Trend Report A/W15

Figure 17, Elle Poland

Snakeskin Elise Lorenzo FASH10105: Visual Awareness Summative Brief N0615870

CONTENTS

Figure 18, Elle Brazil

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Front Cover

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Contents

2&3

Avertisement: Task 1A

4&5

Retail: Task 1B

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Creative Context: Task 2A

8&9

Cultural Context: Task 2B

10 & 11

My Big Idea: Task 3 References

12, 13, 14, & 15 16 & 17

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Advertisement

Figure 1, Givenchy A/W14 Advertisement Campaign

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Figure 2, Longchamp 2009 Advertisement Campaign

The Givenchy ad is their A/W14 campaign; snakeskin is

included on the model in the background of the image.

This could give the audience the impression that snakeskin is over powering, which is why it is located further in the background. The connotation of snakeskin, or a snake being powerful could be suggested by the positioning of this garment in the image; the eye is drawn straight to this model and garment in the image.

This model is the only one seated in the image, on red satin bedding, on a four poster bed; this colour and material could signify royalty or importance of the model and print. The fact she is wearing the snakeskin dress coincides with the idea that the snake is a superior creature of importance. This idea of superiority can also connote the idea that real snakeskin is worth a lot of money, and can be seen as a luxury product.

Its’ a dark image and gives the idea of a night time setting; there are also four young female models in the image, which together could connote the idea of a party, or small gathering. The dark, gothic make-up on every model can connote the idea of edginess, and perhaps youths rebelling against the norm. The use of snakeskin within this context signifies the dangerous, rebellious aspect of a snake.

In more recent year’s creative director, Riccardo Tisci has given Givenchy a more rebellious dark feel (Business of Fashion Article, 2015); with aspects such as the lighting and make-up, snakeskin could signify being a rebellious, dark print, as a snake can be associated with dark and dangerous characteristics. The selection of garments put together gives the image a busy feel, due to the

amount of print involved, which could connote the idea of ‘chaos’ linking with youths, and late night rebellion.

Longchamp’s 2009 ad campaign showcases their snakeskin tote bags. The snakeskin feature is front and centre of the ad, drawing the audience’s eye straight to the product. The positioning of the bag being in-between the model’s legs, is suggestive and a sexualisation of the product; this connotes the sexy, seductive nature that can be associated with a snake.

There are two women in the image, positioned interlocking at the end of a bench. This connotes a sexual, relationship between the two women, which it could also coincide with the sexual, seductive connotation of a snake.

Compared to Givenchy, Longchamp as a brand is quite simple which is communicated in their advertisement.

The setting is very plain, simple and colourful, whereas Givenchy’s is busier, darker and gothic. The superiority and intimidating nature connoted of snakeskin in the Givenchy campaign is not translated in the Longchamp ad. Instead, Longchamp are communicating the sexual, suggestive nature snakeskin could imply.

In both advertisements, the eyes are drawn directly to the snakeskin feature, either by placement, or due to the particular model wearing it.

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Retail

Figure 3, Alexander McQueen Bond Street Window Display

The Alexander McQueen VM display is a busy window, with various coloured serpents in the background, with similar coloured prints on the garment. The busy nature of the colours and the serpents could connote the idea of the unpredictability of the snake itself, as well as the brand it is representing.

The colours used could be described as ‘earthy exotic’ and connote the idea of nature; this represents the brand well, as McQueen is renowned for natural inspiration in his work (Chloe Fox, 2012). The colour palette used also reflects the idea of snakes in their natural habitat, whether that be in grassland or the desert.

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The image on the backdrop of this display is one from their S/S2010 campaign. The audience can just make out the woman in the image getting entangled by the several serpents around her; this connotes the idea that snakes represent danger

and unpredictability. They can be a mysterious, not knowing what their next move will be. This image could also connote the idea of dominance from the animal, the woman is overpowered by the snakes, making the advert more about them than the model, or garments.

The mannequin in the foreground of the display is drowned out but the background print and colours merging with the garments. This again suggests the snake and snakeskin is overpowering and a dominant print.

Even the mannequin itself has a snakeskin print on it; this paired with the woman covered in snakes could suggest that wearing snakeskin could create a second skin for the wearer. When you put on McQueen’s snake inspired garments, you become the sexy creature itself, connoting the sexualisation snakeskin can bring.

