Fashion Matters by cjagger

fashion matters

chloe jagger

contents

An introduction.

CALVIN KLEIN: p4. THE NOW p11. THE THEN p17. THE OTHER

AMERICAN APPAREL: p22. THE NOW p26. THE THEN p30. THE OTHER

Fashion has become an integral part of society because of its ability to reflect emotional, social and political changes whilst simultaneously influencing them. Advertising, for brands is crucial in creating the perception to consumers that a product is not just a necessary but an integral need. Calvin Klein and American Apparel have built brand empires with a devout consumer following by creating adverts that attach fundamental wishes of society such as sex and rebellion to simplistic products. By sticking with a consistent brand narrative both have become iconic reflections of social youth movements and by rejuvenating their campaigns with the evolving times, they have managed to remain credible.

p34. CONCLUSION p36. LIST OF REFERENCES p38. BIBLIOGRAPHY p42. LIST OF ILLUSTRATIONS

THE NOW

The Calvin Klein brand found fame for their provocative and rebellious adverts and have successfully managed to maintain this image and youth appeal throughout its brand history. By incorporating its past values with new technology they appeal to the new digital generation; evidently seen in the rejuvenation of their iconic CK One brand. The CK One brand first launched in the 1990s and epitomised the era’s grunge aesthetic and sense of rebellion and individuality. The 2011 re-launch of the brand further built upon CK One’s iconic visual legacy by evolving the brand to be one which is digitally up to date with the new era. It is now advertised as a Global lifestyle brand, bringing together jeans, fragrance and underwear which is advertised through multiple digital platforms. These different platforms include online, mobile, print and interactive outdoor events, such as a series of live music events in collaboration with “the authority and reach of the MTV brand”, cementing the “brands important connection with music” (Tom Murry,2011:Online). The strong emphasis on interaction and social media has never been used before in past Calvin Klein promotions and has been introduced to enable the CK brand appeal to the desired demographic of 18-25 year olds. LED billboards in cities encouraged consumers to ‘scan to reveal more’ leading them to the CK One ‘Box’ where they can experience the brand and become a part of the product’s identity. The campaign and its values are made more attainable, where online users can become an actual part of the campaign with their uploaded content being published alongside cast videos and information.

Fig 1

7 Fig 2.

Fig 3

The campaign’s teaser was launched globally and marked the brand’s permanent media presence on China’s popular networking sites such as Ren Ren and Weibo. Showing that not only was the CK brand evolving with the new modern demographic but also the new world order. Unlike the original 90s campaign which was advertised mainly to the western world, the 2011 launch included China and other BRIC countries. This is further reflected in the advertising campaign’s diverse cast, who represent a wide and different range of nationalities and backgrounds (see fig.3,4). The dynamic casting helps to enforce the campaigns focus on individuality wherby, in the campaign the cast were given plain t-shirts and jeans in sizes xs-xxxl encouraging them to wear the clothes how they wanted too. This spontaneity and simplicity maintains with the original CK One ‘unisex’ appeal; emphasising the personalisation of fashion, to which Calvin Klein does not wish to dictate. The CK brand appeals to a wide demographic, by presenting itself as a brand that does not distinguish between age, gender and sexual preferences, selling a coveted sense of identity which most of us are scared to express. Thus, encouraging the consumer to buy its products and in return gain the perception and illusion that they are taking control of their individual identity.

Fig 4

It is no surprise that CK One fully maintained with its visual narrative by returning to its original creative, choosing Steven Meisel to shoot and direct the campaign. It was also Meisel who was the creative force behind the original 1994 CK One adverts. Meisel is synonymous with CK One’s history. His involvement in the re-launch, only further enhances the authenticity of the brand’s original DNA and everything it stands for. As well as Meisel’s long standing working relationship with Calvin Klein, his work ethic as photographer is one which revels in pushing social boundaries.(Voguepedia, Online) It is this personal attitude which makes him a perfect match for the brand.

