From a 360 (Journey Book 1)

REFLECTION WHAT’S NEXT......

ABSTRACT

Some beautiful paths cannot be discovered without getting lost. That is why the journey is so pivotal to oneself. There is a beauty in the bewildered and an ugliness in the afraid.

A research process involves an array of trails, all of which are ventured down to identify if their destination is suitable to one’s criteria. Within the journey, the pathways hold diversions. These are located as a guide to alternative routes, some of which may challenge and test capabilities. The diversions can hold solutions one may not have considered initially, but they may just carry explanations to push one back onto the road being travelled too. There may be roundabouts, a labyrinthine of courses, and hurdles to overcome, but ultimately- the journey presents you with a haven, somewhere completely unexplored unless travelled comprehensively.

This is a simple elucidation of my journey, anyhow. And this will be presented meticulously in a culmination of six consecutive books.

INTRODUCTION

The following six research books portray a written and visual interpretation of my thorough research process towards a finalised campaign concept. You can observe the entire route, including the diversions, and note my in-depth analysis, determining whether the bus-stop ideas will be taken forward or not. Notions from previous modules are considered and have stimulated my decision making, congregating with new key influences and periods in history which have led me onto an autonomous path.

Whilst evaluating my own skill set and how this can be expanded to wholly push myself, I have concluded with a project proposal in which I am confident to admit characterises me and my creativity.

So, sit back and enjoy the ride, it’s not always linear with Eleanor.

BRAND ME RECAP

I’d be lying if I said the journey started at the roots of this book. You could say it commenced in the midst of 2020, when I began the FMC course. However, that’d be a lot to condense into the one journal wouldn’t you say? So, we’ll fast-forward to the Concept and Direction module, the genesis and synopsize of me, my brand and who I thought I was.

Through a range of probing questions and explorations into my background, the summer research task enabled me to analyse myself, internally and externally, underpinning my foundations as a creative and acting as a steppingstone into Brand Me. Here, I exposed parts I had hidden away from the rest of the world, mostly due to embarrassment and fear of ridicule. My parents’ separation initiated a lack of trust, whereby my mentality adhered to-if the people closest to me could abuse this, anyone can, and this reasoned as to

why I became so solitary and muted- something I express so outwardly in my personal style and at times within my own work too. Being independent came at a cost and in the premature years of high school I was bullied. I didn’t comprehend this at the time, but this period shaped me considerably, particularly as a creative. And as I unravel my journey to you, the reader, you too can see how my comfort zones are confronted to conquer the fear of critique and how, my once, escapism of reading and theatrical arts has influenced its way into my work.

My objective for these final stages is to produce something which releases the negativity of these afflictions, which employs the forms of escapism, and translates them into a positive nature. Undoubtedly, my FMP will consist of dedication and hard work, but I believe it will provide healing too, allowing me to be who I am and do what I want with confidence.

The journey for me is just as significant as the outcome. It is where I find my feet and unleash my inner researcher. Brand Me firstly observed the Eleanor who runs back to the safety of minimalism when confronted with new projects yet concludes with her maximalist tendencies and yearn to be unreserved. This has been persistent throughout all modules, and it is most satisfying and priding to see her progression. Brand Me allowed me to address the familiarities through researching into brands like Celine, Jil Sander and Jacquemus but encouraged me to realise I am far better than the comfortable and quiet. Towards the end of this component, I granted myself the liberation to test the waters of uncertainty by delving into designers and magazines who adhered to non-conformist approaches. Going forth to the 360 campaign, I was determined to maximise on these findings and utilise the skillset I accustomed myself with to build on a potential concept which bridges a gap in the market.

360 CAMPAIGN RECAP

At this stage, it was all or nothing. I acquainted to the notion that my journey may not correspond with others or suit the outwardly facing Eleanor many are acclimated to, but instead embarks her inner courage and daring nature to be different. To push her potential and exhaust her limits.