The Bulgari store in Tokyo had a giant snake installed on their building in 2013; this was around Christmas time, as well as the year of the snake on the Chinese calendar.

The snake has been wrapped around the building itself which connotes the movement of a snake itself, wrapping itself around it’s pray; the dominant nature of the creature.

The snake instalment is large to match the size of the building. This suggests the snake is meant to make the audience feel intimidated, or overpowered, as a snake could. The size of the instalment could also represent the brand itself; ‘We believe that the power of our brand is the foundation for future successes. All of our activities should reflect and nurture the corresponding style’. (Bulgari Brand Values Statement 2015) A company providing luxury products for their customers, which is suggested with the use of the large, bejewelled snake.

Figure 4, Bulgari Shop Instalment, Tokyo

“‘We believe that the power of our brand is the foundation for future successes.

All of our activities should reflect and nurture the corresponding style’.”

The two brands have used snakeskin well to represent their individual values; McQueen in a hectic, colourful way to represent the brands nature inspiration, and Bulgari in a simple, but grand way to represent the luxury the brand provides and reputation they hold.

Both brands have represented the snake’s connotation of dominance and intimidation, McQueen with the number of snakes used, whereas Bulgari has used one snake on a grand scale to communicate this.

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Figure 5, Alcoa Corporate Centre

Figure 6, Snake Bag

Figure 7, Nicholas Cage, Wild at Heart

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Creative Contexts Snakeskin is being worn here by Nicholas Cage in

Wild at Heart. The plot of the film carries a lot of danger with it, Nicholas’s character himself has been in prison for killing. The snakeskin used here could connote the danger in the character himself and a rebellious and careless attitude.

The setting of the image shown here, is a dessert plain, with a natural colour palette. The jacket being worn by the character in this particular setting could suggest the natural habitat and wild nature of a snake.

The art installation Snake Bag by artist Ai Weiwei shows a 55ft long snake, comprised of 360 children’s rucksacks. It was created to commemorate the 2008 Sichuan earthquake which left thousands of children dead.

The idea behind it was that the backpacks represent the scattered rucksacks left in the rubble, and the lives lost. (Alec Banks, 2011) The sheer size of the installation connotes the large damage done by the earthquake and the fact the artist has used a snake in particular, suggests the snake is an unpredictable being, and can be vicious at times, much like this natural disaster. A snake is also a representation of a ‘wicked cunning’ in Chinese tradition, so seemed suited perfectly for the meaning of this installation. (Alec Banks, 2011) The Alcoa Corporate Centre in Pittsburgh has a wave like feature to the side of the building, mimicking the movement of a snake. The six-story building consists of up to five 3D features on the front, exaggerating the movement the glass has been given. The large size of the building mixed with the snake-like movement

could connote the feeling of intimidation and power, just like the animal itself; in the corporate world, this could be the exact feeling they want to give the rest of the industry.

The wave-like motion, mimicking the snake’s movement, could also, perhaps, be a connotation of the animal’s natural feel. Being such a corporate company, instead of having a big, simple, corporate-like building, they may have wanted the building to feel more ‘at one with nature’, hence the flowing motion of the building.

The grated structure of the 3D features on the building connote the idea of scales, like on a snake’s skin.

This is also reflected on the glass as panelling. This, again, creates the feeling of a giant snake, intimidating and powerful.

All three images share the snakeskin mimicry; the jacket itself has a snakeskin print; the rucksacks in the art instalment create a pattern similar to that of a snake’s skin, and the grated features, and reflected panelling on the architecture also create the connotation of a snake’s skin.

All three images also connote the idea of intimidation and dominance; the character in the film is known for killing, and the snakeskin represents his rebellious, dangerous side, something we should be intimidated by. The giant art instalment represents the devastating uncontrollable nature of an earthquake, again, something we should be intimidated by. Finally the building is large and corporate, an intimidating concept.

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Figure 8, Elizabeth Taylor as Cleopatra

Figure 9, Eve and The Snake

In Greek mythology, snakeskin and snakes can be seen

as a sign of power. Medusa was known as a Gorgon sister, whose eyes could turn anyone to stone – they would be killed instantly. She had snakes for hair, given to her as punishment for forgetting her vow of celibacy. The snakes represent the evil nature given to the once beautiful woman. Her powerful nature as a woman fits in perfectly with today’s society, where women are encouraged to feel powerful. This could be a reason for a snake’s dominant connotation today. Her powerful nature could also be seen as sexy to some; this could coincide with the sexualisation we give to snakeskin as a print today.