Fig 5

THE then

Since the 1970’s Calvin Klein is a brand which has built a legacy upon defining generations through the use of scandal and sensation in their advertising; leveraging their brand identity to be one which is minimalistic, urban and ‘always sexy’. Klein as a designer is renowned for focussing relentlessly on the new, done so, by ‘sexing’ up his advertising to create shocking images made to appeal to a youth audience. The idea of selling sex is synonymous with Calvin Klein advertising and it is a theme which has been carried out throughout the brands campaign history. In the 1980’s Calvin Klein first caused a stir with an advert starring Brooke Shields who declared provocatively that nothing came between her and her ‘Calvins’(Brooke Shields,2007: Online). The controversial statement caused a mass stir; the commercial was pulled from several American TV stations. However it generated huge amounts of PR for the brand. In 1982, Klein and Shields appeared on the cover of People magazine alongside a cover line which read “Brooke & Calvin: Her bottoms up commercials have made Klein the best known in US fashion..”(Grunwald,1982) More importantly it helped to rejuvenate the brand’s image by shrouding its classic and minimalistic appearance with a provocative edge. (see fig 6)

Fig 6

Building upon this, the brand moved with the times and evolving youth movement to define the generation of the nineties, by picking up upon the growing popularity of grunge and hip hop culture. Klein caused a desire for classic American basics by surrounding them in an iconography of sex, sensation and scandal.(Times Topics,2012:Online) Picking up upon the way rappers dressed Klein sensationalised their style of low slung jeans. Creating the infamous Marky Mark campaign which was laden with homoerotic overtones, his ‘crotch grab’ (see fig.5) caused such a stir that it lead to protests outside Calvin Klein offices. (New York Times,2010:Online) Equally the original CK One advert featured the model Jenny Snimizu, a LBGT activist who fought for the social acceptance of sexual and gender minorities. Klein’s advertising in the 90’s represented the forgotten sub-cultures and identities of mainstream audiences, the models he used weren’t stereotypical or simply weren’t models at all.

Calvin Klein became synonymous with the grunge movement of the nineties by capitalising upon the growing idealism of cynicism and generation X’s disillusionment of social norms. The use of black and white photography made the brand’s advertising for commercial products appear gritty and realistic. This tapped into the downbeat mood of the 1990s and played into consumers’ need to buy into something ‘real’. A visual commentary of the time, which was influenced by the economic recession at the beginning of the 1990’s encouraging consumers to reject the excessive styling and logo obsession of the 80s and opt for more casual clothing. Calvin Klein’s advertising was so influential that it became an icon of 1990’s social culture. Therefore it was no surprise that for the revival of CK One, its adverting campaign was heavily influenced by its predecessor. Kevin Carrigan (Vogue News,2011) commented that for the re-launch, they wanted it to have the same ‘feel’ of the original, targeting the youth market by selling basics though “these cool kids”. As mentioned earlier, the 2011 Campaign builds upon the legacy of CK One, done so by returning to Steven Meisel, who helped recapture the original CK message. CK One’s re-launch generates an aura of nostalgia around the lifestyle brand, seen evidently through the choice of music in its commercial which includes Salt n’ Peppers ‘Push It’ and House of Pain’s 1992 hit ‘Jump Around’. By referring to cultural references of the 90s, it enforces the products promoted values of rebellion, individualism and ambiguity; all of which were embedded in 90s youth culture. Arguably the brand’s greatest success is that it simultaneously maintains and revitalizes their traditional brand narrative, which focuses upon not a commodity but a coveted attitude. Surrounding mundane products in an iconography of sex, sensation and rebellion, they create timeless adverts which act as visual commentary of the times.

THE OTHER

Calvin Klein’s 1997 adverting has and still is condemned for promoting the use of heroin and glamorising unhealthy images of models seen to be under the drugs influence. In the 1990’s there was an upsurge in heroin’s usage, where it became more readily available in cities such as New York. A 1996 Newsweek report (see Mary Rizzo 2001) stated that “US heroin consumption had doubled since the mid-80s” and 1,250 more people were emitted to hospital emergency rooms after ingesting heroin in 1994 than in 1988. However the main reason heroin’s usage became so publicised was because its users were now white middle class youths, departing from its historical association with urban slums and the downtrodden. The increase in heroin’s usage coincided and was influenced by its portrayal in popular culture, especially in film such as the iconic and sensationalised ‘ Trainspotting’. The brands 1997 advertising took inspiration from fashion photography of the 1960s and 70s, which characterised images of the socially marginalised, the ‘others’ rarely seen in mainstream media. Klein’s chosen models such as Kate Moss had jaunting bones, hollow cheeks and an emaciated appearance (see fig 7). The style of photography was particularly reminiscent of 1970s photojournalist Nan Goldin, who photographed the uncovered dark and desuetude side of drug addiction (see fig.8). Equally Klein’s advertising was influenced by the honest and raw fashion photography which was first introduced in the 1960s. By a trio of London photographers which included “working class rebels” David Baily, Brian Dufy and Terence Donovan and portrayed models as ‘attainable’ real women and celebrated the dirty streets of the East End (Worsley 2011, p142). Drawing upon the 1960s trend of linking youth rebellion with consumption to appeal to counter cultures, Klein used his adverting to create a romanticised view of lower class life on the edge. The major irony of Klein’s selling point is that consumers buy into this perception to express a sense of hostility towards middle class ideals and consumerism. The images dubbed ‘Heroin Chic’ express disgust with consumption and middle class morals. Yet paradoxically urge the alienated viewer to consume their goods in order to be included in a group of ‘social rebels’, who through crafted images are seen as ‘hip’ and ‘desirable’.