The 360 part of the Concept and Direction module observed the dots progressively being connected- for me, there was no race to see what the end picture metamorphosed into, I learned that the gradual practice of researching drives me to a position of a strong and reinforced outcome.

Within this component I proposed feasible concepts for my FMP by initially taking areas of Brand Me, including Hedi Slimane and Robbie Spencer, and investigating into them further to resurface the rebellious essence of my brand. Here, my studies broadened, and I discovered a gap in the market which suited both minimalistic and maximalist qualities I possess.

My findings discerned an alienation in traditional brands, who are accustomed to their values and heritage attributes to remain prevalent. By centring my project around Generation Alpha, considering their nature and desires from retailers, it was evident to me that these brands would decline in forthcoming years due to not commercialising for this generation’s needs. I delineated a correspondence between society in the 1970’s and civilisation today too and believed a resurgence of rebellion could soon reappear.

WHERE AM I NOW?

To bridge the gap between growingly outdated brands and Generation Alpha, I aimed to create a three-way collaboration which pushed a brand of this title into a new conceptual market so it could form a long-lasting impression on a younger consumer and sustain its legacy. Its purpose was to address what is happening in the world currently and use it as a platform for self-expression and voice by utilising non-conformist dressing (like the punks) and a public figure from the music industry. This ensured a Generation Alpha audience would resonate with the collaboration and thus, purchase into it. My 360-campaign concluded with two potential proposals:

1. A collaboration between Jil Sander, Charles Jeffrey and Matty Healy

2. A collaboration between Jil Sander, Mateo Velasquez and Machine Gun Kelly

Courage.

During the final stages of university, I aspire to release an attitude which is beyond fierce and has a strong willingness to challenge. Reflecting on my 360 campaign, I could pinpoint an aspect which was limiting me from achieving this completely. It was grasping onto the last safe option, an element which I believe to have represented the introverted and shy side to Eleanor. See, I believed my brand had to wholly represent me superficially and for that I struggled. My style is conflicted, jumping between minimalist and maximalist, and it was this minimalist side which was halting me from creating the unimaginable and bold. I have now realised this clashing personality is already present within my work, without the need to incorporate minimalism. There is an uncanny ugliness to what I produce, yet a ‘prettiness’ to its perception too, and I will continue to work like this because it is my natural form of illustrating me through creativity. As I approach the finishing line of my degree, the masses of knowledge, interest and innovative concepts is urging to be released through a newfound confidence to be who and whatever I want to be in my work. I entail for my FMP to present a robust narrative, embracing a story told through literature and imagery, incorporating the multitude of research underpinning its development.

For this to be achieved successfully, I must now critically analyse my preliminary concepts and examine if all the latter elements of my 360 campaign should be taken forward or if some are better disposed in the fashion archive.

Is less more?

Jil Sander was the first collaborator I designated for my 360 campaign. The minimalistic brand encompassed the stripped back and relaxed qualities I appreciate when it comes to my own personal style. However, reflecting on my prior hand in and the test imagery shoots I conducted, I felt the label was lost amongst the contrasting prints and subcultural connotations of its collaborators. I felt it was necessary to reassess Jil Sander and explore what the brand could bring to the collaboration, depicting if it remained a viable fit for bridging a gap in the market as well as discerning if it excelled my capabilities and pushed the boundaries I desire. To accomplish this, I have undertaken a case study into the brand, as well as established a 5x5 methodology of the areas which could be carried forward if a collaboration was to remain.

History

The German fashion house of Jil Sander originated in 1968, Hamburg by Jil Sander herself as an ode to minimalism through contemporary tailoring and punctilious craftsmanship in ready to wear apparel. The label was renowned for its “unconditional dedication to design, combining elegance and purity with innovative materials” (OTB, 2015). The 90’s decade observed a revolt against the vivacious and flamboyant designs of the 80’s, and the work of Jil Sander thrived in celebration of clean-cut silhouettes and classic styles of neutral colour palettes. Amidst cited disagreements with shareholder, the Prada Group, Jil Sander was in and out of her Creative Director role, handing the reigns to numerous fashion titles including Raf Simons- a period of Jil Sander I adored most for its fresh scope on minimalism, heightened gender bending forms and youth appeal through colour and print. Today, Luke and Lucie Meier are at the helm of Jil Sander “reimagining the brand from a modern functionality lens” (Business of Fashion, 2022) drawing it back to the origins Jil Sander once curated for her label.

