COURSEWORK 1 ADOBE INDESIGN SUBMISSION 50% QM CHRISTINA THORDAL ANDREASEN BA FASHION MARKETING & COMMUNICATION LEVEL 5, 2017-2018 5FAMK003C VISUAL AND VIDEO TECHNIQUES CWK1 NICOLAS GODON 3663 WORDS
CONTENTS
ANALYSIS
CORPORATE PROFILE MARKET POSITION CURRENT SITUATION COMMUNICATION BACKGROUND COMMUNICATION TASK TARGET OBJECTIVES INSPIRATION LIMITATIONS
EDITORIAL STYLING MODELS PREPARATIONS
THE SHOOT PHOTOGRAPHER & ART DIRECTION
POST SHOOT PROCESS & RETOUCHING PAGE LAYOUT
CATALOGUE WEB READ LISTEN WATCH ART & PHOTOGRAPHY ON THE STREETS YOU SHOP
BIBLIOGRAPHY ANNEX ANNEX 1 ANNEX 2 ANNEX 3 ANNEX 4
ANALYSIS
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he analysis gives emphasis to changing the reputation and downturn of Prada. As grounds for change, the SS & FW 2017 men’s collection is treated as reference of the former (2017) brand communication. Based upon a thorough brand analysis of profile, market position, and communicative circumstances, a proposal is presented as a solution to help Prada regain market relevance within men’s fashion with special emphasis given to the increasing streetwear culture flourishing among a younger target audience.
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CORPORATE PROFILE Founded in 1913 in Milan by Mario Prada, grand-
father of the current head designer, Miuccia Prada. The Italian brand quickly established its exclusivity and prestigious market position among the Italian aristocracy as well as being assigned the role of “Official Supplier of the Italian Royal Household” distributing high-quality luggage, accessories and luxury goods made from lavish materials and refined workmanship. As Prada through the years gained market share by becoming increasingly appealing to the European elite, Miuccia Prada and Patrizio Bertelli, who later became the husband of Miuccia Prada initiated a professional relationship in the late 1970’s. This relationship formed the basis of the international expansion and introduced new grounds and ways of business for the uncompromised quality criteria of the luxury sector. The combination of Miuccia Prada’s avant-garde creative approach and her unconventional world perspective enabled her to participate and moreover set new trends. The duo of Prada and Bertelli additionally manage to combine the creative vision and concepts with commerciality. Due to this brand evolution, Prada as a luxury group now reaches for a broad audience producing leather goods, clothing and footwear for both men and women. The design direction has since early stages been bridging contemporary, cuttingedge sophistication with exclusive and exquisite expertise highly representing the refined Italian tradition of craftsmanship. The luxury group has furthermore expanded its product portfolio to markets of eyewear, fragrances, and the confectionery business.
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MARKET POSITION With more than 100 years of business experience
within the luxury sector of the market the formula for success and respected market position can simply be explained by the partnership of Miuccia Prada and Patrizio Bertelli reflecting a high level of brand integrity and varied product portfolio paired with a diligently managed retail expansion plan ensuring a consistent pulling power in maturing markets such as China. In 2016 Prada is challenged with a weakened demand from the key emerging market of China. Moreover, Prada has highly reduced its investments in print advertising and editorial print coverage, which lowered their editorial value by double digits compared to 2015. This global downturn of Prada might be explained by the impressive upturn and increased spending in print advertising of the Italian luxury competitor, Gucci, which editorial value went up with more than 15 percent within the first six months of the year. The downturn cooled the brand temperature of Prada, while raised the temperature of Gucci, Louis Vuitton and Chanel and all was ranked as “hot” brands. Another struggle Prada is facing is the often deliberately challenging designs and the fact of it being difficult to wear or combine into everyday outfits and situations. As a frightening result of this shifting market positon, Prada has become ‘too ordinary’. Therefore, the key challenge for Prada is whether the company can return to a path of structural growth enabled by product innovation and an improved brand buzz, similar to what is happening at Gucci. It can, therefore, be argued that the government of China can be held responsible for a fall in market relevance and consumer desire for buying the Italian luxury goods. Prada must moreover reevaluate whether its products still attach interest enough for a luxury audience to consume.
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Prada. Fall 2017 Menswear. Photo: Monica Feudi / Indigital.tv.
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CURRENT SITUATION
New attention needs to be paid to more radical details competing with the historical and conservative presentation of Prada. This change of rules will not be a critical concept for the brand, as Miuccia Prada indeed is not a designer for rules. Neither is she constrained by seasons, coats are often paired with sandals and bare feet, showing scant regard for practicalities and even seasons.
