Fendi Lookbook Style Guide by Emiliana Ayala

fendi style guide

FENDI Emiliana Ayala

CONTENTS

TABLE OF

fendi style guide

06 07 08 13 13 17 18 21 22 25 26 29

THE BRAND

fendi style guide

Fendi

Fendi is an Italian luxury fashion founded in Rome, 1925. This bold brand values luxury, elegance, and craftsmanship. These values are show through their fur, ready-to-wear, leather goods, shoes, fragrances, eyewear and accessories. Fendi’s main target customer is an elegant businesswomen, aged 25 and older, who is associated with the upper class. This woman is self-confident, sophisticated and has a admiration for luxury items and their craftsmanship. With the rise of social media, Fendi has started to target millennials through their ‘F is for…’ campaign. These millennials are bold, driven and also appreciate craftsmanship. Visually, Fendi is a bold and classy. While keeping their traditional luxurious reputation, Fendi also has a spontaneous, unique and upbeat aesthetic. These brand values align with those of their target market, making Fendi a consistent yet versatile brand.

fendi style guide

LUXURY ELEGANCE CRAFTSMANSHIP

fendi style guide

THE LOGO

fendi style guide

The Main Logo

Fendi’s primary logo is a work mark in a custom font however, is the most similar to the Sommet Rounded font. This word mark also incorporates ‘ROMA’ - the location where they were established. This references their logo from 1925 by having a piece of the brands identity within it. The primary logo is most often seen in black which symbolizes the dominance, supremacy and elegance of the Fendi brand. The colour yellow is also used in the wordmark both as the font colour or as the background colour. This colour stands for happiness and optimism, giving Fendi a radiant and joyful aesthetic.

fendi style guide

The Secondary Logos

Fendi has two secondary logos. The first one is the double ‘F’ logo, designed by Karl Lagerfeld in 1965. This logo stands for ‘Fun Fur’ and is also known as the inverted “Zucca”. It became extremely popular in the 80s and was used on jacquard fabric to line luggage in Fendi’s traditional colours - black and tabacco. When the logo craze slowed down, Fendi removed this part from the main logo and it became a secondary logo on its own. The double ‘F’ logo was relaunched in 2018 and has been seen in their collections ever since, catering to a younger demographic. The second logo features a circle with a diagonal ‘F’ inside. It was designed in 2017 and debuted in the Fendi Fall 2017 fashion show. This logo is only used for hardware and appears on purses, belts, wallets and sunglasses. For now this logo has not been used in any sort of graphic digital or print media as it does not represent Fendi on its own.

fendi style guide

15.66 px

Logo Parameters

These logo parameters represent the zone in which no image or typographic element can impede. These measurements around the logo will ensure that the Fendi logo stays as the focal point and that it will not be covered in any way.

0.29 px

x- height

15.66 px

0.29 px

fendi style guide

Logo Dos

The Fendi logo may appear in black, white or yellow. These colours will vary depending on the colour of the background. This logo may appear on a solid black, white or yellow background. Patterned background or images may be used however, the colour of the logo must create a distinct contrast. The Fendi logo should be easily visible at all times, if the logo does not stand out against the background, it cannot be used.

fendi style guide

Logo Don’ts

The Fendi logo was designed to stand out and be recognized. It should not be stretched, rotated, flipped, cropped or blended into a bust background. The Fendi logo is featured in black, white and yellow and should not be featured in any other colour. The ‘Fendi’ and ‘Roma’ should stay the same colour as it is all one cohesive logo that should appear in unison.

fendi style guide

BOOK

Final Number of Pages

The Fendi book will contain 96 pages of content in addition to C1, C2, C3 and C,4; making it a total of 100 pages. This hard cover book will be perfect bounded and will include two default velum pages between the hard covers and inside pages.

fendi style guide

Final Trim Size and Guides

The final trim size of the Fendi book is 11” x 14”. This book has a grid of 13 columns with a gutter of 0.125”. The margins that define the content within the book are as following: top 1.25”, inside 1.25”, bottom 1.375” and outside 1.375”. The InDesign document contains a bleed of 0.125” around all of the sides of the book to leave room for potential printing and cutting errors.

fendi style guide

Number of Stories

all about fendi

Typographically driven timeline of Fendi throughout the years that points out the brand milestones from 1918 to 2019.

fendi throughout the years

This editorial shows the best of Fendi throughout the 20th Century. It showcases editorials, ads, and newspaper articles based on Fendi from 1966 up until 1999.

karl lagerfeld

This interview focuses on Karl Largerfeldâ&#x20AC;&#x2122;s 50 years with Fendi. It outlines all the big accomplishments that he has crafted himself and been a part of while he worked for Fendi. This editorial will include a small book of sketches done by Karl Largerfeld for Fendi.

baguette bag

This editorial features an article about the baguette bag and the 2018 #BaguetteFriendsForever event. There will be a mixed media analogue collage that will represent all the materials used to create the different variations of the bag. This editoiral will also have a digital component that will take the user to the Fendi baguette campaign game.