The style of a Jil Sander collection is undeniably simplistic in comparison to the vivid hues of the 80’s. There is a keen eye for small details and a perfected flair for sharp cuts, precision tailoring and structure. As the brand has progressed, an emphasis on androgynous styling has been noted, diminishing the brands once reputability for providing understated clothing for high paid “businesswomen”. Jil Sander has never lost its traditions of luxurious minimalism, craftsmanship and modernity which all creative directors have integrated in their own modes of fashion design over the years.

As a high-end luxury label, Jil Sander is segregated towards a more millennial target market with sophisticated taste. Its conservative, simple, and tailored fits are appreciated by an audience of work orientated individuals with disposable income. The quality and form of the garments are designed for consumers favouring longevity and staple pieces which can be alternated with other outfit choices to create a wardrobe. The neutral palettes are adaptable for any generation to style; however, their marketing and reach is far from suitable to younger cohorts who want innovation and experiential notions from a brand, and therefore don’t recognise the likes of Jil Sander amongst competing companies.

WHY IS JIL SANDER ACKNOWLEDGED AS THE QUEEN OF LESS AND HOW IS THIS INFILTRATED INTO THE BRAND?

Within her tenure, Jil Sander achieved a balance of sobriety and elegance (Kedves, 2018) and this is sustained presently in the brands employment of understated luxury and minimalistic compositions. Jil Sander entirely focuses on the brand silhouette, ensuring it remains strong and pure in style through full bodied materials of neutral colours and structured shapes (Sabahu, 2020). This is translated into their campaign strategies which enhance an additional conceptual spin and heightened femininity and romanticism.

Past Creative Directors like Raf Simons incorporated a youthful essence into the label through pops of colour and voluminous shapes- straying its seriousness slightly and embracing a younger culture. As stipulated, this was one of my favourite eras which I resonated with because it injected Jil Sander with some much-needed personality, whilst adhering to the values of minimal design. It defied traditions of gender and challenged the brand, like no other direction had done before. Today, Luke and Lucie Meier have exposed the brand in a similar fashion, showing their attempts to maintain the minimalistic brand qualities, but gauging a playful tone to moderate the coolness that minimalism can represent.

Personally, I discern emotion in a Jil Sander campaign through the models posing, movement and expression and I think this works effectively for contrasting with the harsh structures and clean cuts of the silhouettes.

WHY IS JIL SANDER PLACED WITHIN THE LUXURY MARKET AND HOW IS THIS REPRESENTED IN THE BRAND?

I have consistently referenced how Jil Sander prides itself on prestigious composition, embodying a uniform of sleek shapes and irrefutable sophistication, which is why it is placed in the upper fashion hierarchy. Here, it is sat alongside brands like Celine, The Frankie Shop and The Row, all of which embrace a similar allure to minimalistic facets and are perceived as strong contenders to the brand. Quality is important to the luxury value of Jil Sander, therefore materials including calf leather, lamb leather and cashmere wool are employed to reflect this, as well as simplistic palettes of colours and patterns to conform with the refinement it desires to evoke. Many of the garments are fabricated in Italy and Portugal, utilising their finest fabrics, and employing workers with high standards and a fair living wage, thus accentuating the reasoning behind their expensive product costs.

WHAT COLLABORATIVE PROCESSES HAS JIL SANDER BEEN INVOLVED IN AND HAVE THEY SUCCESSFULLY REACHED THEIR INTENDED MARKET?

Personally, I believe that the collaborations Jil Sander have embarked in so far are unusual.