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rada needs to reevaluate its products and the related communication path as the brand is lacking in applying innovative concepts to its product portfolio, especially leather goods as its biggest sales driver. This ‘ordinarity’, extensive use of leather goods and rising market competition has moreover caused a decrease in customer brand loyalty as Prada alternatives are easily found at the competitors such as Gucci. The alternatives found at the competitors might moreover relate in more coherent manners as most of the competitors as of now embraced the concept of casual wear/streetwear. A concept, which is remarkably achieving market share and is highly supported by the music industry and its influencing artists.
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SIMPLY, SOME BRANDS UPPED THEIR GAME, PRADA DIDN’T. MAKE PRADA RELEVANT AGAIN!
COMMUNICATION BACKGROUND Only a few years ago Miuccia Pra-
da expressed her stance on e-commerce as ”We don’t like it. I don’t care. My husband hates it and we think for luxury it’s not right”. By 2017 the brand perspective on e-commerce has gradually adapted to the digital changes the market develops. The same year Prada introduced a new social advertising strategy #prada365, which seek a less structured and more spontaneous advertising pairing collaboration, multiple concepts, models and photographers to stress the importance of the products themselves. Despite the campaign name, Prada states that the Italian brand does not plan to embrace digital point of sale. As Prada rejects to adopt these digital changes, the house is now paying the price for its tardiness by an economic downturn.
Despite challenging business stances, Prada succeeds to be compelling on the runway as the collections often propose deeper sentiments than the surface depicts. The 2017 collections highly found interest in portraying the current global humanitarian crisis of voyagers and migrants fleeing wartorn countries. In that relation, the SS2017 men’s collections are noting utilitarian activewear as an attempt to create more sporting clothes, yet still, the highly branded leather goods encapsulated the entire FW2017 collection and challenges the possibilities for Prada to break with the traditional brand perception of ’ordinarity’ and extensive use of leather goods.
Prada. Spring 2017 Menswear Photo: Marcus Tondo / Indigital.tv
Prada. Fall 2017 Menswear. Prada. Spring 2017 Menswear Photo: Marcus Tondo / Indigital.tv
Photo: Monica Feudi / Indigital.tv.
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COMMUNICATION TASK The
proposal suggests a further market adoption targeting a younger audience in order to meet the increasing demand for luxury streetstyle. This moreover means a move away from the FW2017 men’s collections highly influenced by an extensive use of leather material. This design direction will pair shirts, polos, tracksuits, bomber jackets and sneakers with a high level of brand labeling on the products to visually portray a more radical move away from the perceived conservatism of Italian traditions. Visual labeling by logo plays a highly important role in streetwear as it elevates the social desire of self-promotion that has become highly connected to especially the streetwear culture of ’collectors’, by which they establish their status. The communicative task therefore
propose a new collection in which Prada retarget and concentrate efforts on a younger audience and streetwear orientated design. The task exists moreover in elevating casual wear with athletic details as Prada by the SS2017 menswear collection began building foundation for a more youth dedicated approach.. Of high importance to this proposal is the constantly improving market competition of luxury brands. It becomes arguably necessary for Prada to embrace digital perspectives and build a social environment for this younger audience to interact in order for Prada to regain market relevance.
Louis Vuitton. Fall/winter 17 Menswear. Photo:Yannis Vlamos/ Indigital.tv.
Tim Coppens. Spring 2017 Menswear. Photo: Gerardo Somoza / Indigital.tv.
Balenciaga. Fall/winter 17 Menswear. Photo: Monica Feudi / Indigital.tv
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BACKGROUND IMAGE
T TARGET MARKET
The target audience that is considered for
this proposal exists in what might be explained as ’collectors’ or ’line-ups’/’queuers’. It is a group of young men that dedicate their time and money to line up and camp out six hours or more, skipping school along a street in Soho, London, to get in possession of the latest Supreme pieces. The young men this proposal targets might be given the name
”Supreme’s British disciples” This rebranding of Prada targets the youth’s fandom for streetwear, with emphasis given to Supreme and British skate brand, Palace, as a subculture in itself. This audience builds upon many denominations of streetwear devotees, from wealthy teenagers, aging hypebeast followers, skaters, Instagram-celebrities and the logo/brand collectors. Important to note is moreover the fact of these men’s high level of social interaction why they are quickly influenced by cultural icons such as Blondey Mccoy. The goal of targeting this audience is not to compete with Supreme or Palace, but for Prada to join the streetwear pile as a complementary attribute to the rebranding of the perceived traditional Italian luxury brand.