In addition, in today’s society if someone is disloyal to you, they could be called ‘a snake’. This coincides well with this Greek myth; Medusa was disloyal to her own beliefs and vows, and therefore was turned into a snake-like creature.

The story of Adam and Eve involves a women being seduced by a snake, to eat the poisonous apple. This story emphasises a snakes seductive connotations, and brings the idea of a woman wanting something she cannot have to the present day, and being seduced to take it anyway.

This could link further with the sexy connotation a snake has today; being sexy is a seductive nature.

The story of Cleopatra involves her killing herself with a poisonous snake, over love. She thought her true love had died, and with the thought of living without him, and war over her empire about to strike, she killed herself (Susan Ardizzoni, 2014).

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The snake here signifies the love she had, and the powerful nature the snake had over her. In today’s society, the seductive power of a person or product can make a person want it, even when they shouldn’t.

In all three cases, the snake represents narratives and messages we recognise and use in the present day.

With the story of both Medusa and Cleopatra the snake represents power and dominance, something which, for a woman, is used and recognised a lot today.

“a woman wanting something she cannot have...”

Brands can use the message of dominance and power to sell widely to women of the 21st Century; with feminism at its highest and the strive for equality dominant, it could be the perfect motif for a powerful narrative.

The seductive, sexy nature of the snake in the Adam and Eve story as well as the myth of Medusa is a strongly used connotation in today’s society. This connotation has been adopted, from these stories and others, and could be seen as one of the strongest signifier’s a snake and snakeskin can portray. The idea of a snake being seductive is perfect for brands wanting to lure consumers in to buying products they may not necessarily need.

Cultural Contexts

Figure 10, Medusa

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The Big Idea My big idea involves a virtual interactive experience

for consumers. I got the idea from an interactive window at my local shopping centre which allowed consumers to click a button on a touch screen and win a prize. I really liked the idea of consumer interaction and so, I have combined this interactive idea with snakeskin in window displays.

My idea will allow the consumer to see an outfit or look they like in the window, click a button depending on the type of look they’re going for, and a hologram of

Figure 11, Photoshop Collage of Inspiration

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the outfit on the mannequin will appear on them. The looks will reflect the different connotations snakeskin can portray.

For example, Toxic Goddess linking with Cleopatra; Dominant Medusa and Seductive Eve. There will be a mirror available for the consumer to take a look for themselves, as well as take a photograph and further the publicity by sending to social media. By tagging the brand, it will give the incentive of appearing on the brand’s social media pages.

Figure 12, Toxic Goddess Window Display Collage Example

Figure 13, Dominant Medusa Window Display Collage Example

Figure 14, Seductive Eve Window Display Collage Example

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Figure 15, Big Idea Window Display Example

The window will have a jungle theme, and the snakeskin inspired collection displayed on mannequins. The mannequins will be set out in a basic way, facing the front of the window, on a higher platform. A mirror will be located directly underneath each mannequin, facing the consumer, with three switches, allowing them to change from look to look within the collection.

I liked the idea of combining future technology with visual merchandising to create something interactive. The customer will be able to try something on that they may not normally try, in a quick and easy way. This technique will save searching for the product seen in the window in store, as well as saving time trying the garment’s on, with the risk of it looking bad.

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For a brand such as Topshop, this interactive experience would be perfect for attracting more customers. Topshop as a brand can sometimes have quite an alternative look for some consumers; snakeskin as a print, texture or digital design can be extreme, edgy and alternative. This interactive experience will allow the customer to quickly pick which snakeskin look they’re going for and decide there and then whether to go in and buy. It will draw in more and more consumers, and perhaps even increase sales. Customers will be trying on the edgy snakeskin patterns and prints which they may not have tried before.

This window could be available for a limited time, therefore creating a buzz quickly for the brand. It could also be located somewhere central and relevant to the brand, such as London, Topshop’s hometown. As snakeskin is not a classic look all year around, like a denim jacket, brands could afford to spend more on these types of innovative visual merchandising ideas. Snakeskin can pop up as a dominant trend from season to season, such as last year in A/W15, (WGSN) therefore something that may only appeal to a certain target market would need to reach out to, and interact with as many consumers as possible.