Fig 7

Advertising and marketing’s aim is to manipulate viewers to buy into a lifestyle which they portray as coveted and alluring. Thus the implication of Calvin Klein’s 1997 adverts was that it appeared to perpetuate a glamorous and unrealistic perception of drug use. Appealing to a middle class audience who perceive themselves or want to be seen as outsiders, they desire Calvin Klein’s depicted fantasy of life on the edge; wholly unaware of the harrowing reality of heroin’s effects. Not only did the brand glorify an unrealistic perception of addiction, the adverting gave the impression that those who consumed heroin were ‘cool’ and ‘carefree’ like the drug itself. What’s more Calvin Klein can be condemned as being immoral in the fact it promoted the taboo of drug use, to obtain backlash from the public which consequently gave the brand maximum exposure. All at the expense of exploiting marginalised society and subsequently degrading a serious subject matter. The brands added perpetuation to the rise in Heroin Chic’s publicity within popular culture and the fashion Industry caused outcry from President Bill Clinton, who released a statement condemning the Industry, stating that “the glorification of heroin is not creative, it’s destructive, its not beautiful, it is ugly”, adding that the Industry did “not need to glamorise addiction to sell clothes”(see All Polotics, 1997). A counter argument to Klein’s destructive and influential advertising is that the brand was merely reflecting a social movement of the time; they did not create the rise in heroin’s usage. As a brand their advertising can be viewed as art and surely all artists have the right to create art, whatever the subject matter. Marc Jacobs responded to Clinton’s backlash, stating truthfully that “fashion is not healthcare” (see The Baltimore Sun 1997).

Fig 8

Yet as condemned by the Chicago Times “only soulless corporations such as Calvin Klein, un-endowed with social responsibility or morals, are allowed to degrade our freedom and human rights to make a buck”(See IBS Centre for Management Research (ICMR). 2004). Despite Klein’s dvertising being seen as an expression of art form, in keeping with the brands ability to be a reflection of the times, commenting on social issues. It seems morally wrong that a brand who is aware of their global impact, appealing to a young and influential demographic would equate its personal gain to a man’s suffering.

THE now

American Apparel has made their brand image credible with a modern, emerging youth movement of ‘urban hipsters’. A niche demographic made up of youngsters considered to be hip and “don’t mind being marketed too, as long as images look real, unvarnished and match their own casual attitudes”(Straub,Clamor Magiazine:2006). American Apparel’s advertising strongly follows the desired anti brand aesthetic and philosophy, popularised in the early 90s when the company first began. Their cotton jersey t-shirts and dresses are carefully calculated to appeal “to a new breed of questioning young shoppers”. Done so through the use of non-professional models in advertising campaigns, which simultaneously market “anti-cooperate and anti-globalisation ideas” (Worsley,2011:195). Thus the brand has defined themselves to be one which is unpretentious and spontaneous; appealing to their desired customer’s base of modern consumers who refuse overt consumerism and ironically brand worship.

A way in which American Apparel engages with the customer base is by promoting this coveted anti brand image in a collaboration with social media networks, such as the online fashion community LOOKBOOK.nu. The brand was the first to implement a digital and printed lookbook with an online fashion community by creating their first social media marketing contest. The company was aware of the fast growing popularity of social fashion sites and the rapid growth of LOOKBOOK.nu international user community. Thus the brand looked to increase their online global exposure and build a credible online presence, which resulted in their most successful collaboration of 2010.