womens s/s 2019

Fendiâ&#x20AC;&#x2122;s womens S/S 2019 collection catered to a younger audience and was true success. This editorial is based on the top 10 items that were featured in this amazing collection.

fendi ad

The Fendi advertisment is catered to the millennial demographic. It will be shot during sunset and at night. This will be a fun advertisment that will fit in perfectly with the F is For campaign.

fendi style guide

fendi monsters

freaks

This editorial will feature a how to wear your fendi monster. It will feature different ways of wearing the Fendi monsters that have appeared in various Fendi collections. From accessories to purses, footwear and outerwear, the monsters can be incorporated into anyoneâ&#x20AC;&#x2122;s outfit. This is the first section of the F is For Campaign. This editoiral will feature a manifesto that represents what this campaign stands for and gives content to the other sections of the campaign.

fearless

This is the second section of the F is For Campaign. This editorial features the FUTURE projectâ&#x20AC;&#x2122;s manifesto. There will also be a digital component to this editorial where the viewer can scanned and it will take them to the FUTURE project website.

freedom

This is the third section of the F is For Campaign. This editorial will be made up of my photoshoot. The accessory shoot is inspired by the Freedom section and will be shot on location at a library that use to be a church.

faces

fulgore

This is the fourth section of the F is For Campaign. This will feature a Q&A of the artists that were a part of the Fendi Graffiti project. This editorial will also include analogue processes through the spreads of paint that resembles graffiti. This is the fifth and final section of the F is For Campaign. This editoiral will feature the Pre Fall 2016 editorial shoot.

fendi style guide

TYPOGRAPHY Helvetica

Helvetica bold is a grotesque sans-serif typeset. Designed by Max Mieginger and Eduard Hoffman in 1983, this geometric typeset aim to convey clean communication. This is a neutral typeface that is designed to not give any impression or meaning itself, allowing the design to speak for itself. Helvetica bold that is popular today is the updated version that Linotype designed in the 21st century. I choose Helvetica as Fendi’s main typesets, pull quotes, side bar and caption. This font previously represented Fendi until 2013. I chose to use this font as it compliments Fendi’s bold designs and aesthetic.

Charter

Sommet Rounded

Sommet Rounded Typeset is variation of the originally sommet font family. This typeface is a compressed letter forms and has a tall X-height. The Sommet Rounded typeface portrays an approachable, welcoming and warm feeling. It was designed in 2008 by Jeremy Dooley and was published by Foundry Insigne. This font is visually the most similar to the customized font that Fendi uses. I chose to use Sommet Rounded for Fendi’s subheads, drop cap and collections. This typeset portrays a powerful image that aligns with Fendi’s aesthetic and with the millennial focused F is for campaign.

The Charter Roman font that is clear and professional. With narrow capitals and angled weight stressed in lowercase bowls, this font conveys versatility. This font was designed by Matter Carter in 1987 and is inspired by old style typefaces developed in the 18th century. Charter Romans is used for Fendi’s deck and body copy. I chose Charter Romans because it complements the Helevetica bold and Sommet Rounded visually. It is a visually heavy font however it gives visual contrast against the other bolder fonts used in the typeface.

fendi style guide

FENDI

MAIN HEADS/TITLES All Caps - Helvetica Bold 85pts/ 80pts

Lorem ipsum dolor sit amet, consec- DECK Charter Roman tetur adipiscing elit, sed do eiusmod 16pts/ 17pts tempor incididunt ut labore et do-

SUBHEAD Sommet Rounded Bold 14pts/ 14pts

BODYCOPY Charter Roman 10pts/ 12pts COLLECTORS Sommet Rounded Regurlar Italic 9pts/ 8pts

All About Fendi

fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Lorem ipsum dolor sit

House of Dior

CREDITS. CREDITS. CREDITS.

CREDITS Sommet Rounded Regular All Caps - 8pts/ 9pts

fendi style guide

SIDE BAR Helvetica Bold 10pts/ 12pts

CAPTION Helvetica Light 8pts/ 8.5pts

DROP CAP Sommet Rounded Bold 4 Lines

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occae-

HIGH-FASHION FUR IS PURELY ITALIAN fendi through the years

SLUG Sommet Rounded Regular Small Caps - 10pts/ 10pts

PULLQUOTE Helvetica Bold 36pts/ 38pts

fendi style guide

COLOUR PALETTE

C M Y K

2 10 100 0

#fddb00

PRIMARY COLOURS

Fendi’s primary colours consist of black, white and yellow. The colour black stands for the brand’s dominance, supremacy and elegance while the colour yellow symbolizes happiness, joy and optimism. Together these three colours convey strong visuals and contribute to the bold aesthetic that Fendi portrays.

