Paul Smith - Creative Concept

A P H T I

EMILY DRINKELD N0560145

CREATIVE CONCEPT

#1 The general ambiance of this advert is one of tension, intrigue, and the feeling that something is about to happen.

It is overtly sexualized and intense, and has a typical D&G ‘caught in the moment’ atmosphere

#2 Usual Dolce & Gabbana logo is drawn out across the advertisement, which naturally draws the eye from left to right and makes the viewer take in the entirety of the image.

The space in the middle of the advertisement also makes the viewer concentrate on the centre of the image and provides some visual relief from the otherwise tension-heavy characters and scene.

#3 Naked model immediately connotes the Baroque period and typical Italian-style paintings of this era. This period began in 1600 in Rome and Italy, spreading to most of Europe. This directly relates to the Italian roots of D&G, and can also directly relate to Caravaggio’s Conversion of St Paul (1600-1601). The direct similarities between the ad and the painting show the submission of man in an almost animalistic form, as in the painting the subject is directly surrendering to a horse whereas in the advertisement the naked model is doing very much the same thing only to other men who are looking on in a brutish and erotic way. Another Baroque painting which this advertisement directly draws upon is Judith Slaying Holofernes by Artemisia Gentileschi. While the painting explores gender and power in terms of women and somewhat reverses the roles of societal norms by putting women in the authorative position, this advertisement uses a naked male model in the place of a naked female model. Through doing this, the advertisement is seen as less of a violation and more of a piece of art. This also immediately launches the advert into the 21st century, and is reinforced by the fact that a similar advert however with a female subject as opposed to a male one was pulled from the 2007 Spring/Summer D&G campaign, following an uproar within the media over allocations of ‘gang rape’. #4 Unlaced shoes and the model unzipping trousers is immediately suggestive of the very clearly sexualised scene. The model sitting with legs open shows a masculine stance within the ad, despite the ad itself alluding to a more homosexual scene. Only one older subject in the scene who is dressed in black as opposed to white, and directly pointing to the naked model. This could be to directly oppose the men in white suits, acting as the devil within the composition of innocence and telling them to act upon what they are seeing. Caravaggio’s Victorious Cupid (c.1601) can also be directly related to this image. The symbolism of the colour white – seen in the painting through what cupid is wearing and in the advertisement what the majority of the subjects are wearing – can firstly be suggestive of purity, simplicity and angelic. This colour also has deeper biblical references of innocence and virginity, which could perhaps suggest that the models aren’t looking upon this naked man in such an animalistic way but are actually intrigued by his naked form and unscathed by brutishness.

#5 The background of the image is fairly abstract in itself as much of it is covered, however a mirrored column alongside more rustic hay bales can be seen. This can allude to the advertisement taking place in the modern day however with more traditional connotations. The wooden textures of the tables and desks which the models are sitting on also contrast in colour with the bright whites and cream of the suits, providing a more naturalistic tone alongside the naked figure. The darker lighting used in the background also gives us a stronger focus on the foreground where the models themselves are, while the reflective column could in fact be representative of a literal mirroring of these Baroque scenes in the advertisement.

#6 The direct meaning of the advertisement is somewhat clouded despite the imagery being clear, leaving the outcome to the imagination of the viewer and thus further increasing intrigue.

This can be related to American Scene Painting (1912-1940s) as it shows a scene which is almost moving and part of a moment.

Edward Hopper and George Bellows, alongside Robert Henri, were key artists of this period and produced ‘art for life’s sake’.

Their Ashcan School describes the realism of urban culture depicted in steamy street-life scenes, often exhibiting close-cut formats and a POV feel. This view of the scene at eye-line level immediately makes you feel as though you are a part of the scene and involved in the movement.

Figure 01: Dolce and Gabbana, ‘Man On The Floor’ Advertisement, 2006

#7 The advertisement has very clear themes of sexualisation and gender.

This is often very stereotypical of the D&G brand and so is almost expected of them. In addition to this, the fact that both designers are gay themselves and usually photograph their own advertisements adds a touch of personalisation to the advertisement and makes it relatable in terms of context.

