The Dichotomy of Luxury by Justin Bost

The Dichotomy of Luxury: Louis Vuitton + Gucci Justin Bost

To the dreamchasers and risktakers. . . I dedicate this to you.

â&#x20AC;&#x153;In order t be irrepla one must DIFFE

Established brands must change in order to grow, but with change comes risk; the risk of losing tradition to gain the avant- garde. Balance is key. Louis Vuitton and Gucci, the most powerful fashion houses in the world have altered their brands through graphic design, playing with color, pattern, and photography to expand

and gain new customers. While Louis Vuitton creates a visually expressive brand, Gucci takes a more moderate and sophisticated approach. Both have successfully broadened the brands while retaining their core roots.

to aceable, always be RENTâ&#x20AC;?

â&#x20AC;&#x201D;Coco Chanel

CONTENTS

Branding

Visual Style

13 51

Logo & Type

Pattern & Symbols

23 65

Color & Photo

33 77 79

Conclusion

Interviews

BRANDING

Branding is defined as the attributes of a product that make a lasting impression in a customer’s mind. “ It is a way in which companies can connect emotionally to customers” (Wheeler 2).

“The most visible aspect of a luxury brand is its name.”

It is through the connection of branding that companies hope to create life-long relationships with those who buy their products. What,then, makes Louis Vuitton and Gucci so successful, and what role does branding play in their success? Key elements of branding include, but are not limited to, the name, logo, typeface, color and visual style. The name of the brand is critical, as it is the thing by which a brand is most remembered.

Louis Vuitton, a hard working artisan from Paris, began his leather company in the mid-nineteenth century. Best known for his luggage, he supplied kings and queens, high society, matrons, and business titans with luxurious travel pieces. “It was the luggage of the rich and famous” (Thomas 18). Gucci was started in Florence, Italy by Guccio Gucci. The company first began with the production of leather

goods. Known for his impeccable craftsmanship, a skill he perfected working in London’s Savory Hotel, Gucci crafted timeless leather goods that were sported by the elite and celebrities.

Louis Vuitton incorporates color, pattern, a ‘the name’ to package. While the design app demographic. Both brands use every opportu excessively ornate in their presentation. The us colors gives a wow factor.

Gucci keeps branding simple compared to Lo brand Gucci also uses grayscale in many of th Quality is the biggest concern with Gucci. forgotten.” -Aldo Gucci

and logo while Gucci uses typography and proach differs; both go after the upper class unity to showcase themselves. Louis Vuitton is se of the repeated patterns alongside saturated

ouis Vuitton which adds to the elegance of the heir ads which denotes a sense of timelessness. â&#x20AC;&#x153;Quality is remembered long after price is

LOGO &TYPE

The logo marks the beginning of a visual system that evokes the brand, while typography is â&#x20AC;&#x153;the clothing that dresses words, giving them character, emphasis, and a subtle, but distinct personalityâ&#x20AC;? (Healey 96).

Traditionally, brand names are those of company’s founders. Created in 1896, Louis Vuitton was no exception as its logo, LV, was derived from its founder, Louis Vuitton.“The ideal logo is simple, elegant, economical, flexible, practical, and unforgettable” said Paul Rand, an influential figure in the design community (Healy 90). The Vuitton logo consists of two custom drawn serif letter forms, LV. The L is positioned below the V, while the words “Louis Vuitton” appear in all caps Futura font positioned below the mark. Choosing a serif typeface to represent the brand shows a level of power and authority. Simple and unforgettable, the LV logo stands the test of time, as it has not been altered since its original creation.

Gucci’s logo originally began as a logotype of the word “Gucci”. “Logotypes use typography or lettering to depict the name of a brand in a memorable way” (Lupton 53). Here the logotype is clean and simple, set in all caps dressed in a custom serif typeface. In the late 1960s, the company developed its famous GG monogram,paying homage to its Italian founder Guccio Gucci. The GG monogram is set in a custom designed bold sans serif typeface with the two all-cap “G’s” refle-cting one another. This monogram was later printed as a pattern on many products, including handbags, jewelry and of course accessories.