C M Y K

100 100 100 100

#000000

21 C M Y K

0 0 0 0

#ffffff

Secondary Colours #30b3e7

#db3388

#8fc73e

#f6861f

The secondary colours used by Fendi are blue, magenta, green and orange. These colours are used to represent each of the F is For campaign sections. These colours may be used as solid backgrounds or for some decorative elements such as, the Fendi emojis that correspond F is For campaign - Freaks, Fearless, Freedom, Faces and Fulgore. Fendi does not use these colours in their logo or for any material that represents Fendi as a brand.

PHOTO SHOOTS

fendi style guide

Fendi Advertisement

The Fendi advertisement shoot is inspired by living your life to the fullest and is catered towards the millennial demographic. This will be an on location shoot in Toronto that will consist of shooting during sunset and at night with flash photography. There will be two models used in this shoot and the narrative is them having fun on a rebellious night out in the city. This advertisement will have a laid back, fun vibe that will compliment the F is For campaign featured later in the Fendi book.

fendi style guide

Accessory Shoot

The Fendi Accessory Shoot is inspired and is new addition to the F is For Freedom campaign. This campaign features Fendi accessories in everyday locations such as restaurants, lounges, bars, and libraries, around the world. My photo shoot will take place in Georgetown, Ontario library which use to be an old church. This location features a juxtaposition of the old building and the modern renovation that have been added to the building. The photos will have a somber aesthetic with vibrant colours from the surrounding location and props such as books and the stainless glass windows. The overall feel that the lighting and location of this shoot will capture, reflects Fendi as a brand. The location represents the tradition and heritage of Fendi and the bright surroundings reference the bold aesthetic presented through new collections, campagins and editorials all while fitting the Freedom campaign.

CREDITS. CREDITS. CREDITS.

fendi style guide

The Fendi look book should the brands emphasis on boldness and elegance. The background of content pages should be white with the acceptation of accent pages being yellow and black. The content pages should play with the composition and orientation of typography, including main titles, pull quotes and body copy. Some typographic elements such as main titles and pull quotes may appear in yellow. Photos must be high quality. This book will also experiment with yellow stroke being added around photos. This will not be seen on every photo however, the editorials that do not have yellow on them will encompass this detail. This allows the book to look cohesive and professional.

VISUAL ELEMENTS

fendi style guide

Overall Look and Feel

BOOK FORMAT: 11” x 14”

In 1968 Classic Canvas was launched, an alternative to leather; then striped colored rubber-beige and black-that became Fendi’s classic colors.

In 1987 they introduced the Fendissime line, conceived by the third generation of the Fendi family: Silvia, Maria Teresa, Federica, and Maria Ilaria Fendi. The new line included sportswear, furs, and accessories for younger buyers.

2001

In 2001, after considerable legal maneuvering associated with the mergers and acquisitions that typified the fashion world early in the twenty-first century, Fendi became part of the LVMH group, a giant in the world of luxury goods.

After more than 12 months of careful planning and preparation, Fendi’s creative director made fashion history by hosting the world’s longest running runway show on the ancient 1,500 mile long Great Wall of China.

5 sisters sold the company and Silvia Fendi continued to work with the company as creative director of accessories and childrenswear. This year Fendi acquired a partnership with LVMH and Prada.

1980

1987

2007

Silvia Venturini Fendi, together with Karl Lagerfeld, pursued the Fendi tradition of research in furs. For their Winter 2003/2004 collection they launched, among other furs, the “Vacuum Persian Fur,” that is, a fur put into a PVC packaging, a fox fur cut into small stripes and then reassembled with small rubber bands, and depilated mink coats.

2003

Start of “Fendi Through the years” Editorial

2016

When Adele died in 1978, each of the five Fendi sisters took over a different part of the business. Paola was in charge of furs, Anna leather goods, Franca handled customer relations, Carla coordinated the business and Alda was responsible for sales. Also in 1978, Fendi launched a line of shoes produced by Diego Della Valle.

In 1997 they began making a series of handbags that quickly became cult objects. The most famous is the Fendi “Baguette,” inspired by the shape of French bread, and conceived by Silvia Venturini Fendi. A small, minimalist jewel produced in a wide range of materials from horsehide to pearls, in six hundred different versions, it was an extraordinary success, chosen by Madonna, Julia Roberts, Naomi Campbell, and Gwyneth Paltrow. A special baguette called Lision was produced in limited edition, embroidered with an eighteenth-century loom at the speed of only five centimeters per day

1999

19 78

1968

Lagerfeld, under the sisters’ direction, experimented with materials, patterns, finishes, weight, tanning methods, and colors, so that furs would be seen as something completely new, supported by advanced technological craftsmanship, suited to the needs of a public that wanted more accessible and wearable fashion. In 1966 he scandalized the fashion world by introducing color as a design element: “A colorful fur coat that was not precious but original”.

1997

The 1980s saw a period of considerable expansion for the house. The sisters opened stores and boutiques around the globe, and the Fendi logo was bestowed upon everything from sweaters to home décor. In 1985 Fendi even produced the uniforms for the Rome police department. That same year they launched their first perfume.

In 1989 they opened their first store in the United States, located on Fifth Avenue in New York City. The following year they introduced a men’s perfume and ready-to-wear line.