#8 The only text used on this advertisement is the Dolce & Gabbana logo. This is very typical of the brand as their overall imagery usually has a very distinctive tone of voice and so could even be recognised without the logo. The lack of any pretext once again leaves the context of the image completely up to the viewer and almost puts them in control of the advertisement itself as they can make an individual determination of what it could mean.

#9 The item being advertised in this image is the suits being worn by three out of the five subjects. The brand has skilfully used close-ups of these suits in a storytelling way, showing the quality of the garments while still having an extremely clear contextual reference. In addition to this, suits are usually very gendered within society and seen as predominantly masculine and portray strength. This therefore directly juxtaposes the confused sexuality of the image.

#10 The exaggerated motion and clear, easily interpreted detail of the advertisement once again links back to the very roots of the Baroque movement, and just as this movement communicated religious themes in direct emotional involvement, this advertisement instantly hones in on political issues surrounding LGBT communities and their stance within society without doubt.

Overall, the advertisement takes a fairly minimal approach while still being eye-catching and direct. This is achieved through the juxtaposition of the plain background and the colour pop of the model, as the eye is directly drawn to the item of clothing that is being sold - the suit. Within this advertisement, the mood created is one of cool and subtle excitement. The model conveys a more laid-back feel through his casual posing and the concept of the suit itself directly opposes this, becoming suggestive of the brand itself through its casual business-wear.

Figure 03: Alex Turner of Arctic Monkeys

Figure 04: 1970s Decorative Interiors, photographed from Decorative Arts, 1970s: A Sourcebook, 2000

The model is central to the image, making the pop of colour in the suit much more prominent and noticeable. Everything surrounding the model also points towards the centre of the image and redirects the eye to the central focus, which is the model himself. For example, the wall detailing to the left leads the eye towards the model’s elbow and so on, while the circular panel above the models head involves a diagonal black line which seemingly points straight to the model. The only sign of text is in the handwritten PS logo to the right of the image, which is slightly cut off but still noticeable. This alongside the fact that the logo is handdrawn immediately creates a more playful and youthful ambience, again reflecting the main selling points and key difference between the PS line and the original Paul Smith line.

The one model within this advertisement is male, perhaps because of the origins of the Paul Smith brand lying in menswear. It is also important to note that the PS line originally began with menswear and then reached out into womenswear when the twelve lines recently became two. His pose is noticeably organic in comparison to the linear surroundings and angular background, again directly contrasting the model with the background. His pose is also casual and approachable, making the whole advertisement take on a much less serious stance which would not be the case if the model was standing in a more controlled position. His hair is untamed and much more relaxed and casual, which is reminiscent of the bands of the 50s and 60s period which is often mimicked today by the likes of The Arctic Monkeys and The Strokes (see fig.03). The bright colour of the suit draws the eye inwards and the contrast of the blue suit and red socks can be related to the bright, bold decorative interiors of the 1970s (see fig.04). This also mimics elements of colour field painting, which was seen from the 1950s through to the 1970s. As an American movement and form of abstract expressionism, it centred around the visual sensation of colour with large

This advertisement, alongside others for the same PS line, have less of a storyline and have more purpose to generate an impact. There is no ‘plot’ as such, as the advert becomes more of a statement piece. This relates to all the elements within the advert and the entire time period of the 1960s and 1970s. This period is key to the Paul Smith brand regardless, and while each different element creates its own statement, the advertisement as a whole is one work of art.

