INTRODUCTION A GAP IN THE MARKET STUDY THE MEDICI EFFECT WHY A COLABORATION A CONVERSATION WITH INDUSTRY PRIMARY CASE STUDY CONCLUSION REFERENCES FOR ALL BOOKS COMING UP...
Every journey has to come to an ending somehow, and this is where mine concludes.
The previous five books have shown a full-proof documentary of my research, reflective and analytic stages, leading up to me designating a strong collaborative partner to sit alongside Charles Jeffrey to bridge an updated gap in the market. As quoted at the beginning- the journey isn’t all that pretty, nor is it straight forward! Throughout my duration of university, one key aspect I will take forward forever, is that your journey will always takes you to the destination you need to be. And for me, it wasn’t clear from the start, and I doubted it amongst stages. It endured the twists, turns, and roundabouts, as I deliberated in my first chapter. But soon enough, everything aligned and placed me in a position where I have a robust and fortified outcome which I am proud to present in my next books, starting with The Underground.
The following culmination of pages share my last parts of development before guiding you into my Visual Campaign. I will explain my new gap in the market, how this will be fixed and why I believe my methodology of a collaboration remains a suitable fit, whilst communicating the opinions of leading industry professionals and how this has guided me into my final steps.
The future of the fashion industry is an exciting one, but it is also one which is lost in the unknown. Brands are in a fight for survival as we delineate a new consumer fast approaching, with specific needs and requirements from retailers. But we are also seeing a commencement of bolder creatives, individuals ready to approach the industry as a stage for voice, dictation, and fresh ideas too.
My research into my comfort zone focused in on luxury, signature brands which thrive on minimalistic tastes, clean cut silhouettes and unparalleled craftsmanship, and left me with great concern that these labels have little to no notion for adapting their current ways to verge into the depth of higher competition and demand, thus highlighting a significant gap. A gap which can ultimately see them decline and lose the race against other designers who are stepping miles ahead of the curve. These brands rely on their traditions of heritage and value to tackle their contenders and remain significant. But will this be enough, will the impeding consumer of Generation Alpha suffice to the latter or will they want more? ”
This year has seen me excel my education within fashion immeasurably and I believe I have truly opened up doors of opportunity by allowing myself to step outside the comfort zones and into unknown territories. Coming into Brand Management I preserved this attitude and felt the likes of Jil Sander (as mentioned in my first book ‘From a 360…’) were holding me back from accomplishing so. The Journey books I have developed preceding to this, have wholly documented my transformation as a creative, inspecting areas of the industry unbeknownst to me, but engaged a firm fascination to want to know more. I quickly, disposed of the areas holding me back from giving my brightest potential and explored designers and eras I was initially unaware of, and most likely afraid to study more.
As a conclusion of this, I have since unearthed a new gap in the market throughout my research and analysis culminations, which has driven me to think more ambitiously to establish its fix. You can observe in my books ‘Merging the Elite with the Emerging’ how I have interrogated both brands to ensure they will provide an appropriate match for my resolution. My Visual Campaign will be a reputable response in bridging this completely. As marketers, it is our responsibility to think ahead of the curve in our processes. The upcoming Visual Campaign will meticulously exhibit that I can do just that.
Since discarding my previous gap in the market, I have observed a more viable breach which delineates a missing voice in the industry for Generation Alpha- a voice which can be expressed wholly and persuasively through the potency and originality of a collaboration between fashion and the arts. Looking back into the history of protest fashion, female activists have led the way, paving positive influence through garment design and campaign processes. There is a gap for male designers to dominate this, to create a stand for the upcoming youth. Protest doesn’t always have to be loud and disruptive.
With ongoing issues cultivating the future of Generation Alpha’s prospective, a new conceptual approach to protest fashion, which alienates the encumbrance of these issues for this cohort, will perform as a communication of frustration towards the mess previous generations and administration have left. I have discerned brands quickly hopping onto the metaverse and digital bandwagon, believing this will be the answer to “Generation Tech’s” prayers. There is more to this generation than an iPad screen, and I have proved this thoroughly in the conducted primary research case study within ‘A Lost Generation’ book.