Louis Vuitton uses the logo in a sculptural pa store in Guam. Vuitton’s love for architecture This solution is typical of Louis Vuitton as it sh

Gucci uses typography to promote to their tar ad. Gold, is a cohesive element within Gucci’s b on the belt buckle while a “G” character in back pocket. This scripted character shows bra casual luxury.

attern in 2006 on the fence of the Tumon Bay e is translated through this sculptural design. howcases the brand in the most excessive way.

rget audience of the young and wealthy in this brand identity. The primary logo is positioned n scripted typography is embroidered on the and personality and denotes youthfulness and

COLOR &PHOTO

Color is an important attribute, as it is used to evoke emotion and express a brandâ&#x20AC;&#x2122;s personality.

Louis Vuittonâ&#x20AC;&#x2122;s traditional colors are brown and beige. According to a consumer response survey on color supplied by Color Graphics: The Power of Color in Graphic Design, both brown and beige represent dependability, friendliness, and simplicity, all attributes of the Vuitton brand.

“Traditionally the primary brand color is assigned to the symbol, and the secondary to the logotype”

-Alina Wheeler While staying true to the traditional values and styles that make Louis Vuitton the brand we know today, artists such as Stephen Sprouse bring creative yet unconventional ideas to the table. On the left, two youthful models are posed in an elevator with an abundance of Louis Vuitton luggage piled away next to them. The dichotomy between old and new is apparent in both the pattern and luggage itself. The luggage contains the signature monogram and framework of vintage Louis Vuitton. It is the usage of repetitive typography that makes the pattern innovative and fresh. The type is treated in an expressive manner and is tiled, making its own pattern layered on top of the original pattern. From greens to yellows and pink, the colors denote a sense of youthfulness and playfulness. Both Sprouse and Marc Jacobs believe that for a corporation to grow, it has to be alive and have a human touch. Sprouse stays true to Vuitton’s trademark while creating this new pattern of typography that explores expressive forms of script as a solution to make what is iconic have an innovative point of view— one that adds to the notion of the human touch in a product.

In the 2007 Sprouse ad, Louis Vuitton is written in letter forms that mimic the style of graffiti, an urban style of script that’s traditionally scribbled, scratched, or sprayed on a wall or surface in a public space. While Sprouse was never a graffiti artist, he was surrounded by it when living in New York and knew that “Graffiti represented the triumph of the human hand in an age of mega-corporation and mass production” (Louis Vuitton 354). Implementing this medium as a pattern on Louis Vuitton products represents the correlation between tradition and innovation. Sprouse does not eliminate the traditional monogram, but incorporates it into the redesign, mixing expressive typography with the traditional serif monogrammatic logo. This proved Vuitton’s ability to be experimental in design as well as adaptive to change— staying alive and growing.

“The body is both an object and subject of desire; exhibited in every imaginable way.” Louis Vuitton not only uses photography in its traditional sense to advertise products, but takes advantage of the medium as a means to make social and/or cultural statements. In 1999, David LaChapelle, a provocative contemporary photographer who “focuses on the visual codes and metaphors that modern culture has constructed around the human body, only to disparage them with his brand derisive, neo-pop irony” (Louis Vuitton 236), developed a photograph for Vuitton that is filled with ironic play. Born in Connecticut in 1963, LaChappelle’s work is immersed in American pop culture and draws from fantasies and stereotypes. Intrigued by the media and popular culture, LaChapelle fuses a bond between fashion and fine art, photographing Lil’ Kim, a rising African American female rapper from Brooklyn, New York. The photograph entitled, “Lil’ Kim: A Luxury

Item”, portrays Lil’ Kim nude and embellished with the Louis Vuitton monogram from head to toe with background colors reminiscent of Vuitton’s traditional color palette. In American pop culture Lil’ Kim is viewed as a hustler who used drugs, money and sex to climb the ladder of fame. Born in 1975, she moved out of her family home in Brooklyn at the age of fifteen and got involved in drugs to a make a living before meeting her lover and mentor Biggie Smalls (aka Notorious B.I.G. ) With a daunting stare straight into the eyes of the viewer, she poses in a feminine yet sexual manner, elongating her curves to be perceived as an object of lust. The irony is clear in “Lil’ Kim: A Luxury Item,” as Kim is compared to the Vuitton brand as being a desired luxury. LaChappelle strips Kim down to bare nudity, as her body is a direct comparison to the desired

Louis Vuitton brand (hence the embellished Louis Vuitton monogram on her body). For LaChappelle, “the body is both an object and subject of desire; exhibited in every imaginable way; as a highly idealized exterior surface, posed amid food arranged to suggest decor rather than nutrition” (Louis Vuitton 236). Through photography, LaChappelle was able to make a statement about pop culture and sexuality. In this case, Lil Kim can be viewed as an object of desire, a luxury piece under the branding of Louis Vuitton. This reiterates the fundamental viewpoint for Vuitton that experimentation and the human touch are needed to expand a brand beyond its means.