One of their most successful has been with fast fashion brand Uniqlo, titled +J. Designed by Jil Sander, +J challenged industry conventions of luxury and accessibility in a mission to simplify life with straight urban quality pieces (Uniqlo, n.d). Despite its success, I do question if this could have hindered the ‘luxury’ appeal to the brand by merging it with disposable fashion. Fast fashion is undeniably acquainted to cheap materials and unfair working conditions, therefore by combining a brand quoting to hail elegance and purity, amongst the latter, I often ponder if this is contradicting. I appreciate the strategy behind infusing functionality to affordable garments, and how this collaboration would have driven Jil Sander into an expanded consumer market, but with an emerging generation craving sustainability in the industry, such processes can be interpreted tedious and would not receive as desirable attention in the future.

Another collaboration involved Arc’teryx, an outdoor equipment company, known for leading innovations in climbing, skiing and alpine technologies (Arc’teryx Official, n.d). Many of the Jil Sander campaigns have a landscape feature, embracing nature and coastal areas. Nonetheless, this collaboration appeared bizarre since there was no relationship between the elegant assets of Jil Sander and the mountaineering, practicality components of Arc’teryx.

My confusion was iterated within consumer reactions too, where some titled the garments ‘unpractical’ for their requirements, and logo-centric where the brands have placed more emphasis on profit through logomania, than design. I appreciate how Jil Sander initiated curiosity through such ventures, but it has proven to me the importance of consideration in collaboration and how the process must benefit all brands and consumer markets involved.

WHY IS JIL SANDER FAMILIARISED WITH A MILLENNIAL MARKET AND HOW CAN THIS BE CONSIDERED CONTROVERSIAL IN THE INDUSTRY TODAY?

Jil Sander thrives itself on a pure style which identifies with a woman of femininity devoid of frivolity but not of seductiveness (Sabahu, 2020), thus pushing the brand towards a more mature class. The upcoming cohort of Generation Alpha appreciate the innovative and unique, which Jil Sander accustoms to somewhat, but with no intentions to be light-hearted and more expressive, it could be portrayed as a boring and an unrelatable brand for the young. I still familiarise Jil Sander with a middle-aged pen portrait who has disposable income, a wealthy background, lavish lifestyle, and no concern for logomania .

From my research within this sector and my 360 campaign, I have recognised that Jil Sander’s marketing strategies accommodate to a millennial market as they remain strict in format and rich in emphasising the clothes quality and attention to detail. Although this is great, their promotion stops here and there is little to no interactivity where they can bring in a younger Generation Z and Alpha consumer who want more experiential notions from brands today, particularly in social media.

Youth appreciate androgynous and gender fluid designs as they inhabit inclusivity in their mottos- elements which Jil Sander embraces in their structured tailoring and harsh cuts. If they pushed these further in their strategies, they may shine a contemporary and forward-thinking lens on the brand to propel it in the prospective.

W O

• Secure and highly acknowledged brand identity and values (strong legacy)

• Highly denoted and prevalent amongst minimalistic labels

• Accomodates well with THEIR target market

S• Current founders, Luke and Lucie Meier are slowly bringing a youthful appeal back into the brand

• Part of the OTB group (which homes other dominant luxury brands and encourages wider revenue)

• Diffusion line accomodates to a slightly younger consumer and at better value for another audience to purchase into

• Millennial marketed, thus doesn’t cater to a youthful consumer of Generation Alpha at all.

• Stuck on brand values and identity, meaning they are not experimental or provocative in their approaches - no wow factor

• Campaigns appear repetitive- remained a similar layout for decades- lacks newness

• Content is not relatable. Feeds consist of new products and campaigns, demonstratig there is a lack of interaction between brand and consumer.

• Their marketing is very traditional and stripped back. There is no personality through stories, for example.

• To connect with a younger consumer. Jil Sander will begin to deteriate if it continuously utilises the same marketing strategies to fulfill the needs of their millennial audience.

• To inhabit a refreshed USP.