I have strived to underpin every aspect of my decision making, to make my bridge in this gap wholeheartedly genuine. I have taken a real-world problem which brands are blindfolding themselves to, and providing Generation Alpha with what they actually want. And that’s not a Minecraft building unfortunately…
Through non-conformist statement dressing, the emerging and the elite will unite to establish a movement through fictitious narrative. It will provide youth with an additional outcome to buy into as a reaction, confrontation, and escapism from their anger towards political, economic, and societal issues encircling the space around them.
The book of the Medici Effect by Frans Johansson argues that when diverse backgrounds of cultures, concepts, or ideas come together, the biggest innovations and breakthrough moments occur. My journey has observed me looking into how designers infuse an array of talents to underpin and advance their brand approaches significantly. The fashion industry as an entity, is powerful. However, when combined with a synthesis of environments, it creates an inclusivity, developing into something a lot mightier!
The concept was titled after a 15th century family ‘the Medicis’ funded a range of fields from poets, painters, philosophers, and architects to shape the Renaissance and yield a creative explosion in the city of Florence. Without this cross-fertilisation of disciplines, the traditional barriers of art and culture would have seized to exist, meaning the Renaissance wouldn’t have transformed society in such a great impact.
Johansson states that to become creative, you need to diversify the people you collaborate with, become inter-disciplinary and crosscultural and work with unique individuals (The World of Work Project, 2021). My interpretation from this theory, is that for fashion to project effective strategies and strong storytelling, it must be intertwined with other industries or talents in a collaborative process. To establish the extraordinary, the unusual and unconventional must be combined.
The notion of a collaboration has stuck with me across the process, and I believe this is because I strive to stretch my boundaries profoundly. I was excited by the challenge of pushing two brands into new consumer markets and finding ways in which to incorporate their diverse identities into one narrative.
From a marketing perspective, I think collaborations are an exceptional route to go down for brands to reach an optimum audience and to build an increased presence in their niche of the industry. Fashion is an art that sells through seasons (Shala, 2021) and for it to remain exciting and for sales to remain high, new methodologies and improvisations should be implemented to achieve customer satisfaction today.
My 360 Campaign research homed in on brand collaborations and how they remain a prevalent marketing strategy to connect with a younger consumer through enticing experiences. The
likes of Louis Vuitton X Yayoi Kusama, and Nike X Tiffany and Co, have demonstrated this this year alone, so I know my strategy will flourish just as these did.
My gap in the market delimits a missing voice for the youngest generation, who have been overwhelmed with expectations and continual societal crises since entering the world. By combining two powerful storytelling forces in the fashion industry (Charles Jeffrey and John Galliano), amongst a series of other disciplines, this narrative will speak to Generation Alpha, emphasising a voice for their frustrations and providing them with a resonation that today’s markets and brands are missing out on.
Yes, Generation Alpha want digital. Yes, they may enjoy the metaverse and AI functions. But what do they deeply crave? A brand to understand them emotionally and to provide them with an escapism from the disturbance of a world which surrounds them. Something I will succeed.
In my 360 campaign, I suggested doing a 3-way collaboration between two fashion designers and the music industry. With this notion, I initially premediated asking my tutor’s son, Danny Hall, to participate in making a soundtrack for my outcome. Danny was in a UK poppunk band, founded by former Busted member, James Bourne. At the time of discussion, I felt this operated effectively with the punk association I was bringing into my concept.
Nonetheless, as my research has progressed, it has driven me to discover a newfound confidence where I feel I can intertwine more than the one industry. I will not be neglecting the music component entirely, but instead adding it alongside other territories to generate an explosion of skill, just like the Medici Effect expressed. This will ensure my concept suffices to a consumer wanting experiential approaches from fashion.
Therefore, I have designated my third collaborator to be ‘The Arts’ whereby I have unearthed a movement which solely encompasses the anger of my chosen consumer, Generation Alpha, and resonates with them on a deeper level than I believe music would. My approach to visual communication also works proficiently well with this collaborative format, and I firmly believe my narrative will be portrayed stronger through ‘The Arts’. I am excited to showcase this in more complexity in my final books.