Louis Vuitton uses photography to promote a than Gucci. This ad references the “pin-up” gir commercial. The shot was also captured in a li the boundaries with lavish beauty and accesso

Gucci uses photography to brand in a more su The lighting and environment are both natu contrast to Louis Vuitton’s bold and assertive

style of lavishness. Its style is more aggressive rl in a more avant-garde fashion that is highly ighting studio. It is a statement about pushing ories.

ubtle and natural manner in this photograph. ural and soft with an inviting aura; a clear approach.

Gucciâ&#x20AC;&#x2122;s primary color, gold, is a direct parallel to the essence of the brand. Gold, an attribute of yellow, is a warm color that can be bright and cheerful while also being somber and traditional. As a precious metal, gold is associated with wealth and prosperity. These key characterizations are straightforward parallels to the brand, as its associations with wealth and lavishness are apparent. Gucci uses color sparingly as an element within the brand itself. This jewelry advertisement, displays the GG monogram pattern engraved into golden

rings that consume the entire composition. The background is solid black, with lighting that focuses directly on the rings. This advertisement is a clear depiction of the luxury and wealth of Gucci while incorporating color and pattern to tie together the essence of the entire brand.

“Gucci uses photography to promote not only product, but also a lifestyle of lavishness and grandeur.”

In the 2006 Fall/Winter ad campaign, a mirrored image of a model is displayed. On the left, the model is wearing all black embellished in jewels and sequins, while on the right she wears purple. Each figure embraces the other by the shoulder. The lighting on the left is calm and subtle, while that on the right is more aggressive, implying movement. The logotype is positioned at the middle right side of the composition. The meaning behind this advertisement is critical, as it depicts a transition within the entire franchise. The mirrored reflection of the model represents Gucci, while the colors represent the transition from past to present or traditional to contemporary. The model embraces her other half because neither can be lost, as they need each other to survive.

Key elements of the past should not be left or forgotten in the transition to the future. Both colors, black and purple, have synonymous associations with, “elegance, regalness, wealth and prestige” (Triedman 55), all of which are aligned with the Gucci brand concept. The position of the logotype also reflects the idea of change as its position is on the right side of the composition.

V I S UA L STYLE

Visual style includes elements such as photography, illustration and other graphic motifs that are used with the purpose of enhancing the overall customer experience. Branding is all about perception, and through graphic design, perception is achieved.

Louis Vuitton’s visual style evokes luxury, but is highly aesthetic. It blends traditional elements such as its monogrammatic logo with contemporary design through typography and color to expand the company further and attract new audiences. Retail stores, an example of visual style, are a direct entryway for the consumer into the heart of a brand. Design plays a vital role in the concept of the retail store, as attention is given to the store layout as well as its aesthetics, including interior design. The effective combination of these factors could lead to higher purchase probability. Louis Vuitton’s flagship store in Paris, incorporates a unique interior and exterior design aesthetic in an attempt to attract the consumer and ignite buyer potential. The store has been referred to as “art on floors” (Okonwa 84). Where most retail stores use an elevator as a means of transporting customers from floor to floor, Louis Vuitton uses the elevator as a “statement of creative

imagination” (Okonwa 84). A blackened elevator is used, void of all light and sound. As visitors move from floor to floor, the aura of total darkness and stillness hovers. It was the designer’s concept that in darkness, consumers would be left with a feeling of emptiness that would ignite their imagination for the products to come. The exterior of the building is a prime example of visual style as two oversized Vuitton handbags accessorize the facade. One bag embodies the traditional Vuitton monogram pattern, while the other exemplifies a contemporary redesign by Takashi Murakami, a Japanese illustrative artist. Having both patterns displayed shows the dichotomy between traditional and contemporary without losing the connective thread of the Louis Vuitton brand. Creative director Marc Jacobs says, “Vuitton is a status symbol. It’s not about hiding the logo. It’s about being a bit of a show off” (Thomas 18).