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THE COLLECTORS THE STREETWEAR GENERATION’S HEAVYWEIGHT
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THE COL
THE STREETWEAR GEN
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LLECTORS
NERATION’S HEAVYWEIGHT
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OBJECTIVES
INSPIRATION
The objectives given for this proposal Inspiration
to succeed is found through an adoption of market trends in terms of design, dialogue and retail. Furthermore, the objectives are given by creating a new collection that seeks to reposition and additionally adopt the runway success to the streets in order to encourage a renewed reputation, sales and by that an economic up-turn. This collection seeks to embrace and connect a younger target audience to Prada through a new communication strategy, as the brand has lost relevance in meeting the consumer needs and desires due to rejected and overseen importance of digital retail. The proposal, therefore, suggests an establishment of a brand community specifically designed for the younger audience.
for the new establishment is found through high-end designers such as Supreme, Palace, Astrid Andersen and Gucci. The first three mentioned holds inspirational character in terms of both branding and product design, while Gucci functions as a marker and frontrunner for historical, delicate and fine fashion to join forces with the streetwear generation. The design inspiration is moreover found through the cultural perspectives, especially with emphasis given to the British skate culture and its disciples, as it directly represents the streetwear environment. Blondey Mccoy, as one of the pilgrims highly becomes a source of inspiration as his lifestyle ideally represents the street culture of fashion, art (�HOME IS THE HERO�, by Mccoy(Annex 1)) and brotherhood and local love.
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LIMITATIONS Supreme Fall/Winter 2017. Photo: Ari Marcopoulos.
The
challenge and limitations exists in still distancing Prada from existing luxury competitors such as Gucci and Dior. Both competitors concentrate their streetwear approach in collaboration with American rapper, A$AP Rocky, which despite design differences seems confusingly similar in its advertising and PR approach to reach the streetwear market and consumers (Annex 2). The new direction therefore gives emphasis to an art and model direction that draws parallels to streetwear’s heavyweight, Supreme and British skateboard brand Palace. Hereby, does Prada ensure a clear connection to the inspirational British skateboard culture, in contrary to continuing similar approach as its competitors. Highly important to note for this collection is a low level of use of leather goods, as the goal exists in changing the consumer perception on Prada menswear as ’too ordinary’. This finally causes a move away from the previously integrated ugly-pretty aesthetic. A$AP Rocky in Gucci. Photo: (N/A) Donovan, Louise. (2017).Mix Mag.
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EDITORIAL
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Palace Winter 2017. ’Ultimo’ Photo: Frank LeBon
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Palace Winter 2017. ’Ultimo’ Photo: Frank LeBon
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© Alasdair McLellan & Lev Tanju: The Palace
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S STYLING
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he editorial will be styled by British fashion director at GQ Style UK, Elgar Johnson. The British fashion director is chosen as he offers an original and far less affected take on men’s fashion, which matches the collection proposal of differentiating from luxury competitors. His styling and points of references are highly influenced by 1990’s sensibility of his youth paired with street and sportswear. For this collection, the styling is seamlessly blending contemporary casual wear with classic athletic silhouettes. The styling primarily gives attention to a natural and cultural authenticity of the British skate-environment, in which comfortability and functionality is core. This collection styling is moreover, drawing on aesthetic inspiration from Elgar Johnson’s previous works with Topman, Stormzy editorial in British GQ, several Astrid Andersen runway shows and Blondey Mccoy).
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Alasdair McLellan. Topman A/W 2017(Lookbook/Catalog)
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M MODELS
The models chosen for the shoot are
all male models in accordance to target audience and are as following: Michael Sharp, Ben Sherrell, Aubrey Finn and Blondey Mccoy (exclusives). These young men are chosen as they represent a style that represents an imbalanced charming and casual Britishness paired with a level of toughness that might find connotations to the look of London’s 1970’s skinheads. This model direction is chosen in order to portray personalities of the British skateboard culture, without over-simplification and cultural clichés. The direction more addresses no glorification or high level of beauty aesthetic, the models rather symbolize everyday natural young men. (Annex 4)
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PREPARATIONS The
preparations will be presented as an aesthetic imitation of the lookbooks of Supreme (Annex 5), in which the models and collection are presented in studio settings by plain coloured background. Yet this setting finds variation in colour scheme depending on the look and colour of garments. The background will vary from light grey to dark grey with burgundy lightning. Shadows might appear respectively to the specific look.