Learning of the Medici Effect has inspired me to incorporate an assortment of disciplines from poetry, dance, theatre, and history. And you can navigate my attempts to wholly reflect these in my final productions and narrative too.
Within my brand interrogation book ‘Merging the Elite with the Emerging: Charles Jeffrey’ I demonstrated how LOVERBOY has succeeded in providing multiple collaborations which have sold out instantaneously. Some of the brands included were Fred Perry, Samsung, Bjorn Borg, and Tilda Swinton.
There is no tangible evidence of John Galliano engaging collaborative processes in his former personal brand, however, he has provided extraordinary collaborations whilst leading Maison Margiela, which I have mentioned in his brand interrogation book too. Nick Knight was a collaborator which stuck out to me eminently and I feel this fusion of contemporaries demonstrate how Galliano is thinking ahead of the curve and marketing to a younger audience.
The Maison Margiela X Gentle Monster is a collaboration which further evidence how John Galliano implements creative strategies and forward-thinking.
Fusing two worlds and a shared appreciation for inclusivity, craftsmanship, and unequivocal creativity, the duo presented a range of comprehensive, genderless eyewear (Maison Margiela, 2023) and numerous pop-up stores featuring around the globe.
I appreciate how this collaboration dips into an aboriginal market of sunglasses and spectacles, whilst homing into each brands signature values of glamour, self-expression, and precision. Diving into Gentle Monster as a singular brand, they have monopolised on the Asian market, to devise eyewear
which cultivates to their face shape.
I feel Galliano has distinguished a gap in the market within Maison Margiela whereby collaborating with Gentle Monster assists in pushing Margiela into an obscure divisionary and lenses in on an inclusivity focus more predominantly.
My research has shown how both Charles Jeffrey and John Galliano have submerged their brands into an array of markets and collaborated with abstract designers who have widened their label’s audience and brand recognition positively. This leaves me hopeful that the fusion of Jeffrey and Galliano will be a force to be reckoned with and provide the shock factor, the industry (and Generation Alpha) love to see!
During my final stages of concept and development, I had the fantastic opportunity to converse with Fashion Designer, Christopher Shannon! I have previously spoken with Christopher in other modules, and I admire his honesty and critique- as much as it can be disheartening in the moment, it pushes you to underpin and establish a project which is industry accepted, so I was therefore excited to hear his opinions of my project and to receive any improvements.
from editorial imagery and short film to the fictitious production of an eventwhich he loved the notions behind too!
I presented Chris with the documents to the left. I explained my FMP concept, who it was aimed for and how I reached my finalisation stages. I was pleasantly surprised with my feedback from himhe loved it! Christopher shared his impression for my digital manipulations, detailing them to be ‘strong and unusual’ and expressed how my narrative is well thought of and completely understandable and relatable to societal pressures today. I voiced my intentions for my final outcomes
To enhance my studies, Christopher Shannon said I should further my knowledge through watching more documentaries, listing numerous John Galliano and Vivienne Westwood videos to solidly reinforce my findings with a wide range of media. Often, documentaries are from a primary perspective, thus providing a greater reliance source wise too. I appreciate this advice greatly and feel extremely fortunate to have the expertise from a professional and successful industry mentor as guidance.
Continuing on from my talk with Chris, I will be extending my knowledge of my FMP brands by watching documentaries, whilst also investing in 80’s publications like Blitz to search through as primary sources and as influence for the creation of my publications and event promotions.
I also had the incredible opportunity to converse with industry mentor Eden Loweth, in which I came off this call beaming with how well it went! I presented Eden with the same presentation as I did Christopher Shannon, explaining my notions behind my FMP and how this could potentially look within finalisation stages. Prior to this call, I had no inclination that Eden was close friends with Charles Jeffrey, so this surprised and scared me simultaneously! However, he expressed how this fictitious collaboration would work entirely as Charles Jeffrey has great admiration for John Galliano and seeks in his approaches as influence for his own.