Louis Vuitton mixes its traditional characte picture Vuitton uses a traditional shape of changing the material from leather to an emb new in a innovative way.

Gucciâ&#x20AC;&#x2122;s visual style is clean and simple, howeve materials to create new shapes and forms. Gu but shows versatility in extreme decadence.

erstics with contemporary additives. In this a tote bag adding contemporary flare. By bossed silver design that mixes the old with the

ver like Vuitton, Gucci experiments with exotic ucci aims not only to showcase timeless beauty

Gucciâ&#x20AC;&#x2122;s approach to visual style is straight forward luxury in comparison to Louis Vuitton.

To the right and below, depicts the exterior and interior of the Gucci retail store in New York during the 1980 s. With gold trimmings, gold cases and lighting, the ideas of lavishness and fortune are apparent. First impressions are key. The attention to detail is impeccable as the steps beam gold light into the space. The Gucci logo is clearly visible to the right and is encrusted in gold as well. Gucci, like Vuitton, has become a status symbol that does not shy away from embracing its identity and the essence of the brand through design.

PAT T E R N S &SYMBOLS

Pattern is an important component in the overall success of the Louis Vuitton brand. â&#x20AC;&#x153;If a brand is wellcrafted, then all its pieces should reinforce one another and the association between idea and identity is strongâ&#x20AC;? (Wheeler 70).

Color, pattern, typography, photography, illustration and other graphic motifs will enhance brand identity. Louis Vuitton represents a level of sophistication, luxury, and tradition that has been carried down throughout its history. Thus, how does one integrate tradition and innovation in contemporary times without conflicting with a visual style that has achieved global awareness and success? “Dots, stripes and grids provide the architecture behind an infinite range of designs” (Lupton 185). Takashi Murakami created a unique redesign of the original Vuitton trademark pattern. Originally, the logo was placed on a brown background and reproduced on leather and different textiles throughout various collections. Murakami’s design uses eclectic multi-color hues on white and black backgrounds. Illustration is an added component in the reinvented design. “Eye Love Monogram,” consists of circular illustrative figures compiled together forming an eyeball. This illustrative effect shows Murakami’s personal style, as he is a Japanese artist working in various media, including fine arts, digital media, and commercial media. Marc Jacobs calls Murakami’s re-invisioning of the trademark monogram a “monumental marriage of art and commerce” (Louis Vuitton 292).

Altering as well as adding elements such as color and illustration aim to reach Vuitton’s younger demographic range. Engagement is key. “Brands use distinctive imagery, language, and associations to encourage customers to identify with the brand”, says David Haigh, CEO of Brand Finance (Healey 2). Color plays an integral part in this as it is used to communicate to a key audience— the young, hip, and trendy. Saturated colors like green, yellow and red are used in the redesign. These colors are more friendly, fresh and expressive, combined with illustration, appeals to the younger demographic who wants a piece of the Vuitton brand. Scale and hierarchy are both present in the redesign of the Vuitton pattern as well. While the pattern is complex, containing symbols in variations of saturated colors, it is not dominant on the hierarchal scale. Instead, the logo is made prominent with a significant increase in scale. “At the heart of every brand is a set of characteristics that consumers can relate to” (Healey 82). While Murakami plays with altering the visual style of the pattern, the focus is never taken off of Louis Vuitton. The monogram is distinguished

because it is indeed the heart of the brand. It is a distinct representation that expresses luxury, lavishness and originality. Murakami was able to sustain the integral trademark of Louis Vuitton while adding elements such as color and illustration that successfully expanded the Vuitton brand without dismissing its traditional values and elements.

Louis Vuitton uses animal prints alongside th luxury. Animals print are associated with wea commodity in the fashion industry.

