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To bridge the gap between growingly outdated brands and Generation Alpha, I aimed to create a three-way collaboration which pushed a brand of this title into a new conceptual market so it could form a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:

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.