergrads who started sporting them at college football games and other casual events. Flamboyant, distinctive and extravagant, this statement piece embodied the youth spirit of the Roaring Twenties, a sign of liberation from previous generations and the debris of World War I. It also revealed a fascination among some collegiates with Davy Crockett and his stories (fig 25). An innovation which also explains the raccoon coat’s rise as a wardrobe staple was the development of motorcars (Bolton, 2004), which at the time were mostly open and therefore introduced the necessity to protect oneself from the cold, especially in winter. While the raccoon was a generally inexpensive pelt, this long, bulky coat came to signify wealth and status as the privileged few who could afford a car also wore raccoon coats (Fashion Encyclopedia, n.d.).
Fig 24. Group of men wearing raccoon coats (ca. 1928).
Fig 25. Fess Parker as Davy Crockett in Disney’s Davy Crockett miniseries (1954-1955).
The first wave of this short-lived fad ended when the Great Depression hit, and was soon replaced by the lighterweight camel coat. Nevertheless, the raccoon coat remains symbol of a time of unprecedented prosperity and indulgence, an “era of football couture” (MessyNessyChic, 2014) and of Jazz Age craze.
Fig 26. Couple in raccoon coats (1932).
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HOLLYWOOD GLAMOUR A
fter a plummet of sales during the economic scarcity of the war, fur regained its status as epitome of elegance and class in post-war Britain. Owning a fur coat became once again a symbol of wealth, the height of luxury and, thanks to Golden Age Hollywood stars the likes of Marilyn Monroe, Joan Crawford and Greta Garbo, an almost defining quality of femininity (Dyhouse, 2011). The fur scene of the 1950s was dominated by the mink, an expensive fur
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which acquired an iconic status of prestige and exclusivity, so much so that those who could not afford it would console themselves with a stole, a pair of earrings or even a “mink perfume”. The mink coat, alongside other traditional representations of glamour such as coifed hair, impeccable makeup and luxurious jewellery, came to define ‘one of the lasting and most resonate stereotypes of the furclad female, namely the bourgeois woman’ (Bolton, 2004).
Fig 27. Marilyn Monroe wearing a white fur coat (1955).
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Fig 28. Lana Turner draped in fur from head to toe (1945).
Fig 29. Raquel Welch in Blackglama’s “What becomes a Legend most?” campaign (1975).
Fig 30. Claudette Colbert accepting an Oscar award from Shirley Temple (1935).
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R E H T A R I’D D E K A GO N R A E W THAN
FUR
From PETA’s “Rather Go Naked” campaign (1991)
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Fig 31. Indyact: Fox, Stop the Carnage campaign (2009).
Fig 32. Karina Smirnoff for PETA’s “Rather Go Naked” campaign (2009).
T
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he anti-fur movement gained momentum during the 1980s, when uncompromisingly militant organisations such as PETA and Lynx began enlisting top models, musicians and photographers in their campaigns. Through shocking and controversial ads, which often featured nudity, gory images and aggressive language, these activist groups aimed to change public attitudes towards fur and to ‘demystify fur’s significations of wealth, power, prestige and luxury’ (Bolton, 2004). Their campaigns targeted and attacked the consumers directly, with use of derogatory and demeaning curses such as “bitch” (fig. 33) and implying either lack of morality or of intelligence (fig. 35). By turning the fur coat into a symbol of shame rather than status and by dismantling its aspirational value, the anti-fur movement contributed to cause a dramatic drop in fur sales in the following decades, with its success
Fig 33. Lynx campaign conceived by Stella McCartney and shot by David Bailey (ca. 1984).
Fig 34. Amy Sedaris as Jerri Blank parodies Blackglama’s famous “What becomes a Legend most?” campaign (2005).
peaking in 2003 with the ban of fur farming in Britain. Prominent designers introduced synthetic fur in their collections as an ethical and aesthetic alternative, and others, like Lagerfeld, used flashy neon-bright fake furs which were as far removed from nature as
possible (Bolton, 2004). Since the late 1990s, however, a resurgence in fur’s popularity has been brought about by affluent high-flyers from Russia and China, meaning that fur remains an integral part of fashion in the international landscape (EarthTalk, 2009).
Fig 35. Respect For Animals (originally Lynx) anti-fur poster photographed by David Bailey (1986).
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Fig 36. The purrfect gift Campaign. Poster, own work (2016).
THE PURRFECT GIFT XO
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“FURRY” SEXY
Fig 37. Fur and lingerie. Moodboard, own work (2016).
M
y big idea draws on fur’s traditional associations with seduction, desire and sensual playfulness. It needed a product extremely feminine, with a sexual charge and appealing to the senses. After researching the topic, Victoria’s Secret was the brand that most stood out to me as it offers both products which best fit with my concept: lingerie and perfumes. As a brand which promotes feeling ‘sexy, sophisticated and forever young’ (Turney, 2015), Victoria’s Secret’s promotional mix could definitely take advantage of fur’s connotations of sensuality and luxury to promote and display their products. Because fur’s value greatly
lies in its tactility, a physical retail experience would be the optimal way of integrating it in a promotional strategy. I found the idea of a pop-up store appropriate: because of their temporary nature, these retail spaces can give brands invaluable opportunities to test out a new market and experiment with new promotional techniques, all the while attracting people’s attention and building up excitement, as they create an atmosphere of exclusiveness and limited-edition craze. The buzz of romantic gift-hunting leading up to Valentine’s Day would be a perfect time to launch a new special range and set up a temporary store to attract customers.
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Fig 38. Victoria’s Secret Pop-up Store. Moodboard, own work (2016).