Figure 16, Big Idea Window Display Example

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List of Illustrations Figure 1 Givenchy A/W14 Advertisement Campaign by Mert Alas and Marcus Piggott, Available at: http://slfmag.tumblr.com/post/90807940693/butterfly-snake-skin-print-dresses-givenchy Figure 2 Longchamp 2009 Advertisement Campaign by Mert Alas and Marcus Piggott, Available at: http://www.popsugar.com/fashion/Longchamp-2009-SpringSummer-Ad-Campaign-2608647 Figure 3 Alexander McQueen Bond Street Window Display S/S10 Available at: http://secretlifeofmannequins.blogspot.co.uk/2010/04/snake-charming.html Figure 4 Bulgari Shop Instalment, Tokyo 2013 Available at: http://www.wgsn.com.ezproxy. ntu.ac.uk/content/board_viewer/#/24317/page/3 http://www.taito.fr/ending-the-dragon-getting-ready-for-the-snake/ Figure 5 Alcoa Corporate Centre constructed 1998, Available at: http://www.alcoa.com/ building/en/al_green_design.asp Figure 6 Snake Bag, 2011 by Ai Weiwei, Available at: http://hypebeast.com/2011/10/art-platform-2011-ai-weiwei Figure 7 Nicholas Cage, Wild at Heart 1990 Available at: http://athenacinema.com/wild-at-heart-lets-do-lynch/ Figure 8 Elizabeth Taylor as Cleopatra 1963 Available at: http://www.allposters.co.uk/gallery.asp?startat=/getthumb.asp&CategoryID=67047&txtSearch=cleopatra Figure 9 Eve and The Snake 2015 Available at: https://uk.pinterest.com/pin/490188740672964322/ Figure 10 Medusa 2015 Available at: https://www.google.co.uk/search?noj=1&tbs=isz%3Al&tbm=isch&sa=1&q=medusa&oq=medusa&gs_l=img.3..0l10.22374.230 18.0.23134.6.5.0.1.1.0.79.315.5.5.0....0...1c.1.64.img..0.6.318.61B4dGcsE1c#imgrc=ok6-Tw6 mZPN3VM%3A Figure 11 Photoshop Collage of Inspiration 2015 (Own Work), Images used available at: https://uk.pinterest.com/eliselorenzo/big-idea-x-snake-skin/ Figure 12 Toxic Goddess Window Display Collage Example 2015 (Own Work), Images used available at: https://uk.pinterest.com/eliselorenzo/big-idea-x-snake-skin/

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Figure 13 Dominant Medusa Window Display Collage Example 2015 (Own Work), Images used available at: https://uk.pinterest.com/eliselorenzo/big-idea-x-snake-skin/ Figure 14 Seductive Eve Window Display Collage Example 2015 (Own Work), Images used available at: https://uk.pinterest.com/eliselorenzo/big-idea-x-snake-skin/ Figure 15 Big Idea Window Display Example 2015 (Own Work), Images used available at: https://uk.pinterest.com/eliselorenzo/big-idea-x-snake-skin/ Figure 16 Big Idea Window Display Example 2015 (Own Work), Images used available at: https://uk.pinterest.com/eliselorenzo/big-idea-x-snake-skin/ Figure 17 Elle Poland, March 2014 by Marcin Kempski, Available at: http://visualoptimism. blogspot.co.uk/2014/02/patrycja-gardygajlo-by-marcin-kempski.html Figure 18 Elle Brazil, February 2014 by Hugo Toni, Available at: http://www.bloginvoga. com/2014/02/06/elle-brazil-february-2014-carolinne-prates-hugo-toni-editorial/

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List of References Alec Banks, Art Platform: Ai Weiwei 2011. Available at: http://hypebeast.com/2011/10/art-platform-2011-ai-weiwei Bulgari Brand Values Statement 2015. Author unknown. Available at: www.bulgari.com/en-us/living_values Business of Fashion Article 2015. Author unknown. Available at: http://www.businessoffashion.com/community/people/riccardo-tisci Chloe Fox, Vogue on Alexander McQueen 2014 Susan Ardizzoni, Ancient Origins Article, 2014. Available at: http://www.ancient-origins.net/history-important-events/dramatic-death-cleopatra-was-it-really-suicide-002117

Word Count: 2420

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