Fig 9

The brand asked users ‘how do you wear American Apparel?’(LOOKBOOK.nu,2009:Online) and in response LOOKBOOK.nu users submitted 20,000 self-styled photos of themselves in American Apparel’s infamous basics. Stylists then choose 132 looks to be included in the finished product; ‘The LOOKBOOK.nu lookbook by American Apparel’ (see fig.9)and more than 3,000 copies were ordered in more than thirty different countries. The Global success of the collaboration was wholly due to the brands global social media push. This success heavily relied upon social technological advances such as twitter to spread word of mouth, whilst Facebook and influential fashion blogging sites such as The Sartorialist advertised the finished product. The strategic partnership not only leveraged a strong online presence for American Apparel but their lack of control over the self-styled looks helped to further define the brands esteemed values of spontaneity and originality. The lookbook fitted into the brands desired ‘authentic’ image by following in the footsteps of the company’s policy of vertical integration, shown through the use of real women as models; who were the top three winners of the contest.

THE then

American Apparel sells an idealistic brand image, promoting itself to be consumer orientated and socially and ethically responsible; which is evidently seen in its ‘Made In LA’ advertising campaign. American Apparel focuses upon selling the American Dream, using America’s History of being a nation which is founded upon a large array of immigrants and nationalities to reach out to consumers. America is a melting pot of cultures and LA in particular is a state were “generations of immigrants are creating an evolving definition of American” (Berestein Rojas,SCPR:2012)By tapping into the emotional connotations of ‘immigrant’, which is relatable to high percentage of America’s population; American Apparel is able to connect with their customer base on an emotive and personal level which in return boosts sales. By selling the American Dream, an idealistic image of man’s aspirations which is rooted in the Declaration of Independence, the brand has marketed their narrative to be a company of workers who are on an aspirational journey to help all men and woman strive for equality. On their website employees share their stories, claiming that they find “the American Dream” at American Apparel. Jermias Pablo and immigrant from Gushares his emotional and personal story of the career opportunities that American Apparel gave him, an employee status and pay that another American company wouldn’t have offered him.(American Apparel,2009:Online) The ‘Legalise LA’ narrative is further personalised and made relatable to American politics by engaging customers in current civil rights affairs, done so through the use of liberal politicians in their visual communication. Seen in the 2008 Presidential election, were American Apparel promoted its ‘Legalise LA’ campaign within the ‘cool’ aesthetic of the

brands traditional advertsing. During the week were the largest numbers of States held their primary elections the company urged customers to consider Obama on the Democratic side and McCain on the Republican side. This political advertising was featured on their website’s homepage and aligned the politician’s ideals with the brands beliefs. Justifying their promotion of the two politicians because of their, “honesty on the issue of immigration” and “sympathetic civil rights concern”(Fashion Loves People,2008:Online). What’s more American Apparel made the plea more relatable to customers by using unconventional ‘vintage’ photographs of the two politicians; depicting them as the same age as their demographic (see fig 10,11). The intimate photographs in kept with their traditional aesthetic of advertising which uses images which are realistic looking, making their campaigns more personal. Lastly the company reflect upon their past DNA, by advertising the eclectic range of employees which reflects the “diversity” that the “company was founded on”(American Apparel:Online). Equally the strong emphasis on the State of LA makes the brand appear ‘home grown’ and un-commercialised unlike multinational companies who flee the western world to save money. Its promotion of goods which are sweatshop free, made by workers who are paid properly, further fuels the company’s constructed image of a brand which is individualistic and not a sell out to mass consumerism and globalisation. In summary by selling an aspirational brand narrative which is embedded in America’s heritage and current civil rights campaigns, consumers feel guilt free when buying and emotionally connected to the brand, creating a loyal and rewarding customer base.

Fig 10,11

THE other

It can be argued that American Apparel’s status as an iconic brand is due to their controversial advertising campaigns, which have gained immense popularity by shrouding their simple commodities with an idealised sex appeal. The provocative advertising success is rooted in condemnation by the public; sparking excess PR and media attention through audiences who criticise the images mature themes. American apparels hip and urban demographic praise the raw adverting which uses no airbrushing and display’s imperfections. Dov Charney’s branding strategy of vertical integration claims that all adverts are self-designed, created and printed at the American Apparel headquarters and personally inspired by him. The implications of this is that given Charney’s history of three sexual harassment lawsuits filed against him by co-workers and other alleged behaviour; this leads us to question the portrayed morals and promoted values of his advertising. Viewing the brand advertising campaigns as a manifestation of Chaney’s attitudes towards women, audiences can condemn American Apparel’s portrayal and promotion of demeaning