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PREPARATIONS
While the collection will be shown
by rather simplistic manners with simple background, giving emphasis to the products, the cultural perspective will be given by showing the collection ’in action’ in the streets of London as complementary support to the collection concept.
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Palace Winter 2017. ’Ultimo’ Photo: Frank LeBon
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P& PHOTOGRAPHER & ART DIRECTION
The British photographer, Alasdair McLellan and
his photographic style, is chosen for this editorial as his art direction carries an ability to capture images with a sincerity by opening up the personality within the subject, using a setting of natural lighting. His art direction is moreover perfectly fitting for this proposal as he communicates an English casualty of fashion, lifestyle and memories.The British photographer had previously collaborated with Elgar Johnson on content featuring Blondey Mccoy, Palace and Supreme. The duo both finds an identifiable cultural fascination of returning to their British adolescence and local love to the UK as one of the abiding influences in their separate and common work, why they this proposal suggest a continued collaboration as their objectives finds common grounds with the editorial concept. The scenography will include indoor and outdoor shootings. In studio to clarify the change of design direction, and outdoor in the streets of London to reflect the cultural perspective. Alasdair McLellan has previously collaborated with Palace on shooting a skate book, which captured the London youth and the margins of British society and is a perfect fit for Prada’s new collection proposal.
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Palace Winter 2017. ’Ultimo’ Photo: Frank LeBon
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Palace Winter 2017. ’Ultimo’ Photo: Frank LeBon
Palace Winter 2017. ’Ultimo’ Photo: Frank LeBon
Palace Winter 2017. ’Ultimo’ Photo: Frank LeBon
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PR PROCESS & RETOUCHING All editorial content from both indoor and outdo-
or shoots exists originally in colour. From here all images will be edited by Photographer Alasdair McLellan to keep with the respected art direction and style of photography.
The retouching will vary according to the setting. Studio (read: indoor) images will highly be kept as photographed in the moment to stress the casual setting. When needed images might be featured a lighting of background or points of highlight, while some images might have a need to darken or feature shadows in order to unfold the person and feeling within the given image. Outdoor images (read: streets of London) will be edited into black and white as Alasdair McLellan is celebrated for his characteristic black and white portraits, pairing fashion with the environment and personality of the captured protagonist. The black and white representation of the young men standing or skating in the streets of London seeks to crystallize a raw sincerity and softness of the British youth culture.
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P PAGE LAYOUT
The page layout of the catalogue is
a shifting display of full-page images and white framed images, which pays respect to the clothing. The full or framed images is occasionally put into smaller boxes and is repeated symmetric or asymmetric throughout the same page to take distance from a lookbook aesthetic. In between the A4 pages, fold-out strips of 50 mm. portraying the cultural aspect has been integrated to bridge the products with the cultural inspiration. This layout is chosen in order to illustrate the new youthful design direction, as it highly reflects a younger approach to editorial content in its reflection of British skateboard culture and casual streetwear.
Palace Winter 2017. ’Ultimo’ Photo: Frank LeBon
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CATALOGUE
For this proposal, the editorial is displayed through a
catalogue perspective. This choice is owing to the fact of changing the consumer perception of Prada menswear as ’too ordinary’ and moreover to make Prada find market relevance beyond the runway in order to keep with the existing and constantly improving luxury competitors. A catalogue editorial is additionally chosen for this proposal, as an attempt to reflect a certain lifestyle and theme rather than giving the primary emphasis to the products themselves as in lookbook context. The new collection, design and branding direction seeks to change to face of traditional fashion houses’ attempt to join forces with streetwear by appropriating various streetwear aesthetics. In contrary, this collection takes pride in referencing a look and feeling tightly linked to the British youth and skateboard culture. Enabled by the British duo, photographer, Alasdair McLellan and fashion director Elgar Johnson, the catalogue editorial is given an influence of streetwear and subculture stories that reflects the two artists memories of their British adolescence.