1969

1964

1925

In 1925 she married Eduardo Fendi, and the couple opened a small boutique next door, moving into the rooms above the shop. Between 1931 and 1940, Adele gave birth to five daughters: Paola, Anna, Franca, Carla and Alda.

CONTENT

The history of Fendi began in a corner of the Piazza Venezia in Rome in 1918. Inspired by the traditional craftsmanship techniques of Roman master saddlers, young entrepreneur Adele Casagrande launched her own leather workshop.

The Fendi sisters began working with Karl Lagerfeld. Alongside the sisters, Karl Lagerfeld helped to propel the brand into the luxury fashion powerhouse it is today. During this time, one of the first company logos: the famous black and brown double ‘F’, was also created.

End of “All About Fendi” Editorial

Fendi designers were continually experimenting on furs and in 1969, with the introduction of their Pret à Porter line, besides the exclusively artisan manufacturing, Fendi succeeded in producing a product accessible to the ordinary consumer: beautiful furs at a limited price. Fendi reworked and reinterpreted their approach to furs. Expensive skins, such as fox, ermine, mink, and astrakhan, were transformed using different finishes and colors, so that they no longer were seen as stiff and conservative but as fashionable outerwear.

In 1964, the sisters opened an office on the via Borgognona in Rome, and installed a large picture of their mother in the entrance.

In 1977, the house introduced a line of ready-to-wear, known a ‘365 – a dress for every day of the year, for a woman who wants her fur and purse to match her dress’, and 1978 they launched a line of shoes produced by Diego Della Valle.

TABLE OF

Start of “All About Fendi” Editorial

In July, Fendi threw a fete of fabled proportions, hosting an outdoor haute couture F/W 2016 fur fashion show in the famed Trevi Fountain, followed by a breathtakingly beautiful dinner for 600 at the Villa Borghese’s Terrazza del Pincio. The biggest coup, perhaps, was Lagerfeld’s clear Plexiglas runway that stretched over the fountain’s pool, allowing each model in the show to stride across as though effortlessly walking on water.

This Fendi book encompasses everything that the Fendi Brand stands for; elegance, craftsmanship and luxury. The primary and secondary colour palettes, the typeset, and the use visualALL and supporting elements create ABOUToverall look. This clean, a bold and radiant FENDI 19 04 21 luxurious and1918 radiant aesthetic65 is a direct 1977 22 49 reflection of the brands collections, campaigns 1966 22 93 and designs. This Fendi book will feature interactive compositions that challenge typography and3 keep4 the view wanting to more. 5 read 6

FENDI THROUGH THE YEARS

In 2019, Fendi relaunched the baguette bag. Fendi hosted a lively cocktail party at its Landmark flagship boutique to celebrate and launched a campaign called #BaguetteFriendsForever.

BOOK FORMAT: 11” x 14” ANALOGUE Mixed Media Collage - Using paint, fabric and materials to represent various baguette bags

End of “All About Fendi” Editorial

End of “Fendi Through the years” Editorial

End of “Baguette Bag” Editorial

End of Fendi Advertisment Editorial

As far as fashion fairy tales go, this one’s a doozy. Karl Lagerfeld, the world’s most famous fashion designer, was being heralded for an unprecedented and astonishingly successful streak of 51 years designing for Fendi. The famed Roman luxury label, once a small, family-run business, was celebrating its 90th anniversary and on a serious global roll. There was fearless expansion happening everywhere, including the fancy new white marble headquarters in the Palazzo della Civiltà Italiana (a modernist Fascist-era wonder courtesy of Benito Mussolini) and the 17th-century Palazzo Fendi, replete with a new flagship, a jewel-box boutique hotel that houses a Japanese restaurant

TOP 1O WOMENS S/S 19 14

1997

19 78 22

aunts before her. “I never had the feeling I was married, so it was like an open marriage situation. I’ve kept the passion because there is no exclusivity. I need the fresh air from the outside to see

Lagerfeld, under the sisters’ direction, what’s going on. If you put me in a cage, experimented with materials, patterns, I am worthless.” finishes, weight, tanning methods, and Now isn’t that just like a fairy tale? colors, so that furs would be seen as something completely new, supported by advanced technological craftsmanship, suited to the needs of a public that wanted more accessible and wearable fashion. In 1966 he scandalized the fashion world by introducing color as a design element: “A colorful fur coat that was not precious but original”.

21 5

1980

1987

Start of “Fendi Monters” Editorial

A party was certainly in order. In July, Fendi threw a fete of fabled proportions, hosting an outdoor haute couture fur fashion show in the famed Trevi Fountain (that’s right, in it), followed by a breathtakingly beautiful dinner for 600 at the Villa Borghese’s Terrazza del Pincio. The biggest coup, perhaps, was Lagerfeld’s clear Plexiglas runway that stretched over the fountain’s pool, allowing each model in the show, led by Kendall Jenner, to stride across as though effortlessly walking on water.