The ‘real’ women are submissive and objectified as products themselves. Seen, in a December 2004 print ad, where the clothing that the advertisement is trying to sell is barely indicated and instead bold text promotes the audience to ‘meet Sophie’ implying that the company is trying to sell the girl more than fashion apparels. Generically American Apparels adverts de-emphasise the subjects faces and instead emphasise their body parts (see fig 13). The social implication of de-emphasising model’s identity is that the brand is demeaning women’s values to a pornographic status and promoting this way of dress as desirable to young consumers (fig 12). Thus, the male gaze in the brand advertising further perpetuates the socially accepted stereotype of a patriarchal society. Like the Calvin Klein brand, American Apparel use the well-recognised brand strategy of selling sex, and like other advertisers use their products to play into “society’s intimacy question”. Done so by showing how their products help to meet the common needs of all consumers who “desire romance, intimacy and love”(Business Insider,2012:Online). In this view, American Apparel’s advertising can be seen to fulfilling a need that consumers look for when buying commodities. They perceive and long for an idealised image of themselves, such as desirability which through crafted advertising becomes fundamentally attached to their products.

Fig 12

Fig 13

To conclude...

Calvin Klein and American Apparel use social influences from the past to add credibility to their products, this creates the brand narrative which in turn appeals to a broad demographic. Furthermore both brands have become associated with the longings and attitudes of society by attachin emotion and idealistic perceptions to the products they advertise. These brands have remained credible over the years by focusing on attitude and scandal rather than commodities.

list of references 10) Mary Rizzo.2001.Embodying Withdrawal: Abjection and the Popularity of Heroin Chic. Ann Arbor, MI: MPublishing . Available at: http://quod.lib.umich.edu/cgi/t/text/text-idx? cc=mfsfront;c=mfs;c=mfsfront;idno=ark5583 .0015.004;rgn=main;view=text;xc=1;g=mfsg. [Accessed:14th December 12]

1)All Polotics. 1997. Clinton Decries ‘Heroin Chic’ Fashion Look. [ONLINE] Available at: http:// cgi.cnn.com/ALLPOLITICS/1997/05/21/clinton. mayors/. [Accessed 02 January 13]. 2)American Apparel. 2009. The American Apparel Factory and the American Dream. [ONLINE] Available at:http://www.americanapparel.net/ contact/legalizela/. [Accessed 17 December 12].

11) MURRY, T.M,2011.. Ck one Announces Global Sponsorship of MTV PUSH, MTV’s Breakthrough Artist Showcase. [ONLINE].Calvin Klein inc. Available at: http://phx.corporateir.net/phoenix.zhtml?c=93596&p=irolnewsArticle&ID=1666071&highlight=. [Accessed 11 January 13].Mtv push quote by Tom Murry

3) Berestein Rojas,L.B.R,2012. How immigrants are redefining ‘American’ in Southern California. [ONLINE] Available at: http://www.scpr.org/ blogs/multiamerican/2012/09/17/10012/study-lacounty-does-well-welcoming-immigrants-not/. [Accessed 02 January 13]. 4) Brooke Shields in the Calvin Klein Jeans commercial 1981. (2007). Brooke Shields in the Calvin Klein Jeans commercial 1981. [Online Video]. 17/06/07. Available from: http:// www.youtube.com/watch?v=YK2VZgJ4AoM. [Accessed: 10 January 2013].

5) Business Insider . 2012. 13 Brands That Use Sex To Sell Their Products . [ONLINE] Available at: http://www.businessinsider.com/13-brandsthat-use-sex-to-sell-their-products-2012-2?op=1. [Accessed 17 December 12]. 6) Fashion Loves People. 2008. Let’s get political. [ONLINE] Available at: http://fashionlovespeople. com/2008/02/04/lets-get-political/#more-57. [Accessed 21 December 12]. 7) Grunwald, Henry Anatole Grunwald (Editor), 1982. Brooke and Calvin Her Bottoms Up Commercials Have Made Klein the Best Known Name in U.S. Fashion. People Weekly Magazine, Single Issue Magazine , 1. 8) IBS Center for Management Research (ICMR). 2004. Calvin Klein’s Scandalous Advertising Morality vs Money. [ONLINE] Available at: http:// www.icmrindia.org/casestudies/catalogue/ Marketing/Calvin%20Klein-Marketing%20Case. htm. [Accessed 02 January 13]. 9) LOOKBOOK.nu. 2009. How do you wear American Apparel. [ONLINE] Available at: http://lookbook.nu/contest/3-Win-An-AmericanApparel-Modeling-Gig. [Accessed 21 December