He appreciated my outcome ideas for an event and exclaimed how this would look ‘cool’ with the characters, Charles and Galliano avidly seek in their models. Eden Loweth expressed how he would love for me to contact Charles Jeffrey with my project alongside some promotional material like postcards in the near future. These comments meant a lot to me as I have been very critical of my work in the past and often doubted my potential on this course.
To have a member of industry say that I should be proud of my work and would recommend me to a big designer was overwhelming, and it truly pushed me to believe in my capabilities for these last final steps.
I was extremely fortunate to speak to Eden on two occasions but if I am to be slightly critical of myself, I would say my pitch wasn’t as strong as my first. I primarily put this down to my lack of vision for my final outcomes.
I voiced to Eden how I felt confused with where I was going because I was so set on my journey and trying not to think from an end perspective early on in the module. I vocalised how my visions weren’t looking like I expected them to, in which he agreed. When you hear differing opinions and don’t focus on what you want, it is easy to become confounded in a lost train of thought, which I did!
the New Romantics, mainly in makeup and that Charles Jeffrey shouldn’t be associated with just the New Romantic scene as he has evolved since then. In our discussion, we spoke of how to make ideas not look too obvious and instead just give a glimpse of its context. New Romantics and Punk have been massively influential in the build-up and context behind my FMP, but I shouldn’t let them override the imagery and consider the collaborative duo I have involved first!
My concept is incredibly strong, and I need my visuals to represent that too. Collaging and digitally manipulating my imagery is pivotal as it is a considerable part of my third collaborator and target market level. Nonetheless, we agreed that there was a huge gravitation towards
My 1-1 with Eden wasn’t at all a negativehe openly said how proud I should be and how strong I am student-wise- he had my best interests at heart and see’s this sector of the industry as one I’d propel in, which is why he is pushing me to produce the best pieces! Critique can be difficult, but I have taken every comment on board and will complete the additional tasks he assigned me to observe where my journey takes me next…
Upon finalising my journey, I had the fantastic opportunity to converse with members of the public who lived through the defying eras of the 70’s and 80’s. I firstly conducted an interview with Ru Wilson, a Glam Rock enthusiast, who recalls what fashion and society were like during these periods so I could accustom a contextualised knowledge and understanding which can be translated into my narrative and styling of my Visual Campaign.
Q. Hi Ru! Thank you for participating in my interview. Can you tell me who and what influenced your fashion choices during the 70’s/80’s?
A. There was only 3 tv channels so I’d watch Top of the Pops. I remember glam rock looking amazing but I was still being dressed in smocks and cord flares by my mum. No chance of being Debbie Harry! In the 80’s I was influenced by pop stars. I remember Taylor Dayne, Strawberry Switchblade, Fuzzbox, Bananarama and Madonna all had great looks. Everyone had a perm so we could have massive hair! We wore a lot of lacy stuff and rara skirts with leggings and canvas pumps. We copied men too. The New Romantics like Duran Duran and Spandeau Ballet wore a lot of tailoring in black and neutral colours. And we all dressed like Adam Ant and Boy George at least once!
Q. What music had the biggest impact on you, did it influence your style, why?
A. Heavy metal and rock music influenced everything after about 1987. My friends, the places I went, what I drank, what I smoked. I bought tee shirts and cut them into vests. I wore lycra jeans and leather thigh high boots. We copied what the women in male band videos wore.
Q. What did fashion mean to you, was there a statement in your fashion choice?
A. I suppose it was nice to belong to a bit of a subculture. The statement wasn’t much but we looked very different to everyone else and were anti fashion. We got attention in the street, and we liked it.
Q. Were there any factors during this time which influenced the way you dressed (political, cultural, economic)?
A. There weren’t many shops that sold the type of thing we wanted to wear. There wasn’t any money for good stuff. A biker leather jacket cost £65 then! We would make tops out of tights, and I worked in an old lady fashion shop so we would buy cheap girdles and dye them black or pink and wear them as skirts. I went out in some gaffa tape and boots once, that caused a stir on the bus! We were all a bit angry due to the recession and Tory Britain but we always thought we looked amazing.