LAGERFELD

Together the Fendi sisters and their designer radically reimagined the fur business, transforming it from a boring bourgeois status symbol into a playground of creative fantasy. To signify their mission, Lagerfeld invented the double “F” logo—one upside down, snuggled together, which stood for “fun furs”—and is still used today.

I work better today and have a clearer head. My work is a bigger priority now than when I was younger, and it’s a very good thing.”

Since their partnership began in 1965, Fendi and Lagerfeld have broken every fur barrier in the business. They have perfected groundbreaking techniques including knitting fur, pleating it on fur skirts, creating ultralight “summer fur,” and pioneering the intricate intarsias that allow several different kinds and colors of fur to be sliced up and stitched back together like artful puzzles. very well be another world record. Throughout the years, Lagerfeld rebelliously ripped out linings, tinted “The difference between me and every fur wild colors, shaved it, gilded it other designer today is that I sketch with 24-karat gold, wove it like a everything myself,” he explains. “I don’t basket, and buried it in precious jewels, have 10 people doing it on a computer. embroideries, and paillettes. Every model you see in shows is an original sketch by me. So, what is the “For me, fur, especially high-fashion fur, secret of staying with a fashion company is something purely Italian,” Lagerfeld for half a century? says. “I never do fur in France because there are not many great fur artisans, “I’m easy to work with,” he reveals. “I’m and their techniques are basic compared not on an ego trip. I’m only interested to what I’m used to at Fendi.” in the craft and the design and to work with people I enjoy. Many other designAt Fendi, anything and everything is ers have an ego problem. Most of them possible, which is a perfect pairing for do. That’s really the problem.” a designer who sketches faster than he talks. At present, the Fendi archives are But there’s more, says Lagerfeld. “We filled with more than 70,000 sketches work so well together,” he says of Silvia created by Karl Lagerfeld. That may Venturini Fendi and her mother and

Lagerfeld was in his early 30s when he was contacted by the famous five Fendi sisters, after his name had been brought up by a mutual PR friend. “There was Alda,” Lagerfeld recalls, “who was blonde, a bit like Silvana Mangano. She was the youngest, and she was very different from the others. The eldest was Paola, who was the most brunette. I liked her a lot; she was the fur expert. Then, Carla with her short hair; she was the driving force behind everything and had a real vocation for PR. Franca was blonde and quieter; she took care of the accessories. Then there was Anna, who had curly hair and a little turned-up nose. Silvia [Anna’s daughter]was a child, and she modeled for the pictures we did for the unisex capsule collection in 1967. She has been raised here. I don’t remember Fendi without Silvia.”

But the most potent scent that wafted around Lagerfeld that evening was the sweet smell of success. The designer’s enduring relationship with Fendi is a collaboration that began in 1965 and has continued uninterrupted for more than 50 years. In today’s transient world, where designers are lucky if they last four seasons, five decades is a remarkable feat. “It’s the longest collaboration in fashion,” the designer says proudly of his record contract. “No one has lived long enough to do it for such a long time, and I’m not tired of it at all. I even think

2001

End of “Karl Lagerfeld” Editorial

2007

When Silvia Venturini Fendi first suggested to create a little bag that could be carried around like the famous French bakery goods, the reactions at the Fendi headquarters were rather cautious – Fendi’s colleagues were suestioning its small size and appeal to the consumer as bigger bags like the PRADA Nylon Backpack were leading the market at the time. But Silvia Fendi kept on advocating her vision, and so in 1997 the Baguette Bag was released. Silvia Venturini Fendi, together with Karl Lagerfeld, pursued the Fendi tradition of research in furs. For their Winter 2003/2004 collection they launched, among other furs, the “Vacuum Persian Fur,” that is, a fur put into a PVC packaging, a fox fur cut into small stripes and then reassembled with small rubber bands, and depilated mink coats.

2003

Start of “Baguette Bag” Editorial

To avoid any kind of repetitiveness, the Baguette Bag’s iconic design and shape came in many different patterns and colours, ranging from colourful, sequin-scattered versions to reptile prints and furry logo-mania ‘Baguettes’. And the fashion crowd bit into it. Fendi’s creation became the first bag to induce waiting lists at all the big department stores – One could even say it started the era of the It Bag.

ANALOGUE Mixed Media Collage - Using paint, fabric and materials to represent various baguette bags

this in the world in terms of ideas,” he says. “Carla [invented it]. She was kind of a genius.”

In his seven decades in fashion, Lagerfeld has, of course, already seen it all. Fendi’s ambitious show staged on the Great Wall of China in 2007. But the Trevi moment was more mega than usual. Part of it was being transported to a spellbinding city in front of the iconic fountain, which had received a glorious face-lift, thanks to Fendi’s generous 2.2 million euros ($2.4 million) funding.

and a rooftop bar, and a private VIP apartment.

In 1989 they opened their first store in the United States, located on Fifth Avenue in New York City. The following year they introduced a men’s perfume and ready-to-wear line.

