MARKET AND VISUAL AWARENESS
Hannah Cole Fashion Communication and Promotion N0618691
CONTENTS 05 task1a
an advert comparison and analysis of the Mulberry AW12 campaign and the Topshop Holiday Lookbook
07 task1b
a retail analysis comparing two store windowsBergdorf Goodman and Fendi 09
task2a
creative communication. showing how fur is used in three sectors outside of fashion: art, film and interiors 11
task2b
cultural communications. discussing polictics and social power of fur over the decades 13
task3
the big idea. showing my creative input on how to communicate fur in a new way, through place and experience.
FUR This is a brand/retail promotion and visual analysis report. In the group formative project, we had the trend catagory of ‘womenswear’, in which we chose to investigate coats. Following this, I have chosen to use the trend catagory of FUR as my working example. In this report, I am exploring three areas: Fashion Communication, Cultural Communcation and my own communication through an idea.
task1a ADVERT COMPARISON
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Nearly all brands use advertisement as a way of promoting their products for retail advancement. Different market levels approach their promotional techniques contrarily, depending on the message they’re trying to create. The adverts which I have chosen to analyse are by Mulberry and Topshop.
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Firstly, Mulberry is a British brand which focuses on “authenticity, attention to detail, energy, playfulness”(Carter H, 2011) with a “passion for great British craft” (Carter H, 2011) . Mulberry’s A/ W12 ‘A Forest Fairytale’ campaign chooses a complex approach to create an edgy, whimsical and romantic atmosphere yet still manages to keep in touch with the fantasy, dark side that a fairytale requires. In this image we can see a full body shot of a doll-like girl dressed in an oversized brown fur coat positioned in front of a giant monster. It is clear to see that by choosing brown as a main colour theme, it runs parallel to the natural surroundings, in keeping with the enchanted forest theme. This also suggests structure and simplicity which is relevant for the representation of the brand, as these are characteristics which the consumer looks for. Through the body language, we can see that the model has a stern positioning, due to her legs being tensed. By not giving direct mode of address, it leaves the audience wondering what she is looking at, and what is going on beyond what we can see. This element of the unknown is almost unsettling yet intriguing for the audience, as we are left in a state of fear. By doing this, it is contrasting to the brands motif of “inherent value”(Emma Hill, 2011) as it may leave the consumer unsure of what they are getting. It is clear to see that this has a rich narrative with a magical wilderness edge. It is very appropriate to the brand as it is both ‘iconic and ironic’, but keeps in touch with the British qualities due to the location and model. Similarly to Mulberry, Topshop chooses a location which is in keeping with their target consumer. Although Mulberry’s main focus is quality and luxury, Topshop contrasts to this and instead is all about ‘up-to-the-minute affordable style’(Arcadia) for the younger ‘fashion-conscious’(Arcadia) target consumer aged between 18 and 25. The urban locations allows for the target consumer to be able to relate, as it is not an exotic or extravagant location. Instead it is something edgy and industrialised which is relevant to the younger and mass market consumer. In this advert, we see a young Asian model much more exposed in comparison to the Mulberry model as she is wearing a short skirt and mesh top with only the bold fur coat on top; allowing more flesh to be shown. This exposure it much more daring, attracting their target consumer perfectly as young people are much more likely to experiment with fashion choices in comparison to a more mature and luxury focused consumer. The direct mode of address in this image shows confidence and certainty in contrast to Mulberry’s more uncertain approach. Her stance and stern yet relaxed facial expression shows attitude and importance. This allows the consumer to think that if they copied this look, they could also feel this way, encouraging the consumer to purchase.
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task1b RETAIL ANALYSIS
With every store comes an opportunity to create a window display to attract consumers; whether that is through the use of extravagant visual merchandising or a simpler yet effective approach. I am going to discuss two examples, taken from the Bergdorf Goodman store, and the Fendi store.