Gucci balances pattern well with the design of Detailed oriented, it has a bold and eccentric subdued while chic.

heir traditional pattern to reinforce the idea of alth and is highly regarded as a rare, but bold

f this dress. Here, the pattern is the wow factor. c quality while the cut and form of the dress is

“Soon,Gucci was kn status symbol tha The GG symbol, Gucci’s first monogram pattern, began around 1960 and was used as a squared-off fastening for bags. Either as single or double Gs, the symbol was originally used as hardware that was big, bold and recognizable from miles away. Soon after, the symbol evolved from its usage as hardware to “A diamond shaped pattern woven into the bestselling cotton canvas luggage” (Mowers 418). Initially intended for suitcases, sports bags, and shoulder bags, this pattern was known as the “GG Canvas” and was initially printed on an ecru background. The external GG hardware has been reconfigured, appearing and reappearing over time as a circle, inverted, back to back, and extracted. Paired with an iconic symbol, Gucci products are made out of luxurious exotic materials such as ostrich, crocodile, and python. The brand gained fame quickly, as Gucci was seen in pictures, photographed by the paparazzi who swarmed over movie stars, aristocrats, and celebrities. Soon, Gucci would be known globally as a status symbol that crosses cultures. The GG “has acquired an elasticity of popular meaning that stretches its possibilities to include high glamour and when the moment arises, a knowing sense of humor” (Mowers 418).

The phrase, “Necessity is the mother of invention,” was the theme behind the integration of bamboo, another of Gucci’s icons. Craftsmakers pondered ways to sustain and expand the brand during the war-time shortages of World War II. Bamboo became the material for experimentation as it was creative and above else easily accessible at the time via Japan. In 1947, Gucci developed the bamboo-handled bag. Bent over a Bunsen burner to give the wood a glossy smooth touch, a bamboo strip is attached with four metal hoops for security. Bamboo is accented on the clutch as well. This was both pragmatic and iconic. Bamboo was accessible during wartime and the use of bamboo was still “Meeting the Gucci standards of desirable exclusivity” (Mower 376). It was a stroke of genius for the craftsmen, as they didn’t realize the potential of the future iconic symbol. “Over decades, the bamboo went beyond its origins, becoming a device used on generations of new bag shapes, and gradually transforming itself into a Gucci visual code branded into multiplicities of products” (Mower 376).

nown globally as a at crosses cultures.” The brass horsebit, another of Gucci’s iconic icons, assisted considerably in enhancing brand awareness. Originally used as a piece of hardware, the brass horsebit was noted in the 1950 s as, “A strong punctuation point used on heavy tan leather saddle-stitched handbags” (Mowers 390). Since then, it has been reinterpreted into various sizes, shapes, and patterns. These reinterpretations ranged from patterns on silk to encrusted components on precious jewelry. Converting the horsebit into various designs and sizes expanded its popularity in the eyes of the public. Translated throughout a range of products, it was most crucial in securing the iconic status of the Gucci loafer, which graced the feet of Clark Gable, John Wayne and Fred Astaire. The metal horsebit, located at the tongue of the shoe, is a prominent identifier of Gucci, representing a bond of timeless design and reliable quality. Thus, through luxurious materials, iconic symbols were employed to instantly trigger brand awareness and showcase visual identity.

The web, another of Gucci’s icons, was “simple, strong and amazingly enduring idea that came out of the stable” (Mowers 494). Culture also influenced the branding process of Gucci. During the early 1950s, horseback riding was a common leisure activity of high society. Guccio Gucci thought that by incorporating elements of culture into his designs and products, he would relate to his clients’ sporting interests and ignite buyer potential. The web is based on a girth-strap, the strip of canvas used to secure a saddle to the back of a horse. Set as a house standard in the early fifties, the green-red-green color combination is a masterstroke of branding, as it triggers brand awareness and coincides with the overall brand concept of luxury and wealth. In the Jackie O prototype bag to the left, notice how the entire bag is black except the green-red-green webbing down the middle with a gold buckle. Its purpose is intentional, with a focus on the web and its splash of color. The color choices green and red reinforce Gucci’s essential qualities. Green represents nature, forest, tradition, and money, while red is provocative and associated with energy, dynamics, and power.

Design has had a significant impact on the expansion and popularity of both Louis Vuitton and Gucci. I do believe that established brands must change in order to grow, but with change comes risk; the risk of losing tradition to gain the avant-garde. Both companies, through innovation, have found ways to maintain current consumers and appeal to new consumers. Louis Vuitton used color and expressive typography, while Gucci branded luxury with unusual materials to be remembered for genera-

tions to come. Balance is the cohesive thread that links tradition to contemporary design. A part of advancing to the future is understanding the past. Branding is all about perception, and through design, perception is achieved. â&#x20AC;&#x153;Quality is remembered long after price is forgotten.â&#x20AC;? (Mowers 5). Long live LV. Live long GG.