• Increase their sustainability habits and transparency to accomodate to the desires of youth wanting a cleaner environment

• To create brand-to-consumer interaction and brand presence through social media (show personality through BTS, reels of the atelier, staff, TikTok)

• Brand expansion through unqiue collaborative processes, better promotional strategies, engaging wth influencers for example.

• Strong competitors in the same area of the market who are creating more personalised and interactive experiences for their audiences,

• There lack of social media presence will affect the brand in years to come.

T• Standard campaigns and methods of marketing may see their revenue dropnothing different about them.

• Fast fashion brands are emulating such brands like Jil Sander’s styles and selling them for far cheaper prices whilst promoting them to a younger consumer.

• Competitors like Acne Studios have sky rocketed due to influencers, including Molly Mae, wearing their products. Jil Sander don’t affiliate with their buyers or influencers, therefore missing out on a massive revenue boost.

JIL SANDER CONCLUSION

Despite having an inkling that Jil Sander wasn’t the correct fit for my FMP finalisation, I wanted to ensure that this area was explored thoroughly so I could identify where I was to proceed next.

Personally, Jil Sander was too safe. Minimalism is very familiar to me and having that small component felt like a comfort zone- somewhere I don’t want to situate myself for these final stages. Although I originally planned to merge the brand with a maximalist label, I felt their values and aesthetic would be absent and my creative peripheries would take over, which is good because it demonstrates I am beginning to come into my own space again! I have, thus, decided to eliminate Jil Sander so I can continue to push myself and seek what lies beneath the comfort blankets. A collaboration with the music industry, where I can combine artful worlds, remains to excite me, therefore I am keen to study this greater within the next steps of my journey.

MATEO VELASQUEZ

Risk?

Mateo Velasquez was the second contributor I considered within my 360-campaign. I discovered Velasquez on a whim when conducting research into designers who are influenced by pop punk and have similarities to Charles Jeffrey’s style.

I had great admiration for his designs, and as an emerging designer graduating from Central Saint Martins, I felt this fictitious collaboration could benefit the brand as a platform to propel his name, as well as the frustrations of Generation Alpha with society. At this phase of my development, I was searching for different. I wanted a brand no one was aware of to alleviate comparison and to present something tangible. By eliminating Jil Sander, it has left open a space for another collaborator.

Reviewing this brand at a greater extent will support in analysing if it is a more fitting proposition for my purpose. I have again culminated my research into the form of a case study to fulfil this.

Deriving from Columbia, menswear designer and sustainability advocate Mateo Velasquez is a recent graduate of Central Saint Martin’s fashion school of 2017. Upon debuting his brand under ‘Velasquez’ in 2019, Mateo has since leveraged his designs to act as a muse for his style preferences and to identify himself in garment form. His label is one of self-expression and operates as a safe space for the support, empowerment, and collation of communities, including that of LGBTQ+. The notions of self-belief and education within his work truly resonate with similar impressions I want to portray within mine. Velasquez uses his designs to spark conversation by confronting traditional stereotypes and societal themes, breaking them down to evoke disruption and need for change. Using his platform to influence and inspire, I was keen to collaborate with such a brand which can translate protest through fashion forms.

History Style

The Velasquez style reminded me of Charles Jeffrey’s with an additional nod to the queer community and glamour as represented in the styling and stance of the models in the mood board to the left. Wanting to maintain subcultural connotations within my project, Velasquez notably references the 70’s punk era and Vivienne Westwood facets, alike Jeffrey, through a range of tartan prints, restricting accessories and heavy editorial makeup.

His ‘Pretty in Punk’ and ‘Leather Boys’ collections carried these influences, whilst providing a powerful message of blight for masculinity typecast. “My mission is to prove that we can keep creating, we can continue to express ourselves creatively, but doing so responsibly”

(Velasquez, 2021) I also appreciate how Mateo Velasquez’s designs are thoughtfully curated, transparent and climate friendly through the exploitation of recycled and upcycled materials. For my collaborative purposes this could work suitably with a Generation Alpha consumer who is presently placed at the forefront for saving the planet.