12) New York Times:Eric Wilson. 2010. Stretching a Six-Pack. [ONLINE] Available at: http://www. nytimes.com/2010/05/13/fashion/13calvin. html?_r=0. [Accessed 18 December 12]. 13) Straub,J.M,2006.Who’s Your Daddy? . [ONLINE]Clamor Magiazine. Available at: http:// clamormagazine.org/issues/38/aa/straub.php [Accessed 17 December 12].

14) The Baltimore Sun:Vida Roberts. 1997. Fashion’s Bad Habit Trends. [ONLINE] Available at: http://articles.baltimoresun.com/1997-0529/features/1997149004_1_heroin-chic-fashionindustry-fashion-photos. [Accessed 02 January 13]. 15) Times topics:Calvin Klein.New York Times: Availible at: http://topics.nytimes.com/topics/ reference/timestopics/people/k/calvin_klein/ index.html [Accessed 08 December 12] 16) Vogue News:Laura Milligan. 2011. CK’s One. [ONLINE] Available at: http://www.vogue. co.uk/news/2011/02/22/calvin-klein-new-ckonecampaign-launch. [Accessed 13 December 12]. 17) VOGUEPEDIA.Steven Meisel. [ONLINE]. Vogue.comhttp://www.vogue.com/ voguepedia/Steven_Meisel. [Accessed 14 December 12]. 18) Worsley, H.W, 2011. 100 Ideas That Changed Fashion. 1st ed. p.142,192: Laurence King Publishing Ltd. 60s raw photography.

BIBLIOGRAPHY

Americanapparel.co.uk

Berestein Rojas,L.B.R,2012. How immigrants are redefining ‘American’ in Southern California. [ONLINE] Available at: http://www.scpr.org/ blogs/multiamerican/2012/09/17/10012/ study-la-county-does-well-welcomingimmigrants-not/. [Accessed 02 January 13]. Brooke Jeans Brooke Klein [Online from:

Shields in the Calvin Klein commercial 1981. (2007). Shields in the Calvin Jeans commercial 1981. Video]. 17/06/07. Available http://www.youtube.com/

New York Times:Eric Wilson. 2010. Stretching a Six-Pack. [ONLINE] Available at: http://www.nytimes.com/2010/05/13/ fashion/13calvin.html?_r=0. [Accessed 18 December 12].

IBS Center for Management Research (ICMR). 2004. Calvin Klein’s Scandalous Advertising - Morality vs Money. [ONLINE] Available at: http://www.icmrindia. org/casestudies/catalogue/Marketing/ Calvin%20Klein-Marketing%20Case.htm. [Accessed 02 January 13].

All Polotics. 1997. Clinton Decries ‘Heroin Chic’ Fashion Look. [ONLINE] Available at: http://cgi.cnn.com/ ALLPOLITICS/1997/05/21/clinton. mayors/. [Accessed 02 January 13].

American Apparel. 2009. The American Apparel Factory and the American Dream. [ONLINE] Available at:http:// www.americanapparel.net/contact/ legalizela/. [Accessed 17 December 12].

MURRY, T.M,2011.. Ck one Announces Global Sponsorship of MTV PUSH, MTV’s Breakthrough Artist Showcase. [ONLINE].Calvin Klein inc. Available at: http://phx.corporate-ir.net/ phoenix.zhtml?c=93596&p=irolnewsArticle&ID=1666071&highlight=. [Accessed 11 January 13].Mtv push quote by Tom Murry

Business Insider . 2012. 13 Brands That Use Sex To Sell Their Products . [ONLINE] Available at: http://www. businessinsider.com/13-brands-that-usesex-to-sell-their-products-2012-2?op=1. [Accessed 17 December 12]. Fashion Loves People. 2008. Let’s get political. [ONLINE] Available at: http:// fashionlovespeople.com/2008/02/04/ lets-get-political/#more-57. [Accessed 21 December 12]. Grunwald, Henry Anatole Grunwald (Editor), 1982. Brooke and Calvin Her Bottoms Up Commercials Have Made Klein the Best Known Name in U.S. Fashion. People Weekly Magazine, Single Issue Magazine , 1.