I N T E RV I E W S 81

Interview: Orchid Liu Marketing Associate, NY Former Gucci Sales Supervisor

Orchid Liu is currently a marketing associate for FTI, a global consulting firm with offices in 26 countries and is based out of the Times Square office in New York City. As an associate, Orchid supports the senior corporate marketing team and reports directly to the Chief Marketing Officer, Liz Nickles. In addition to her support duties, Orchid is integral in the planning/ execution of FTI branding events and strategies. FTI signature events include the Hampton Classic, Winter Equestrian Festival and the British Open. FTI is also a corporate sponsor of PGA golfer Padraig Harrington and the New York Yankees. Previously, Orchid was Executive Assistant for FD (Public Affairs branch of FTI) in the Washington, DC office. As Executive Assistant, Orchid

had numerous administr-ative duties as well as assisted with corporate marketing events. Orchid supervised the execution of small and large-scaled events, including but not limited to, the Masters tournament in Augusta, Georgia; Inaugural celebration at Union Station and various thought leadership events. Prior to joining FD, Orchid was Sales Supervisor at Gucci, Tysonâ&#x20AC;&#x2122;s Corner. Gucci is a world-renowned luxury brand specializing in ready-to-wear and leather goods. Overseeing a team of sales associates, Orchid interfaced with a diverse clientele and assisted in maximizing sales for the Virginia location. Orchid is a native of Chicago and has a B.A. in International Economics from the George Washington University in Washington, D.C. I chose Orchid for an inter-

view because of her extensive expertise in Marketing/PR. Additionally, having worked as Sales Supervisor at Gucci, gives Orchid a unique first hand experience on branding as well as visual style for Gucci.

Q: The logo marks the beginning of a visual system that evokes the brand while typography is the clothing that dresses words, giving them character, emphasis and subtle but distinct personality. In your opinion, what personalities do each logo convey?

A: The choice of serif typography for the Louis Vuitton logo evokes a sense of tradition and hard-lined edges. The letters “L” and “V” are clearly visible and not arranged in a way that disguises the fact that they are initials. Gucci, on the other hand, chooses a more fluid design with interlocking “G”s. Because of the more artistic design to the logo, the viewer does not immediately sense that they are looking at initials, rather than a design.

Q: In Designing Brand Identity by Alina Wheeler, she states, “If a brand is well crafted, then all its pieces should reinforce one another and the association between idea and identity is strong.” Has Takashi Murakami successfully related idea to identity in the 2003 “Eye Love Monogram?” What, in your opinion, makes the redesign work or not work and why does color play an integral component?

A: Murakami does an excellent job in keeping the identity of Louis Vuitton while at the same time updating the traditional print by incorporating bright colors and inserting new designs in the classic LV pattern. The colors are more youthful and the design is whimsical. Additionally, the color is an integral component of the LV pattern as the traditional tan and brown is replaced by a multicolor design, which makes the viewer take a second look.

Q: In their 1999 ad featuring Lil Kim shot by David LaChapelle, LV literally “brands” Kim with their ubiquitous mark. Is it possible for a brand to co-opt a personality simply by putting their logo on top? If so, what implications do you feel this has for luxury brands within the fashion industry?

A: It is possible for a brand to co-opt a personality by putting their logo on top, especially when the logo is as recognizable as LV. LaChapelle, in this instance, makes no apologies for covering Lil’ Kim in LV logo nor does he try to camouflage the pattern. The major implication for luxury brands is that if their logo is used on a wide variety of products (outside of the ready-to-wear, leather goods and jewelry that they typically sell), it could cause over-saturation in the eyes of potential customers; and in a sense, cheapen the brand.

Q: Gucci strategized ways to expand the company by branding exotic materials that met the Gucci standards of exclusivity. Bamboo, one of GG’s iconic symbols, was stumbled upon during World War II. What is the importance of branding rare items?

A: Rare items are important to brand because the company wants to be associated with a rare items. Using a rare items in the production of a product evokes exclusivity and luxury, both of which are important when selling an aspirational brand as this.