Bergdorf Goodman is a luxury department store in New York City. Founded in 1899 and filled with fine quality garments from a variety of designers, it is aiming to target the high end market consumer. Through the use of visual merchandising, it creates a fantasy with a deluxe and expensive feel. In the image, we see a mannequin dressed in all white fur, surrounded by snow animals, pearls, and crystals. It is clear to see that white is the central colour theme, suggesting an angelic, perfected and innocent atmosphere. This purity suggested is fitting with the winter wonderland theme, appropriate for the Christmas season that the display was created for. These elements combined, targets the high end market consumer well as this is the level of extravagance and indulgence is expected to be able
to satisfy their needs.
The fact that this store has chosen a theatrical and fairytale-like approach, allows a sense of escapism for all market level consumers, as the displays are open for everyone to view. Furthermore, I feel that the winter wonderland theme sends a relevant message to the stores target consumer, as it gives a fictional and exclusive style.
By merchandising their products in this way makes them feel more exclusive and luxury, making a materialistic item seem more precious and valuable. Fendi is a high-end retailer that bases everything on ‘brand heritage’ to ‘sell their story’ (Graglia, Margherita, 2014). It is clear to see that they do this through the visual merchandising. Fur is something that Fendi do well as they spend time researching ‘materials, fur and shapes as a fixed basis to develop different topics’ (Graglia, Margherita, 2014), making this display iconic to its consumer who knows the brand well. It is a new way to integrate what they know best allowing the consumer to ‘never be bored because they do always new and unexpected things’ (Graglia, Margherita, 2014). Fendi have used fur as a prop in the furniture instead of using it on the main garment in the display. In this image, there is a central mannequin in a hot pink jacket. This bold colour stands out and is contrasting in comparison to the neutral toned striped background. This successfully creates a balance between being striking and sophisticated. This juxtaposition is relevant to the brand as the extravagant use of fur alongside the classic heritage of pinstripe allows the consumer to instantly recognise the brand and its values through the visual merchandising. To summarize, both examples have taken a different approach in their presentation, however, have both created a narrative which is relevant to the brand. The Bergdorf Goodman store shows luxury in a bold and extravagant way by having over the top themed displays. However, Fendi use a much simpler less-is-more approach to keep in touch with their brand heritage. 8
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My first example is taken from a sculptural and fine art background, created by the surrealist artist, Meret Oppenheim. The object is a fur coated cup and saucer, primarily ‘inspired by a conversation between Oppenheim and artists Pablo Picasso and Dora Maar’ (Museum of Modern Art, 2016), in which Picasso stated ‘one could cover anything with fur’ (Museum of Modern Art, 2016). Following this was the beginning of the first Surrealist exhibition dedicated to ‘objects’. Oppenheim’s purpose of doing this was to suggest how she can transform a traditionally ‘feminine decorum’ (Museum of Modern Art, 2016) related item into ‘sexually punning tableware’ (Museum of Modern Art 2016) and something sensuous. This is something that Oppenheim has achieved well. By taking this material which we as consumers associate with glamour
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FIGURE 6
and luxury has been used within art and sculpture, allowing an everyday object to have a narrative through the new created connotations that fur brings. Furthermore, my second example is taken from the film ‘The Royal Tenenbaums’. In this film, Margot Tenenbaums is one of the main characters who comes from a dysfunctional yet wealthy family. She has since become a major icon within fashion because of film, due to her style inspired by ‘70s musician Nico, whose style had a similarly vintage thrown-together boho vibe.’ (Alexander, Ella. 2015) The main item of clothing which became such an iconic piece was the toffee coloured Fendi fur coat which is communicated in an unafraid way, allowing it to be received in a confident manner by the audience.
task2a CREATIVE CONCEPT
Fur isn’t something that is used just within fashion. There are many sectors which use this material as a creative concept to communicate a purpose, meaning or narrative.