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PHTOGRAPER ALASDAIR MCLELLAN STYLING ELGAR JOHNSON MODELS MICHAEL SHARP, BEN SHERRELL, AUBREY FINN *BLONDEY MCCOY FEATURING EXCLUSIVES PREPARATIONS STUDIO & CENTRAL STREETS OF LONDON RETOUCHING ALASDAIR MCLELLAN
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PHTOGRAPER ALASDAIR MCLELLAN STYLING ELGAR JOHNSON MODELS MICHAEL SHARP BEN SHERRELL AUBREY FINN *BLONDEY MCCOY FEATURING EXCLUSIVES PREPARATIONS STUDIO & CENTRAL STREETS OF LONDON RETOUCHING ALASDAIR MCLELLAN
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PHTOGRAPER ALASDAIR MCLELLAN STYLING ELGAR JOHNSON MODELS MICHAEL SHARP BEN SHERRELL AUBREY FINN *BLONDEY MCCOY FEATURING EXCLUSIVES PREPARATIONS STUDIO & CENTRAL STREETS OF LONDON RETOUCHING ALASDAIR MCLELLAN
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PHTOGRAPER ALASDAIR MCLELLAN STYLING ELGAR JOHNSON MODELS MICHAEL SHARP BEN SHERRELL AUBREY FINN *BLONDEY MCCOY FEATURING EXCLUSIVES PREPARATIONS STUDIO & CENTRAL STREETS OF LONDON RETOUCHING ALASDAIR MCLELLAN
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PHTOGRAPER ALASDAIR MCLELLAN STYLING ELGAR JOHNSON MODELS MICHAEL SHARP BEN SHERRELL AUBREY FINN *BLONDEY MCCOY FEATURING EXCLUSIVES PREPARATIONS STUDIO & CENTRAL STREETS OF LONDON RETOUCHING ALASDAIR MCLELLAN
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WEB
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The web has been established as an attempt to create a plat-
form to push a community environment for the younger target in accordance with the new collection and its youthful design direction. The web, PRADA PALACE, will enable the target consumers to gather around targeted content, in which emphasis highly is given to streetwear. The content exists in a gathering of readings about culture, designers and stories curated by culture personalities, such as Blondey Mccoy, who has become iconic for both his fashion, lifestyle and art. The web generates moreover, a music platform created in accordance with Soundcloud to provide the community with an exploration of music. The content also offers video content of interviews with musicians, skaters or industry personalities enabled by content called PRADA PLACE MEETS... Moreover, the web offers posts on street style in order to keep with the trendwatching these young men seek to find from the seasonal fashion weeks, here a page alone is dedicated to sneakers as the product category is highly influencing the market. Finally ,the web offers a shopping platform of click & collect of p Prada products in order to improve the digital retail experience of Prada. In order to generate user interaction throughout the platform, users will occasionally have the opportunity to upload pictures that might be used for posts later on. The web meets the needs and desires of the growing youth culture, ’third culture kids’, by creating a space, in which they stay connected, viral and free to experience the brand as an interactive and influential platform that invites dialogue and loyalty. Discover PRADA PALACE here: https://pradastories.wordpress. com
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READ The web PRADA PALACE features a rea-
ding section in which posts are published with content from writtings about different DESIGNERS, the brand’s history and talks about their most valueable objects. This section moreover includes the subcategory STORIES, which includes interviews and perspectives on content varying from portraits of new young leader of street style to reflective interviews with British rap artist, Stormzy on respect for young British black men. CULTURE, is the thrid and final subcategory under READ and treats of culture related aspects of the fashion industry such as an introduction of the new model agency Brother, that represents the underrepresented and neglegted models. This category additionally gives a perspective on the British youth culture especially elaborated by an interview feautured Blondey Mccoy, in which London, fashion and how a challengened youth is helped by skateboarding, has made Mccoy the street style icon he is today.
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LISTEN LISTEN, is a category is established, as
music highly is in possession of a social and shareable element, which assumingly pushes a user interaction within or beyond the community space. The subcategory is moreover embraced as it inevitably is related to the fashion industry. The British rapscene, has especially embraced street style as an expression for superior and luxurial casualty, and as a public figures the style becomes highly influencial to the spectators. The LISTEN caterogy features a concept of a weekly listening of a specific artist or genre to offer both insights and provide the users with music while using the community. This category is made in collaboration with Soundcloud.
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WATCH As
a third category, WATCH, has been established in order to create video content to comliment the readings and listenings. The content is given the name PRADA PALACE MEETS... as a form of video generated interview with personalities from different industries. The videos are kept highly informal in order to break commercial boarders and portray a the best possible close-to-relaity and in-dept perspective on the specific person. The content includes different personalities from Blondey Mccoy to Sam Smith, who opens up about how his 2014 debut album In The Lonely Hour, turned him as an underdog into a national treasure.