Interview: Ryan McCullah Associate Creative Director, Aol. Dulles, VA

Ryan is an accomplished creative leader with over 13 years strategic and creative development experience in nearly every medium and in all stages of development. His passion for both strategy and design allow him to produce ideas that transcend the product and connect with consumers on a more emotional and compelling level. Ryanâ&#x20AC;&#x2122;s work has been seen in Print Regional De-sign Annuals, Several Logo and Packaging books and various magazines.

I chose Ryan for an interview because of his extensive knowledge in the field of design, particulary branding. At Aol., Ryan has taught me the value of clear communication; and how design can not only communicate but impact itâ&#x20AC;&#x2122;s viewer on an emotional level.

Q: The logo marks the beginning of a visual system that evokes the brand while typography is the clothing that dresses words, giving them character, emphasis as well as a subtle but distinct personality. In your opinion, what personalities do each logo convey and why?

A: Both logos convey a strong sense of confidence and mystery through their simplicity and uniqueness. Both brands understand the role of the logo is merely that of a visual diplomat, representing something much bigger than its product or its fashion, but rather its emotion, its feeling, its energy.

A: A brand is not a logo. A brand is not a product. A brand is not a list of bullet po-int product benefits. A brand among all else must be a feeling. We feel before with think. We see before we feel. Said another way, Design triggers feeling—feeling influences thought—thought forms conclusions—conclusions lead to action. The distance from sight to conclusion is lightning fast, like attraction to an individual. The distance from conclusion to action takes slightly longer with more interactions with the brand, until the attraction becomes irresistable. It all starts with design- it is the language of feeling.So to answer the question: YES well done on this exection.

A: Yes, by all means yes! This approach adds depth and dimension to the brand meaning. In this case however, I feel the brand is “stripped” of some its luxury luster. The pose and the photographic style does not align my emotional attachment to these brands. The style is very expected, reinforcing mythical and overly seductive body form in a way that seems to say the model has sold her soul to the brands. Of course it was 1999, different world then.

A: Brands impressions are formed not only by sight but by all our senses. In fact the more senses you engage, the more memorable the experience. The Gucci bamboo is a great example of this, combining both sight and touch. It’s no wonder this material has become a core component of their brand experience.

BI BL IOGR A PH Y

Healey, M. What is Branding? Switzerland: Roto Vision, 2008. Igarash, Taro. Louis Vuitton: Art, Fashion and Architecture New York: Rizzoli, 2009. Lupton, Ellen. Graphic Design the New Basics New York: Princeton, 2008 Lupton, Ellen. Thinking with Type New York: Princeton, 2004 Mower, Sarah. Gucci by Gucci New York: Vendome, 2006. Okonkwo, U. Luxury Fashion Branding. New York: Palgrave Macmillan, 2007. Thomas, D. Deluxe How Luxury Lost Its Luster. New York: The Penguin Press, 2007. Triedman, Karen. Color Graphics: Power of Color in Graphic Design Massachusetts: Rockport Publishers, 2002 Wheeler, A. Designing Brand Identity. New Jersey: John Wiley & Sons, 2009.

Vintage Louis Vuitton Ad ,1901

Ad Campaign S/S 1980 Photo Alberta Tiburzi

Twilight shoulder bag, 2002 from Julie Verhoeven’s Fairy Tale Series Cow Leather and snakeskin

Ad Campaign Jewelry, S/S 2006, Photo Guido Mocafico

Ad Campaign S/S 2003 Eva Herzigová Mert Alas & Marcus Piggott

Ad Campaign S/S 2004 Photo Guido Mocafico

Study, 2008 Richard Prince acrylic on canvas

American Motors Gucci Hornet Sportabout, 1972

Louis Vuitton Monogrammatic Logo

EyeLove SUPERFLAT White 2003 Takashi Murakami

Ad Campaign for Vogue, 2000 Luggage in Graffiti Monogram Stephen Sprouse

Lil’ Kim: A Luxury Item,1999 David LaChapelle Color Print

Details, March 2005 Guilherme Schell Photo Mikael Jansson

Collection S/S 2000 Nicole Tran Va Bang

Marilyn Trunk in the Multicolor Monogram, 2007

The Prince of Wales, Windsor 1983

Ad Campaign for Vogue, 2000 Luggage in Graffiti Monogram Stephen Sprouse

Fashion show S/S 2006-07

Screen surrounding store in Tumon Bay, Guam, 2006 Precast stone Barthélémy & Griño