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This is evident due to the instantly cool ‘cult-like figure’ (Alexander, Ella. 2015) character still inspiring other creatives outside of film including Gucci, Erdem and Jonothan Saunders’ fashion shows. Film allows you to visually express a meaning and narrative. This film teaches you to be ‘beautiful, nonchalant and intelligent’ (Alexander, Ella. 2015). This is an appealing image, so it is clear to see how the platform of film can inspire and influence fashion. This film is one of many examples which has taken characteristics and visuals, and then turned it into a real impact trend, allowing for an icon to arise. Lastly, my third example is used within interiors. This fur covered chair is an innovative and creative way to use the single material of fur within a piece of furniture. It has creatively integrated the
material covering the whole chair, allowing it to be the central focal piece. The chair suggests a tradition due to the fur being real, fragile and delicate. It also has an element of modernity as it is unexpected and original. The simple colour scheme used in this chair reflects a realistic representation of fur that a variety of different animals show. The fur has an element of uniqueness, showing wealth as it is bespoke. All three examples have over aching meanings and visual codes of a similar nature. All three have connotations of wealth, luxury and glamour but in different concepts. Whether its luxury shown through a garment in film, or what you have in your home. All examples have used fur to either suggest or change meaning, but still have almost identical connotations- showing that no matter what the context, it is still corresponding.
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task2b CULTURAL CONCEPT
Fur is a material which has always had a political impact on society; whether it is that Seventeenth century object of sexual fetish or postliberal World War 2 comfort zone, it has always had a purpose and caused issues culturally for many years. This essay discusses what fur means politically and socially throughout past decades.
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In Europe, between 1450 and 1789, a set of Sumptuary Laws were created to regulate ‘clothes, ornamentation, food, drink and forms of luxury’ (Encyclopedia). These laws were set in place to create a ranking in which persons could wear the specific garments or cloths. Typically, the rarest of furs were ‘reserved for royal families, lesser furs for nobles, and inferior furs for commoners’ (Encyclopedia). In the early 60’s, fur had a certain codification that was used as a symbol of ‘glamour, femininity, and success’ (Watt, Judith. 2012) and a ‘Sign of Wealth’ (Watt, Judith. 2012). Meaning that it was a ‘royalty’s privilege to access certain furs’ (Emberly, Julia V. 1997) In 1965, the ‘Swedish Crown Mink Advertisement’ [9] came out, which its purpose was to mock and allow access to the furs for the middle class. This challenges everything that the monarch stands for, by suggesting that the rankings are no longer in place, and they have no power. This is relevant for the time, as the 60’s was a time of optimism and ‘society was becoming less formal’ (Emberly, Julia V. 1997), with the rise of British pop music and fashion; a status of wealth was becoming less and less significant. During the 1970’s, was the rise of the anti-fur movement. In 1984, Lynx created an anti-fur poster, which does little to challenge the ideological effects when targeting a feminine consumer, instead it almost looks like a fashion editorial photo. This has a purpose as it is really showing the ‘unpleasant reality behind the glamourous image portrayed by the fur industry’ (Emberley, Julia V. 1997) The poster is captioned “Fur coat with matching accessories”, in which a silver chain with a small leg trap – stained with blood, is hung around her neck as though this is just another normal accessory. This image is suggesting how consumers and fur wearers only really see the beauty and not the pain and suffering behind the image. The way it is hung around her neck almost makes it look like it is normal, however, this cannot be seen as another ‘fashion image’, instead it needs to be brutal to fight against the fur industry. Fur has become increasingly popular in the past 5 to 10 years due to the rise in Russians visiting the UK, as it has since been deemed more socially acceptable. However, the fight against fur is still present. Designers are using it to their advantage and still use a fur or fur print in advertisement campaigns to simply attract and cause controversy for those against, yet create elegance for those in favour. This is clear to see in the advert by Diesel (1992) as it has taken the print of a zebra – to create a representation that can be used to sell a different garment, but still include a reference to the anti-fur movement. The wildness and untamed nature of zebra skins is both ‘sacrificial black sheep and the redemptive figure of irony’ (Emberley, Julia V. 1997), as I feel the creators of this image are attempting to signal their power and position in a way that they show their ability to create an image of political simulation. With different cultures, society and political views worldwide, I feel that fur is a topic that persons will never conclude. For some, fur is used culturally as a creative concept for different purposes and representations - to express, to gain, to protest or to show a status.