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ART & PHOTOGRAPHY The
ART & PHOTOGRAPHY category is included within the community to help creating awareness around young upcoming artists and photographers. The category is moreover established as the art and photography displayed offers a relateable and honest world-view for the target audience of PRADA PALACE.
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ON THE STREETS ON THE STREETS is a category that is
arguably necessary for the platform. The posts featured within this category offers inspirational content taken from miscellaneous fashion weeks around the world and everyday street spottings or online posts. The category is given an extra subcategory that gives emphasis to sneakers as one of the most important elements to street style. ON THE STREETS offers a poly-identical perspective on how to dress according to street style as the same component can be interpretated into various styles and personalities.
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YOU YOU is a menu category created to en-
hance user interaction within the community. This attempt to create dialogue includes the ability for the users to upload their own interpretation of street style to the YOU category and a possibility to be featured in future posts. This brand action helps to establish a feeling of inclusion from the user persepctive, which highly has become an important factor in brand marketing as co-creation generate a feeling valuableness with the users. Undoubtly this user interaction is valuable for PRADA PALACE as this might help the challenge of improving the market relevance of and damage consumer perspective on Prada menswear.
SHOP A
s Prada previsouly has been struggling with brand stances on e-commerce and adoption of digital market trends, the community will provide an online shop exclusively offering the new collection pieces as an attempt to improve the retail experience of Prada.
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BIBLIOGRAPHY
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Authors of BOF. (N/A). BOF 500: Alasdair McLellan, Photographer, Biography. Business Of Fashion. [online]. Available at: https://www.businessoffashion.com/community/people/alasdair-mclellan [Accessed December 20th 2017] Authors of Clash Fashion. (2016). Alasdair McLellan & Lev Tanju: The Palace. ICA exhibition. Clash Magazine. [online] Available at: http://clashmusic.com/fashion/alasdair-mclellan-lev-tanju-the-palace [Accessed December 20th 2017] Authors of editorial team. Translated by Megan Davies (2017). #OOTD: A$AP Rocky at the Gucci show in Milan. Vogue Hommes Fashion. Vogue Paris. [online] Available at: http://en.vogue.fr/vogue-hommes/fashion/diaporama/how-asap-rocky-became-a-rap-stylestar/23705 [Accessed December 15th 2017] Authors of i-D Magazine. (2016). Introducing brother: the model agency representing the underrepresented. i-D Magazine. Vice Group. [online]. Available at: https://i-d.vice.com/en_au/article/59b8ek/introducing-brother-the-model-agency-representing-theunderrepresented [Accessed December 11th 2017] Authors of i-D Magazine. (2017) i-D Meets: Blondey McCoy. I-D magazine. Youtube. [online]. Available at: https://www.youtube.com/watch?v=GOvwFWF6gOQ [Accessed December 15th 2017] Authors of i-D Magazine. (2017). ) i-D Meets: Sam Smith. I-D magazine. Youtube. [online]. Available at: https://www.youtube.com/watch?v=GfE05ZDaxCQ [Accessed January 2nd 2018] Authors of i-D Magazine (2014). Blondey mccoy, skater boy. i-D Magazine. Vice Group. [online]. Available at: https://i-d.vice.com/en_uk/article/9kybm7/blondey-mccoy-skater-boy [Accessed January 2nd 2018] Authors of PRADA Group. (2018). Group Profile. [online] Available at: https://www.pradagroup.com/en/group/group-profile.html [Accessed November 20th 2017]
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ANNEX
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ANNEX 1
Artwork McCoy, Blondey. (2015). HOME IS THE HERO. Dazed Digital. [online]
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ANNEX 2
1. A$AP for Dior. (2017). Summer 2017 2. A$AP for Dior. (2016). Winter 2016-2017 3. A$AP for Gucci. Photo: (N/A) Donovan, Louise. (2017).Mix Mag. 4. A$AP for Gucci. Photo: (N/A) Donovan, Louise. (2017).Mix Mag.
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ANNEX 3
Models: 1. Aubrey Finn IMG Models 2. Michael Sharp. Man About Town. Fall/Winter 2014 3. Ben Sherrell (right) Bananas Models
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ANNEX 4
Lookbook of Supreme Fall/Winter 2017
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COURSEWORK 1 ADOBE INDESIGN SUBMISSION 50% QM CHRISTINA THORDAL ANDREASEN BA FASHION MARKETING & COMMUNICATION LEVEL 5, 2017-2018 5FAMK003C VISUAL AND VIDEO TECHNIQUES CWK1 NICOLAS GODON 3663 WORDS