Q. What do you think fashion from that period could bring to the present day?
A. I miss DIY clothes and just finding stuff in charity shops and customising jackets and tops. I was never wealthy enough for the rock catalogues, but I’d go to the markets and pick up bits for an outfit to make it look a bit more metal. You can buy any colour hair dye today, so you don’t need to use food colouring! Its better now. But I don’t suppose its as unique anymore. There’s a lot of women calling themselves ‘goth’ getting dressed in chains and boots, but they’ve got Lizzo playing in the background! It’s not the same. I don’t think they listen to alternative music, but just like the look.
Q. Does your fashion continue to show these influences? How do you like to dress now?
A. I honestly still live for metal! Though the fashion has changed over the years. I have got CC Deville hair four decades too late, but I wear wool extensions a lot too. I think metal has a uniform and always had. So, I sometimes like to think outside the box and wear all white or pastels, but I will always favour a massive pair of black boots whatever the weather!
On reflection of this interview, I have obtained substantial knowledge and an underpinning for my latter research conducted into 70’s and 80’s fashion and ambience. I appreciate Ru’s honesty, expressing how the past societal climate was deprived of money and it was a time of struggle for many people, including herself. This is reciprocated in today’s realm, as evidenced in my PESTLE analysis. Just like the punks, she turned to DIY fashion to fit amongst a culture who used these styles as a voice of anger with the Tories and a dishevelled Britain. I feel there is great innovation in making your own styling compositions and utilising what is around you to form an expression.
I admire how she employed fashion as an opportunity to create statement and attract necessary attention, thus compelling me to consider how an integration of the 70’s and 80’s in my narrative, will entertain an awareness Generation Alpha so avidly thirst for so they can be understood. The words “I suppose it was nice to belong to a bit of a subculture” strongly suggests to me that she sought a communal spirit through fashion, where she shared the same frustrations with likeminded people through Glam Rock. Ru openly admitted how she felt subcultures are not what they used to be because many don’t understand the reasoning as to why the youth dressed in such extravagant ways - insinuating it is highly misinterpreted in the industry, which I firmly agree with.
Charles Jeffrey’s LOVERBOY has a sheer focus on community, where he desires for his brand to be worn by anyone who wants to play with their identity and shy away from fashion’s typical trajectories. Both himself and John Galliano involve such genres like the 70’s and 80’s throughout their designs, yet in a storytelling which has the right reasonings for incorporating subcultural styles- to create statement and community in dressing. This drives me to discern a strong collaborative duo who will actively feed a robust narrative to resonate with the current and increasing frustrations of Generation Alpha.
My journey throughout this final module of Fashion Brand Management has been a challenging one to say the least, but I value how it has placed me in a strong position where I have a unique campaign which wholly represents my capabilities and strengths as a creative with a solid underpinning for what’s to come next. The initial stages of this module discerned me holding onto the last part of my comfort zone, and I am proud to have released myself from this and fully immersed into the depths of robust storytelling and historical references. The development process has witnessed me look into a plethora of fashion subjects and designers, all of which have been critically analysed to assess their relativity to my visions, amongst amplifying my skillset too. The upcoming books aim to translate the true Eleanor, formulating a strong promotion of herself as a brand, ready for industry and ready to defy!
I will be visually exhibiting my concluded collaborative trio of Charles Jeffrey, John Galliano, and the Arts, delving into the contextualisation behind them and portraying their narrative to affix a gap in the market where Generation Alpha are currently missing emotional connections with brands and want a platform to vocalise their frustrations with the present climate. Through autonomous marketing management and a creation of robust strategies, their calls for change will be heard and an escapism will be sought through a culmination of 70’s, 80’s and Regency nonconformist attitudes, where an event is the safe space to be the characters they’ve always destined to be.
Let’s welcome them to The Underground. Your youth of today are coming out to play…
Although my journey has come to an end, the story is only just unfolding. Read on to the next books featured below, to see my Final Major Project and visual campaign come to life. Within these you will find a thorough understanding of marketing strategies, campaign planning, consumer analysis, and market levels, alongside my processes of styling and visual communication to successfully establish a fictitious collaboration.
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