Posner, H.P, 2011. Marketing Fashion. 1st ed. Laurence King Publishing Ltd. PR Couture. 2010. Fashion PR: American Apparel Creates Lookbook with LookBook.nu. [ONLINE] Available at: http://prcouture.com/2010/03/11/ fashion-pr-american-apparel-createslookbook-with-lookbook-nu/. [Accessed 15 December 12].

LOOKBOOK.nu. 2009. How do you wear American Apparel. [ONLINE] Available at: http://lookbook.nu/contest/3-WinAn-American-Apparel-Modeling-Gig. [Accessed 21 December 12]. March, L.M,2003. The House of Klein: Fashion, Contraversy, and business obsession. Mary Rizzo.2001.Embodying Withdrawal: Abjection and the Popularity of Heroin Chic. Ann Arbor, MI: MPublishing . Available at: http://quod.lib.umich.edu/ cgi/t/text/text-idx?cc=mfsfront;c=mfs;c= mfsfront;idno=ark5583.0015.004;rgn=ma in;view=text;xc=1;g=mfsg.[Accessed:14th

Haig, M.H, 2006. Brand Royalty: How the World’s Top 100 Brands Thrive and Survive. 1st ed.

Straub,J.M,2006.Who’s Your Daddy? . [ONLINE]Clamor Magiazine. Available at: http://clamormagazine.org/issues/38/aa/ straub.php [Accessed 17 December 12].

The Baltimore Sun:Vida Roberts. 1997. Fashionâ&#x20AC;&#x2122;s Bad Habit Trends. [ONLINE] Available at: http://articles.baltimoresun.com/1997-0529/features/1997149004_1_heroin-chic-fashion-industry-fashionphotos. [Accessed 02 January 13]. Times topics:Calvin Klein.New York Times: Availible at: http://topics. nytimes.com/topics/reference/timestopics/people/k/calvin_klein/ index.html [Accessed 08 December 12] Vogue News:Laura Milligan. 2011. CKâ&#x20AC;&#x2122;s One. [ONLINE] Available at: http://www.vogue.co.uk/news/2011/02/22/calvin-klein-new-ckonecampaign-launch. [Accessed 13 December 12]. VOGUEPEDIA.Steven Meisel. [ONLINE].Vogue.comhttp://www. vogue.com/voguepedia/Steven_Meisel. [Accessed 14 December 12]. Worsley, H.W, 2011. 100 Ideas That Changed Fashion. 1st ed. p.142,192: Laurence King Publishing Ltd. 60s raw photography.

LIST OF ILLUSTRATIONS CALVIN KLEIN

Fig 1,2: Mashable, Online, 21/01/2013, http://www.ehow.com/how_7766559_cite-list-illustrations-mla. html Fig 3:Steven Meisel, (2011), ck one campaign s/s 11 [ONLINE]. Available at: http://models.com/work/ calvin-klein-ck-one-fragrance-ss-11 [Accessed 21 January 13]. Fig 4: Steven Meisel, (2011), ck one jeans f/w 11 [ONLINE]. Available at: http://models.com/work/calvinklein-ck-one-jeans-fw-11/53108 [Accessed 21 January 13]. Fig 5: Menâ&#x20AC;&#x2122;s Health, Online, 21/01/2013, http://www.menshealth.com/underwear/images/crotchshotpic. jpg Fig 7: Mario Sorrrenti, (1993), Obsession [ONLINE]. Available at: http://ris.fashion.telegraph.co.uk/

AMERICAN APPAREL FIg 9We Heart, Online, 21/01/2013, http:// www.weheart.co.uk/2010/03/19/ american-apparel-x-lookbook-nu/ Fig 10,11: Free Republic, Online, 21/01/2013, http://www.freerepublic. com/focus/f-news/1965095/posts Fig 12: Global Grind (Orginally American Apparel.com), Online, 21,01.2013, http://static.globalgrind.com/sites/ default/files/imagecache/gallery_ image/images/2012_december/04_ rsaphhct_p.jpg

Fig 8: Nan Goldin, (1982), Greer and Robert on the bed, NYC [ONLINE]. Available at: http://pictify.com/205778/nan-goldingreer-and-robert-on-the-bed-nyc [Accessed 21 January 13].

Fig 13: Business Insider (Orginally American Apparel. com), Online, 21,01,2013, http:// static3.businessinsider.com/