The background itself is immediately suggestive of the minimal art of the 60s and 70s, which reduces sculpture and painting to its purist and most reductive level to reveal the clarity and substance of its form. The detailing on the wall to the left-hand side again reflects the period of the 1960s and 70s, which is a clear influence throughout not only this campaign but the whole of Paul Smith as a brand. This sculptural and 3D wall panelling can be related to the works of Frank Stella whereby straight bands radiate from central points of the canvas to form a symmetrical overall pattern. In his series of Aluminium and Copper paintings (see fig.05), he made the paintings themselves have ridges and texture, objectifying the works of art and thus relating directly to the panelling seen in this advertisement. The circular panel with a diagonal black line just above the model’s head is also reminiscent of an artist from the same period, Robert Marigold (see fig.06). His works often involved a variety of geometric or eccentric shapes combining both straight and curved edges. This amalgamation of shapes also carries deeper meaning, through questioning to what degree they might be interpreted as part of an extended, external reality and therefore not subject to enclosure. Finally, in keeping with International Modernism, the only other element to this advertisement is the chair which has unmistakable Bauhaus roots.

The minimal and contemporary feel to the chair itself is reflective of the turbular steel used throughout the Bauhaus period, whereas the cross wiring can be related to the wicker used in the likes of Mies van der Roe; a key GermanAmerican architect of the Bauhaus period (see fig.07).

Within the advertisement, there is a lack of typeface in that the only branding it carries is in the handdrawn logo on the right-hand side. This is suggestive of how powerful the image is alone, and that it doesn’t need any back-up from typeface to be indicative of the Paul Smith brand. The pop of colour within the advertisement, alongside the visual appearance of the model himself, is distinctly ‘Paul Smith’ but with a younger and more fresh twist. His own maverick sense of humour is depicted through strong and bold visuals alongside the way in which the model is dressed, and the upbeat emotional response achieved is not from typeface but from the strong visuals.

Figure 02: PS for Paul Smith Fall/ Winter’16 campaign

Figure 05: Frank Stella works, late 1950s

Figure 06: Robert Marigold 1/2 Marigold Series, 1968

Within this advertisement, stereotyped thinking within society is somewhat targeted. This is because Paul Smith takes the stereotypical men’s suit and puts a more playful spin on it. As well as this, Paul Smith as a brand overall is fairly anticonformist through its use of confident colour, unique print and sharp tailoring.

Figure 07: Mies van der Roe Tubular Steel Chair, photographed from Bauhaus Source Book, 1997

The key item being advertised here is the suit which the model is wearing. Within society, a suit is indicative of a more masculine figure, and is undoubtedly serious and business-like. Here, Paul Smith takes a younger spin on an older man’s classic and essential piece of clothing. A bright, fun, and playful stance is taken on a usually sober piece of clothing which generates a sense of humour and irony, creating an antithesis of the original meaning of a suit. As well as this, the bright colouration and more feminine attributes to the model remove any stereotypical mannish associations; relating back to Paul Smith as a brand somewhat combining menswear and womenswear.

Showcase of new collection Rockets/space/science Movement forward Surprise Launch of album/music?

Start of something new Key attendees/representatives of the brand

Sensory Tunnel?

Underpass Basic transportation As it happens Many different elements Figure 09: Tunnel Figure 08: Twiggy

A launch party for the newest range of PS by Paul Smith as a walk-through experience in collaboration with the Heikeken Scenthesizer.

Figure 10: Bjork

Figure 12: The Who

Smell Senses Alcohol/Beer/Youth/Gig culture – iconic bands of 60s/70s?

Immersive Basic human interaction Moving forward by moving back

Young Secretive?

Add-on to original collection Caught up in youth Playful Fresher take Generation Viz Figure 11: The Beatles

Musical collaborations Mixing to create something new Andy Warhol Bjork – art meets music Between creative spheres All the best bits into one Figure 13: The Beatles - Sgt. Pepper’s Lonely Hearts Club Band album cover (opposite page)

DESIGN RECIPE

Here, the key colour palette taken from the album cover will be chanelled into the use of lighting and mood to represent the album cover in a more sculptural and abstract manner. Taking inspiration from previous PS by Paul Smith collections, colour overlay and different shades of acetate will be used in order to give a soft overlay of coloured light. Props will include flowers of the same palette, namely tulips and daffodils to carry through the symbolism of death in the discarded 12 lines to streamline the brand to 2. Finally, the only other prop that will be used is a slightly comical moustache on a stick; subliminally carrying through one of The Beatles most distinctive attributes while still representing brand humour, playfulness and lightheartedness.