1969

1964

But there’s more, says Lagerfeld. “We work so well together,” he says of Silvia Venturini Fendi and her mother and

1966

HIGH-FASHION FUR IS PURELY ITALIAN

1925

“I’m easy to work with,” he reveals. “I’m not on an ego trip. I’m only interested in the craft and the design and to work with people I enjoy. Many other designers have an ego problem. Most of them do. That’s really the problem.”

INSERT Karl Lagerfeld’s Sketchbook -Seperate booklet that will be inserted in this editorial

KARL

endi hosted a lively ty at its Landmark utique. The evenings #BaguetteFriendsd Fendi’s boutique into four distinct ing The Baguette m, which displayed om Fendi’s archive, obe Room, which had hing from the spring 19 collection. A few pent time in The Tea pped cocktails at The an Bar.

“The difference between me and every other designer today is that I sketch everything myself,” he explains. “I don’t have 10 people doing it on a computer. Every model you see in shows is an original sketch by me. So, what is the secret of staying with a fashion company for half a century?

BAGUETTE BAG 1977

Start of “Karl Lagerfeld” Editorial

Start of “Women’s S/S 19” Editorial

NOTES:

Start of Fendi Advertisment Editorial

At Fendi, anything and everything is possible, which is a perfect pairing for a designer who sketches faster than he talks. At present, the Fendi archives are filled with more than 70,000 sketches created by Karl Lagerfeld. That may

very well be another world record.

19 65

The sisters hired the young Paris-based designer as a freelancer, a revolutionary concept at the time. “There was no combination like

End of “Women’s S/S 19” Editorial End of “Fendi Monters” Editorial

FENDI THROUGH THE YEARS

Start of “F is for...” Editorial

BAGUETTE BAG

ANALOGUE Paint Splatters - Rolled paint behind titles

Now isn’t that just like a fairy tale?

In 2019, Fendi relaunched the baguette bag. Fendi hosted a lively cocktail party at its Landmark flagship boutique to celebrate and launched a campaign called #BaguetteFriendsForever.

Start of “Fendi Through the years” Editorial

Each of the purses came with a small strap and the double Fs, the infamous Fendi logo. The designer’s aim was to step away from any basic design, deliberately refusing to conform to After more than 12 months the other of careful planning and on the preparation, bags Fendi’s creative director market, made complaining fashion history by hosting that they all the world’s longest running runway show looked on the the ancient 1,500 milesame. long Great Wall of China.

Each of the purses came and the double Fs, the infa The designer’s aim was to st basic design, deliberately refusing to conform to the other bags on the market, complaining that they all looked the same.

FREAKS FULGORE

NOTES: DIGITAL Scan Purse - Takes you to the #baguettefriendsforever website

The sisters hired the young Paris-based designer as a freelancer, a revolutionary concept at the time. “There was no combination like

1918

22 93

In 1964, the sisters opened an office on the via Borgognona in Rome, and installed a large picture of their mother in the entrance.

HIGH-FASHION FUR IS PURELY ITALIAN

22 49

1968

“It’s the longest collaboration in fashion,” the designer says proudly of his record contract. “No one has lived long enough to do it for such a long time, and I’m not tired of it at all. I even think

ALL ABOUT FENDI

In 1968 Classic Canvas was launched, an alternative to leather; then striped colored rubber-beige and black-that became Fendi’s classic colors.

04 21

I work better today and have a clearer head. My work is a bigger priority now than when I was younger, and it’s a very good thing.”

LAGERFELD

this in the world in terms of ideas,” he says. “Carla [invented it]. She was kind of a genius.”

CONTENT

KARL

TABLE OF

and a rooftop bar, and a private VIP apartment.

Start of “Baguette Bag” Editorial

2016

End of “Karl Lagerfeld” Editorial

5 sisters sold the company and Silvia Fendi continued to work with the company as creative director of accessories and childrenswear. This year Fendi acquired a partnership with LVMH and Prada.

INSERT Karl Lagerfeld’s Sketchbook -Seperate booklet that will be inserted in this editorial Start of “All About Fendi” Editorial

Start of “Karl Lagerfeld” Editorial

1999

NOTES:

End of “Fendi Through the years” Editorial

NOTES:

relaunch, Fendi hosted a lively cocktail party at its Landmark flagship boutique. The evenings theme was #BaguetteFriendsForever, and Fendi’s boutique was divided into four distinct areas including The Baguette Dream Room, which displayed Baguettes from Fendi’s archive, The Wardrobe Room, which had racks of clothing from the spring summer 2019 collection. A few guests also spent time in The Tea Room, or sipped cocktails at The Cosmopolitan Bar.

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Start of FEARLESS Editorial

WE ARE F IS FOR

WE DESERVE AUTHENTICITY. WE WANT QUALITY. WE WANT MORE THAN. WHAT’S OFFERED. WE WANT SOMETHING THAT’S OURS.