I have developed a brand’s campaign mock-up whose slogans would be along the lines of “The purrfect gift” or “A furry special surprise” (fig. 36), which plays on the idea of flirtatious “sex kittens” that the Victoria’s Secret Angels embody (fig. 37). The call to action would be to come find the perfect gift for your special Valentine; which is why, alongside the brand’s regular offer of lingerie and perfumes, there would be a selection of chocolate boxes (with fur-lined packaging: to please both taste and touch) and the signature Victoria’s Secret plush dog in a variety of colours and patterns. All the purchases are to be packed in a special-edition bag whose straps are made of little chains covered in
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fur, as inspired by the classic sex toy (fig. 39). The store’s appearance should fit with Victoria’s Secret colour scheme of bright pink and berry, as well as feature the fur motif all throughout (fig. 38): red fur carpets are an obvious choice which ties in with both the romance of Valentine’s Day and the sensual passion that the products promote, as well as hinting to the luxury and glamour of the Hollywood red carpet; fur panels fixed on the wall can be the backdrop of the new range display, as the customers associate the softness of the fur with the softness of the products’ materials; for the same reason, display countertops may also have fur stoles as a cover.
Fig 39. Victoria’s Secret Valentine’s Gifts. Moodboard, own work (2016).
As a way of further promoting traffic and engaging the consumers, a photo-booth room would be set up at the back, near the changing rooms: people will then have the possibility to try on the products and take a picture of themselves as a Valentine’s card, with the aid of various props which can be found in the room (fig. 40), including a red fur-wall backdrop as featured on the campaign poster (fig. 36). The photographs can then be printed or sent to their email addresses from a screen. This way, the space will effectively have been turned into an interactive showroom, where the customers can validate their purchases by being given the chance to feel sexy and playful, which is exactly what the brand promises. Fig 40. Victoria’s Secret Photobooth. Moodboard, own work (2016).
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LIST OF
ILLUSTRATIONS Front cover. Frida Gustvsson for Glamour France Magazine (2014). Photograph: Stefan Heinrichs.
Page 20. Kanye West in a fur coat. Photograph, Paris Fashion Week 2014.
1. Moncler: An Icelandic Fairytale (2015). Photograph: Annie Leibovitz.
20. Sean “P. Diddy” Combs in a fur coat, photograph, 1999. Photograph: Annie Leibovitz/Contact Press Images.
2. Moncler: An Icelandic Fairytale (2015). Photograph: Annie Leibovitz.
21. Album cover of Wiz Khalifa’s O.N.I.F.C. (2012), Rostrum, Atlantic.
3. Moncler: An Icelandic Fairytale (2015). Photograph: Annie Leibovitz.
22. Macklemore, “Thrift Shop” (2012), still from the music video.
4. Moncler: An Icelandic Fairytale (2015). Photograph: Annie Leibovitz.
23. The Saturday Evening Post (1929), front cover. 24. Group of men wearing raccoon coats (ca. 1928).
5. Ted Baker: Survival of the fittest Lookbook campaign (2012).
25. Fess Parker in Disney’s Davy Crockett miniseries (1954-1955).
6. Ted Baker: Survival of the fittest Lookbook campaign (2012).
26. Couple in raccoon coats (1932). Photograph: James Van Der Zee.
7. Prada display on Barneys Fifth Avenue, New York (2014).
27. Marilyn Monroe in a fur coat (1955). Photograph: Milton Greene.
8. Prada display on Barneys Fifth Avenue, New York (2014). Photograph: Tom Sibley.
28. Lana Turner wrapped in fur (1945). Photograph: Eric Carpenter.
9. Detail of Prada display on Barneys Fifth Avenue, New York (2014). Photograph: Tom Sibley. 10. Fendi window display on Saks Fifth Avenue, New York (2015). 11. Fendi window display on Saks Fifth Avenue, New York (2015). 12. Fendi window display on Saks Fifth Avenue, New York (2015). 13. Cruella’s Coat (2012). Illustration by Justine Turrentine.
29. Blackglama: “What becomes a Legend most?” campaign (1975). 30. Claudette Colbert wins Best Actress award for It Happened One Night, Academy Award cerimony, Miami (1935). 31. Indyact: Fox, “Stop the Carnage” campaign (2009). 32. PETA: “Rather Go Naked” campaign (2009).
14. Johnstone, Janet and Anne Grahame (1956). Illustration of Cruella de Vil.
33. Lynx: “One Fur Hat, Two Spoilt Bitches” campaign (ca. 1984). Photograph: David Bailey.
15. Glenn Close as Cruella de Vil in 101 Dalmatians (1996).
34. PETA: “What becomes a Loser most?” parody campaign (2005). Photograph: Todd Oldham.
Page 16. Titian (1555), Venus with a Mirror. Oil on canvas, 124×104cm, National Gallery of Art, Washington, D.C. 16. Venus in Furs by Leopold von Sacher-Masoch, book cover (1965 English edition). 17. Venus in Furs (1969), movie poster.
35. Respect For Animals (originally Lynx) anti-fur campaign (1986). Photograph: David Bailey. 36. The Purrfect Gift campaign. Poster, own work (2016). Original image: http://i.imgur.com/IYJ1AzX.jpg
18. Elizabeth Taylor in BUtterfield 8 (1960), still from the movie. In: Bolton, A. Wild: Fashion Untamed, p.76. New York: Metropolitan Museum of Art.
37. Fur and Lingerie. Moodboard, own work (2016).
19. Elizabeth Taylor in BUtterfield 8 (1960), still from the movie.
39. Victoria’s Secret Valentine’s Gifts. Moodboard, own work (2016).
38. Victoria’s Secret Pop-up Store. Moodboard, own work (2016).
40. Victoria’s Secret Photobooth. Moodboard, own work (2016).
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Benedetta Barucco, N0647294 FASH10105 Visual Awareness Fashion Communication & Promotion