FIGURE 9 FIGURE 10
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task3 THE BIG IDEA
WINTER WONDERLAND POP-UP STORE FUR INTERGRATED THROUGHOUT
As explored earlier, it is clear to see how fur is versatile; you can use it in a variety of ways by applying it to objects or using it as a replacement fabric. To communicate this material to the consumer, it is important to explore a concept and apply it in an interesting and innovative way. I have chosen to take this specific material, and turn it into a promotional device through place and experience. Animals are something you automatically associate with when thinking of fur. I have chosen to use animals within my idea, as I feel that it is relevant. Further to this, when thinking of animals, I think of interaction and children. Therefore, I feel it is appropriate to combine the use of animals and children within my idea. To move fur into a new direction other than just having it in a window display, I would bring the fur to life through a pop-up children’s clothing and toy store. I would have real life animals, such as rabbits, within the store that the children can play and interactive with. I would choose to do this as a winter event, as I feel a winter wonderland themed store is
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relevant as fur is an appropriate material which can be used to help create this theme. In terms of a window display, I would keep it simple with little bits of hanging fur pompoms to make it look like snow and few pieces of merchandise for a promotional device; but still be clear enough to be able to see into the store and the environment. A fur flooring would be appropriate, and add another experience to the store as you can walk around on a ‘wonderland’ soft floor. I feel that this type of event and experience is exciting for both the parent and the children. It gives an opportunity for the child to have fun in a place which they may find tedious. It gives a chance for the parent to do some shopping and watch their child play in a lively environment. I feel that it would be easily promoted, as parents will take pictures and share their experiences within the store of their children in a winter wonderland on social media. Allowing other parents to see this, and hopefully bring their child along also. The collage of images visually suggests a new direction
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LIST OF REFERENCES Affaticati, Andrea & Buxbaum, Gerda. 2005. Icons of Fashion: the 20th Century. New Edition. London, Munich: Prestel. Arcadia Group Limited. Topshop / Arcadia Group [online] Available at: https://www.arcadiagroup.co.uk/legal-notice [Accessed: 20 January 2016] Carlos, Ann M. 2011. Fur, Fortune, and Empire: The Epic History of the Fur Trade in America. Journal of American History 98 (1): 182 Carter-Morley, Jess. 2011. Bags of Fun: Mulberry’s brand DNA [online]. The Guardian. Available at: http://www.theguardian. com/lifeandstyle/2011/feb/19/mulberry-luxury-brand-sales-up [Accessed: 20 January 2016] Cengage Learning, 2016. Encyclopedia – Sumptuary Laws [online]. Encylopedia.com: Cengage Learning. Available at: http://www.encyclopedia.com/topic/sumptuary_laws.aspx [Accessed: 22 January 2016]. Elvin, Jo. 2015. Margot Tenenbaum style and fashion trend [online]. London: Glamour Magazine UK. Available at: https:// www.glamourmagazine.co.uk/news/fashion/2015/10/07/ margot-tenenbaum-style-and-fashion-trend [Accessed: 20 January 2016] Emberley, Julia V. 1997. The Cultural Politics of Fur. 1st ed. United States of America: Cornell University Press. Etherington, Rose. 2011. Mulberry Manchester store by Universal Design Studio [online]. Manchester: DeZeen Magazine. Available at: http://www.dezeen.com/2011/03/29/ mulberry-manchester-store-by-universal-design-studio/ [Accessed: 20 January 2016] Graglia, Margherita. 