Figure 14 & 15: PS by Paul Smith previous campaign

Figure 17: Kate MacDowell Heart Sculpture ‘Venus’

Figure 18: Tulips & Daffodils

Figure 19: Moustache props

Figure 16: The Beatles Pop Art

BIBLIOGRAPHY Charlotte, P.F., Fiell, C. and Fiell, P. (2000) Decorative arts, 1970’s: A Sourcebook. New York: Taschen GmbH. Garner, P. (1996) Sixties design. New York: Taschen GmbH. Ormiston, R. (2014) 50 art movements you should know: From impressionism to performance art. Munich, Germany: Prestel Pub. Rorimer, A. (2001) New art in the ’60s and ’70s: Redefining reality. London: Thames & Hudson.

Rowland, A. and Rowl, A. (1997) Bauhaus source book.

London: Grange Books.

ILLUSTRATIONS

Fig.1: D&G (2015) Man On The Floor [Photograph]. Available at: http:// www.ebaumsworld.com/pictures/10-sexual-fashion-ads-that-are-cringeworthy/84871072/ (Accessed: 15 November 2016).

Fig.2: PS by Paul Smith (2016). Available at: http://www.mens-folio. com/21511/paul-smith-launches-ps-by-paul-smith/ (Accessed: 15 November 2016).

Fig.3: Alex Turner of Arctic Monkeys. Available at: https://www.tumblr. com/search/alex%20turner%20quiff (Accessed: 15 November 2016).

Fig.4: 1970s Decorative Interior photographed from Decorative Arts, 1970s: A Sourcebook, 2000 (Accessed: 15 November 2016) Fig.5: Frank Stella Works, late 1950s. Available at: http://www.brooklynrail. org/2012/08/artseen/frank-stella-black-aluminum-copper-paintings (Accessed: 15 November 2016).

Fig.6: Robert Marigold ½ Marigold Series, Available at: https://www.moma. org/collection/works/79248?locale=en (Accessed November 15 2016).

Fig.7:, Mies van der Roe Tubular Steel Chair, photographed from Bauhaus Source Book, 1997 fig.8: Twiggy. Available at: http://www.vogue.com/6205709/best-eyelashes-eye-makeup-for-holiday-parties/ (Accessed: 15 November 2016).

Fig.9: Tunnel image. Available at: https://usinglight.com/2014/04/20/tunnel-tothe-future-with-many-exits/ (Accessed: 15 November 2016).

Fig.10: Bjork. Available at: https://patricehuchet.com/2016/03/ (Accessed: 15 November 2016).

Fig.11: The Beatles. Available at: http://pitchfork.com/artists/546-the-beatles/ (Accessed: 15 November 2016).

Fig.12: The Who. Available at: http://www.rollingstone.com/music/news/thewho-unveil-massive-my-generation-box-set-w444721 (Accessed: 15 November 2016).

Fig.13: Sgt Peppers Lonely Hearts Club Album Cover. Available at: http://diffuser.fm/sgt-peppers-lonely-hearts-club-band-cover-art/ (Accessed: 15 November 2016).

Fig.14/15: PS by Paul Smith campaign. Available at: http://www.paulsmith. co.uk/uk-en/shop/stories/aw16/ps-by-paul-smith-advertising-campaign (Accessed: 15 November 2016).

Fig.16: The Beatles Pop Art. Available at: http://www.wallpapersxl.com/wallpaper/1152x864/mustache-the-beatles-silhouette-haircut-members-351045.html (Accessed: 15 November 2016).

Fig.17: Kate MacDowell ‘Venus’ Sculpture. Available at: http://www.katemacdowell.com/venus_daylit.html (Accessed: 15 November 2016).

Fig.18: Tulips & Daffodils. Available at: http://www.botanical-journeys-plant-guides.com/tulip-bulbs-for-sale.html (Accessed: 15 November 2016).

Fig.19: Moustache Props. Available at: https://www.etsy.com/listing/120117536/12-medium-black-mustache-photo-booth (Accessed: 15 November 2016).