Ad Campaign S/S 2008 Stephanie Seymour Photo Mert Alas & Marcus Piggot

Ad Campaign S/S 1999 Robert Konjic Photo Mario Testino

Ad Campaign F/W 2006-07 Kate Moss Photo Mert Alas and Marcus Piggott

“The Nurses” S/S 2008 Prêt-à-Porter Louis Vuitton Show October 2007

Ad Campaign S/S 2007 Scarlet Johansson Photo Mert Alas & Marcus Piggott

Ad Campaign F/W 2001-02 Photo Terry Richardson

Ad Campaign S/S 2006 Iselin Steiro and Freja Beha Photo Craig McDean

Ad Campaign Jewelry S/S 2006 Photo Guido Mocafico

Ad Campaign F/W 2006-07 Snejana Onopka and Iselin Steiro Photo Craig McDean

i-D, September 2009 Jessica Sam Photo Satoshi Saikusa

Eye see you, 2006 Olafur Eliasson

Night views of Louis Vuitton Store in Kochi, 2003 Photo Kumiko Inui

Louis Vuitton Hong Kong Landmark Store, 2005 Jun Aoki and Peter Marino

Louis Vuitton Hong Kong Landmark Store, Interior View 2005 Jun Aoki and Peter Marino

W Magazine, Special Jewelry April 2004 Karen Elson Photo David Sims

Gucci Florence Store 1960s

Gucci catalogue 1978, Gucci New York store

EyeLove SUPERFLAT Black 2003 Takashi Murakami

Panda 2003 Takashi Murakami Acrylic on fiberglass with antique Louis Vuitton trunk and wooden pedestal

Panda and LV with Hands 2003 Takashi Murakami Characters on Monogram rigid cases

Louis Vuitton Leopard Bag, 1996 Azzedine Ala誰a Calfskin leather and natural materials

Ad Campaign F/W 2006-07 Snejana Onopka Photo Craig McDean

La Tour Eiffel Louis Vuitton 1978 Photo Jacques-Henri Lartigue

Gucci Florence Store, 1980

View of Maison Louis Vuitton New York with holiday window installation by Takashi Murakami 2008 bassed on the Multicolor Monogram

Ad Campaign F/W 2004-05 Photo Guido Mocafico

Backstage F/W 2006-07 Freja Beha

Alma GM bag in the Mirror Monogram, 2006

Ad Campaign Spring 2008 (from left to right) Angela Lindvall, Claudia Schiffer, Naomi Campbell, Natalia Vodianova, Eva HerzigovĂ and Stephanie Seymour Photo Mert Alas & Marcus Piggott

GG icon, Gucci shoulder bag 1975 Photo Guido Macafico

Ad Campaign,1996 Photo Inez Van Lamsweerde and Vinoodh Matadin

Ad Campaign F/W 2001-02 Photo Guido Mocafico

Bamboo Icon, Gucci Bamboo Bag 1947 Photo Guido Macafico

Ad Campaign F/W 1995-96 Photo Raymond Meier

Web Icon, Gucci handbag 1962 Photo Guido Mocafico

Ad Campaign S/S 2004 Photo Mario Testino

Collection Louis Vuitton Prêtà-Porter F/W 2006-07

Arena Homme Plus, October 2005 Andres Segura Photo Inez van Lamsweerde & Vnoodh Matadin

Advertising Campaign, F/W 2000-01 Kate Moss Inez Van Lamsweerde & Vinoodh Matadin

Vogue Paris, May 2005 Raquel Zimmermann Photo David Sims

AC K NOW L E DGM E N TS

I’ d like to thank the: Senior Core Graphic Design Professors: Antonio Alcala | Johan Severtson | Alice Powers Without your wisdom and constant support I wouldn’t have been able to get through this. Thank you. Renee’ Regan For all your help.I truly thank and appreciate everything. Orchid Lui You truly are my big sister. Thank you for believing in me. Ryan McCullah Thank you for taking the time to talk to me about my thesis and branding in general. You have truly been a postive influence on my life as a designer. Thank you. Dianne Bost You are my role-model. I love you with all of my heart. Greg Hanson & Bob Walker Thank you for stepping in and finishing strong in the very last hours. Without you this book publication would not have reached the level it has. Thank you.

To all of my friends, family and extended family who helped me get this far and believed in me every step of the way, I love and thank you very very much.