2014. Fendi: A Versatile Brand With A Strong Identity. HeritaDolceVita [online blog]. 7 April 2014. Available at: https://heritadolcevita.wordpress. com/2014/04/07/fendi-a-versatile-brand-with-a-strongidentity/ [Accessed: 20 January 2016] Hennessy, Kathryn. 2012. Fashion – The Ultimate Book of Costume and Style. 1st ed. Great Britain: Dorling Kindersley Limited MoMA, 2016. Meret Oppenheim [online]. New York: Museum of Modern Art. Available at: http://www.moma.org/collection/ works/80997 [Accessed: 20 January 2016] Styles, Ruth. 2013. So is it OK to wear fur now? As models and designers jump on the trend for animal skins and sales TRIPLE in 10 years FEMAIL asks if wearing fur can ever be acceptable? Daily Mail [online]. 20 March 2013. Available at: http://www. dailymail.co.uk/femail/article-2295846/As-models-designersjump-trend-FEMAIL-asks-Is-wearing-fur-acceptable.html [Accessed: 20 December 2015]
LIST OF ILLUSTRATIONS Figuere 4: Blue Mount, 2013. Fendi fill windows with Fur 2013 [photograph]. Macau, Taiwan, Hong Kong: Blue Mount. [Accessed: 22 January 2016] Figure 12: Bonnie Anne Pinard, 2014. Winter Frost and Fairies [photograph]. Pinterest [Acessed: 24 January 2016] Figure 18: Cox and cox, N/A. [photograph]. Buzzfeed: Pinterest [Accessed: 24 January 2016] Figure 3: Ellen, 2011. Elaborate window display at Bergdorf Goodman along Fifth Avenue [photograph]. New York: The Time Crunched Traveller[Accessed: 20 January 2016] Figure 20: Heidi, ‘Chief Foodiecrush-er’. 2013. Coconut Snowball Cookies [photograph]. www.foodiecrush.com [Accessed: 26 January 2016]
Figure 11: N/A. I Love Wallpaper™ Glamour Real Glitter Wallpaper Silver (GLAM352) [photograph] I Love Wallpaper [Accessed: 24 January 2016] Figure 5: Own photograph- Cole, Hannah. 2016. New York: Museum of Modern Art. Figure 6: Rex Features, 2001. Gwyneth Paltrow as Margot Tenebaum in The Royal Tenenbaums [photograph]. London: Harpers Bazaar [Accessed: 22 January 2016] Front Cover & Back page image: Rizzi, Heloisa. 2011. Neapolitan Mastiff [photograph]. 500px: Pinterest
Figure 14 N/A. 100 Creative DIY Craft Projects Ideas And Inspiration [photograph]. The Wow Style [Accessed: 24 January 2016]
Figure 2: Sgira, Giampaolo. 2015. Topshop Holiday 2015 [photograph]. Found: Marga Esquival for Topshop Lookbook Holiday 2015 [online] Women Management. Available at: http:// www.womenmanagement.fr/margaesquivel-for-topshop-lookbookholiday-2015/#more-52951 [Accessed: 20 January 2016]
Figure 16: N/A. Beautiful Ideas for Bedrooms [photograph] London: House and Garden [Accessed: 24 January 2016]
Figure 17: Tommytyme. 2014. N/A [photograph] Pinterest [Accessed: 24 January 2016]
Figure 19: N/A. Firefly light ‘34 Things That Actually Belong On Your Wishlist’ [photograph]. Buzzfeed: Found on Pinterest.
Figure 8, 9 & 10: Sourced from the book: ‘The Cultural Politics of Fur’
Figure 7: N/A. Found on Pinterest: Ahern, Abigail. Versatile Sheepskins. abigailahern [online blog]. 30 July 2015. Available at: http://blog. abigailahern.com/design/versatilesheepskins/ [Accessed: 20 January 2016] page 4 image: N/A. Fur Editorial. Found on Google, Published on: xxymagaine available at: http://www.xxymagazine.com/ wp-content/uploads/2015/12/
Figure 1: Walker, Tim. 2012. Mulberry AW12 Campaign [photograph]. Found: Vanthournout, Alexandra. 2012. ‘Mulberry’s Magical AW12 Ad Campaign’. Alex Loves [online blog]. 22 June 2012. Available at: http:// alexloves.com/2012/06/mulberrysmagical-aw12-ad-campaign/ [Accessed: 20 January 2016] Figure 15: Make Be Live, N/A. [photograph] Colin Cowie Weddings [Accessed; 24 January 2016]
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