To celebrate the handbags

WE ARE AMBASSADORS OF THE NEW ROME. WE ARE THE OLD MADE NEW, TRANSFORMED AND INSPIRED. WE ARE USING OUR HANDS. WE ARE USING OUR WORDS

It seems like more and more former “It”-Bags are here to stay, celebrating their comebacks on the fashion crowds’ arms, and the Baguette is no exception. At Fendi’s Spring/Summer 2019 runway show in Milan, the famous purse was showcased in a new outfit – heavily embroidered with colourful stitching and hippie-esque details – making it fit seamlessly into the bohemian vibe of the whole collection.

DEAR WORLD, PLEASE STOP CALLING US “MILLENNIALS”, WE’RE REALLY NOT AS VAPID, VOID FILLED AND DEVOID OF MEANING AS THE RESEARCH SAYS.

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Start of “Women’s S/S 19” Editorial

End of FEARLESS Editorial

TOP 1O WOMENS S/S 19

FEARLESS 57

DIGITAL Scan half circle - Takes you project website with video

Start of “FUTURE” Editorial

WE ARE BRINGING NEW KNOWLEDGE, PHILOSOPHY AND MOVEMENTS.

WE ARE OPENED FOR NEW TECHNOLOGIES, ART AND EXPERIMENTS.

WE ARE AMBASSADORS OF NEW VALUES AND INSPIRATION.

NOTES:

Start of F is For Manifesto Editorial For all of those who are still skeptical about the purse, worrying that their sandwich might not fit into their Baguette, Fendi released the ‘Mama’. Its shape and format inspired by its daughter, the ‘Mama’ is more of a tote bag version of the original. And Fendi’s creativity did not stop here – having already once taken inspiration from the French’s Boulangerie counter, the ‘Croissant’ was the next logical step. The tiny purse does not only look like its name giver, it also translates the original croissant’s characteristic of being seductively delicious but never quite satisfying into fashion: a fashionable showstopper but highly impractical.

End of “Baguette Bag” Editorial

WE HAVE NO LIMITS, BORDERS AND BOARDERS IN CREATIVITY.

DIGITAL Scan Purse - Takes you to the #baguettefriendsforever website

WE ARE THE

End of “FUTURE” Editorial

Start of FREEDOM Editorial

FUTURE FUTURE FUTURE

NOTES: End of “Toronto” Editorial

Start of FACES Editorial

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End of FACES Editorial

ANALOGUE Paint Splatters - Shows throughout the editorial

Start of “Graffiti” Editorial

1. What do you think the future of graffiti will look like?

3. How would you describe the Roman graffiti scene?

BRUS Oh, that’s a good question because I’ve seen a lot of changes during my 20 years of experience. I think that it could disappear a bit… not completely, I hope. You know, people are changing, and styles are changing, so I guess we’ll see!

NAPAL How would I describe it? Well, it’s like a life-long love story! I’ve been here for over 30 years now so, I’ve made so many friends in this movement and that’s what actually keeps you going. It’s also the

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FREE

fendi style guide

SUPPORTING ELEMENTS 28

The supporting elements include large typography, the F is For emojis and analogue processes. The large typography will focus on creating a bold cohesive look throughout the book. This will not be used on every page but will appear in the timeline, table of contents, fearless, and faces editorials. The F is For emojis will be used in the laser cut inserts. These pages will be black with each of the emojis cut out of them, allowing the designated colour to show through cut out. Lastly, analogue processes will be incorporated into the Fendi book. These include a multi media collage, yellow graffiti paint splatters and black roller paint. This will allow for a versatile and more organic look and feel that reflects Fendiâ&#x20AC;&#x2122;s craftsmanship.

fendi style guide

references 01 Logok. (2014, October 21). Fendi logo. Retrieved from http://logok.org/fendi-logo/ 04 Fendi. Fur Atelier. Media (online). Retreieved from https:// www.fendi.com/us/fendi-roma/craftsmanship/fur-atelier/ fur-atelier-gallery.ajax 06 Waga, N. (2016, April 27). Fendi’s Personal Vision of Luxury: The Ambitiously Refurbished Palazzo Fendi in Rome. Retrieved from https://www.forbes.com/sites/neloliviawaga/2016/04/26/fendis-personal-vision-of-luxury-the-ambitiously-refurbished-palazzo-fendi-in-rome/#2c6812ae407e Fendi, high end ready-to-wear - Fashion & Leather Goods. (n.d.). Retrieved from https://www.lvmh.com/houses/fashion-leather-goods/fendi/ 07 Getty Images. Fendi Mens Spring Summer 2019. Media (online). Retreieved from https://www.vogue.com/fashion-shows/spring-2019-menswear/fendi 08 Unknown. Fendi logo. Logok. Media (online). Retreieved from http://logok.org/fendi-logo/ 09 Logok. (2014, October 21). Fendi logo. Retrieved from http://logok.org/fendi-logo/ Fendi Logo. (2014, October 08). Retrieved from https://www. famouslogos.net/fendi-logo/