Velasquez is situated towards an androgynous market, mitigating a one size fits all criteria: instead, embracing individuality and a unity for one to be themselves in his garments. Mateo’s work is primarily showcased on social platforms and websites, hence placing the brand at a younger demographic who appreciates sustainable procedures and selfexpressive collections as well as contemporary formats of marketing. The Velasquez consumer is conscious yet confident and is unafraid to battle perception. They do not conform to the conventional and seek to use their clothing as an armour to perform as their voice for demanding change and rebellion from the majority.

As an avid researcher, there wasn’t enough information within secondary sources to suffice my explorations so I decided to contact the Velasquez Instagram page ran by Mateo Velasquez himself as an attempt to gain first-hand information which could endorse my studies.

The message was sent on my university page, as a professional approach for him to look at my work simultaneously. I politely asked if he would consider engaging in a Q+A via message or video call whilst complimenting his work and its relatability to my project. Unfortunately, I did not receive a response and his account has not been updated since December 2022, reasoning as to why.

I believe if I had the opportunity to conduct this interview it would have provided me with a greater hindsight into how I could have potentially taken his brand forward.

CONTACTING

REFLECTION

Due to not obtaining enough information regarding his brand, I believe that Velasquez is no longer a feasible fit currently for my FMP. Despite not going forward with this avenue, unearthing a more obscure and youthful designer proved beneficial as the emerging possess fresh perspectives and visions for the industry, which I can source influence from. It was interesting to evaluate his ‘protesting’ approach to fashion and how he adapts it to a younger market, especially when reflecting on societal happenings of today too. This, alongside his styling, will definitely be acknowledged for future reference if my concept is to remain of similar categorisation.

I felt Velasquez’s work was too similar to my other suggested collaborator, Charles Jeffrey, and in merging them both it wouldn’t furnish a robust outcome which catered to a viable gap in the market. Taking Charles Jeffrey forward appears to be an appropriate way of preserving aspects of Velasquez’ style, whilst integrating his additional inspirations and methods of working.

VISION BOARD ANALYSIS

In the first weeks of my journey, I devised numerous physical pinboards containing my thought processes and visual interpretations to present to my tutor, Tracey Hall. These were beneficial for dissecting what elements were jumping out at me and what was halting me from progressing. The board below combined all the brands I have deliberated in this book with a labelled analysis containing notions for how I envision my final major project to look. Reflecting on this, you can strongly perceive how Jil Sander was lost amongst the audacious dressing and gender blurring imagery it was surrounded by, and there is a key theme of defiance in the poses, styling, and makeup of the photos I have selected instead. Charles Jeffrey is overriding many of the images, therefore I believe my decision to take him forward into my next stages where I’ll explore his brand at a larger extent was a suitable one.

I am interested to explore why I connect with such challenging topics by next scoping into fashion activism and how garments are a visual currency for presenting an unheard voice.

SUMMARY

The contents of this book have demonstrated to me how my preliminary visions are not always the ones designated for finalisation. By investigating into Jil Sander and Mateo Velasquez, I have acknowledged how these were not suitable in pushing me to achieve my optimum and there’s a continuous journey ahead of me ready to be explored. I appreciate how I have taken the time to consider these so I can achieve the latter successfully, whilst encouraging my personal brand to be wholly who it wants to be without the holdbacks of comfort zones. Meticulous analysation has proven advantageous for ensuring I perceive every aspect of a brand, and this will be continued throughout my next books where I will delineate new areas of research and critique to evaluate if they are appropriate for excelling my brand, as well as affixing a gap in the market which requires a creative solution to push my finalised collaborative duo to brand expansion through strategic planning and marketing.

UP NEXT: TURNING BACK TIME (JOURNEY BOOK 2)

BRAND MANAGEMENT

J86800

JOURNEY BOOK-1