10 Fendi Logo. (2014, October 08). Retrieved from https:// www.famouslogos.net/fendi-logo/ Mull ,A. (2017, August 21). Love It or Leave It: Fendi’s New Logo Bag. Retrieved from https://www.purseblog.com/fendi/ fendi-logo-hardware/ Gouveia, A. (2018, May 13). The Story Behind the Famous Double-F Monogram. Retrieved from https://en.vogue.me/ fashion/silvia-venturini-fendi-interview/ 11 Logok. (2014, October 21). Fendi logo. Retrieved from http://logok.org/fendi-logo/ Unknown. Fendi Graffiti double F logo. Media (online). Retrieved from https://www.collectibledry.com/art-design/f-forgraffiti-fendi-platform-young-artists-rome-rooftop/ 12 Logok. (2014, October 21). Fendi logo. Retrieved from http://logok.org/fendi-logo/ 13 Logok. (2014, October 21). Fendi logo. Retrieved from http://logok.org/fendi-logo/ 18 ITC Charter Font Family Typeface Story. (n.d.). Retrieved from https://www.fonts.com/font/itc/itc-charter/story Sommet Rounded Font Family Typeface Story. (n.d.). Retrieved from https://www.fonts.com/font/insigne/sommet-rounded/story Helvetica. (n.d.). Retrieved from https://www.fontshop.com/ families/helvetica Helvetica Font Family Typeface Story. (n.d.). Retrieved from https://www.fonts.com/font/linotype/helvetica/story 21 Fendi Logo. (2014, October 08). Retrieved from https:// www.famouslogos.net/fendi-logo/ 23 Unknown. Girl Dancing at Night. Media (online). Retrieved from https://www.pinterest.ca/pin/389350330262276363/ Perlman, D. Girls Standing Together. Media (online). Retrieved from https://www.thecoolhour.com/2014/12/ob-

sessed-unifs-latest-kool-skool-lookbook/ Perlman, D. Girls Accessory Shot. Media (online). Retrieved from https://www.thecoolhour.com/2014/12/obsessed-unifslatest-kool-skool-lookbook/ Unknown. Freedom in the Night Sky. Media (online). Retrieved from https://www.yenmag.net/category/arts/ Unknown. Sunset Freedom. Media (online). Retrieved from https://www.fendi.com/us/fisfor/categories/fulgore/on-topof-Hong-Kong Unknown. F is For Fun. Media (online). Retrieved from https://www.fendi.com/us/fisfor/categories/fulgore/on-topof-Hong-Kong 25 Unknown. Bowing Down to Bar Botanique. Media (online). Retreieved from https://www.fendi.com/ca/fisfor/categories/freedom/bowing-down-to-bar-botanique Unknown. Bowing Down to Bar Botanique Tea Cup. Media (online). Retreieved from https://www.fendi.com/ca/fisfor/ categories/freedom/bowing-down-to-bar-botanique Unknown. Time for Iirokongjak. Media (online). Retreieved from https://www.fendi.com/ca/fisfor/categories/freedom/ lirokongjak Unknown. Horangii Please Purse in Window. Media (online). Retreieved from https://www.fendi.com/ca/fisfor/categories/freedom/ horangii Unknown. Sweet Assouline Lobby. Media (online). Retrieved from https://www.fendi.com/ca/fisfor/categories/freedom/ sweet-assouline Unknown. Sweet Assouline in theh Books. Media (online). Retrieved from https://www.fendi.com/ca/fisfor/categories/ freedom/sweet-assouline Unknown. Sweet Assouline on Table. Media (online). Retrieved from https://www.fendi.com/ca/fisfor/categories/ freedom/sweet-assouline Ayala, E. Stainless Glass at Georgetown Library. Photograph. 27 Ayala, E. Pagination. PDF. 28 VectorStock. Ink Brush Stroke and Texture Black Paint Vctor Image. Media (online). Retreieved from https://www. vectorstock.com/royalty-free-vector/ink-brush-stroke-andtexture-black-paint-vector-19557479 Sprangler, T. Collage. Media (online). Retrieved from http:// tylerspangler.com/post/93025212370/work-copyright-tyler-spangler Unknow. Yellow Watercolor Splatters. Media (online). Retrieved from https://www.onlygfx.com/20-yellow-watercolor-splatter-png-transparent/ Fendi. F is For Freedom. Media (online). Retrieved from http://www.flair-magazin.de/fashion/artikel/f-is-for-fendi. html 29 Fendi. F is For Freaks. Media (online). Retrieved from htp://www.flair-magazin.de/fashion/artikel/f-is-for-fendi. html Fendi. F is For Fearless. Media (online). Retrieved from http://www.flair-magazin.de/fashion/artikel/f-is-for-fendi. html Fendi. F is For Faces. Media (online). Retrieved from http:// www.flair-magazin.de/fashion/artikel/f-is-for-fendi.html Fendi. F is For Fulgore. Media (online). Retrieved from http://www.flair-magazin.de/ fashion/artikel/f-is-for-fendi.html

fendi style guide