Iconic Fashion Print Design by Janna Fuller

Iconic Fashion Print Design Of 20th Century Europe and America Janna Fuller

The Nature of Print Design in Fashion Today the arts exist in isolation from which they can be rescued only through the conscious, cooperative effort of all craftsmen...Let us then create a new guild of craftsmen without the class distinctions that raise an arrogant barrier between craftsman and artist! -Bauhaus founder Walter Gropius, 1919 In the early 20th century a distinct divide existed between societyâ&#x20AC;&#x2122;s great appreciation for the highly individual, complex nature of fine art and the low level of regard for conventional, mass-produced goods. European society was skeptical of the capability and willingness of great artists to create textile designs. Retailers of consumer goods did not perceive the merits of aesthetic design, and the place for art in the commercial realm was very limited. In 1911, Fauvist painter Raoul Dufy collaborated with Parisian couturier Paul Poiret in a revolutionary attempt to combine art with textile design. This successful yet short-lived effort paved the way for countless other artists, from Sonia Delaunay to Zandra Rhodes to Takashi Murakami. Throughout the 20th century, these design

Louis Vuitton vintage trunks

leaders have proved commercial textile design, whether for elite luxury consumers or for the masses, as a legitimate and essential art form. This highly accessible form of art not only expresses the sentiments of the artist but also offers the opportunity for personal Marimekko expression by the individual consumer, as fashion is the most wearable Fall 2011 art.

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Beautiful, distinct prints elevate ordinary products to the realm of the artistic and sophisticated, making them pieces to desire, possess, and flaunt rather than just another dress, umbrella, or set of sheets. Prints differentiate a product, making the brand immediately recognizable to the savviest consumers and the product aesthetically appealing to many more, regardless of their level of fashion knowledge. All good prints add style, but the most iconic prints go so far as to add unique value to a product. A placemat from Crate and Barrel converts from utilitarian to enticing when it is covered in Marimekko’s classic Unikko poppy print. This book delves into the following questions: § What is the importance of print design in fashion? § What makes a print iconic? How does the print become universally recognizable? § How do brands known for their print design evolve throughout their history? How do their current prints compare with those that originally propelled the brand into the spotlight? § How far, to what depths of society, and to what array of products can one extend great print design? What makes a successful collaboration? § What attracts consumers to particular prints and what messages do those prints convey from the wearer to the observer? § How do society and pop culture play a role in the development and proliferation of print design? In order to fully understand the importance of print design in fashion, it is

essential to analyze what exactly makes a print iconic. The reasons differ for each brand (and each of the best prints within a brand) although certain elements stay constant: timelessness, versatility and widespread recognition. The most iconic prints remain virtually unchanged from their debut, although their application to products has expanded greatly over the years. These prints retain a fresh, contemporary look that appeals to today’s consumer just as much as it appealed to the “modern” consumer of the 19th or 20th century. Certain elements of these prints may reflect the era in which they were created; yet these elements translate successfully into contemporary fashion. For example, the quatrefoils and flowers in Louis Vuitton’s monogram canvas, designed in 1896, reflect Victorian trends to use oriental motifs in designs. The signature print remains virtually unchanged today, its origins unknown and unimportant to the average consumer as they purchase handbags or wallets embellished with it. Likewise, Emilio Pucci’s psychedelic prints reflect the culture of the 1960s and 1970s, when such fashion was all the rage, yet resonate just as well with stylish women today. Iconic prints are versatile, moving seamlessly from dresses to handbags to furniture and beyond. They fuse great design with functionality, adding an artistic element to an incredible variety of products. Signature prints are recognizable enough to serve as powerful advertising for a brand, yet transparent enough to work effectively with a plethora of products. The versatility of such print designs facilitates the fantastic collaborations discussed throughout this book. Widespread recognition is practically synonymous with anything worthy of being labeled as iconic. Whether through a sighting on Jacqueline Kennedy Onassis or a spotlight in Harper’s Bazaar, classic print brands can immediately become indelibly marked on the mind of the observer. Great design, however, is not simply a fad that disappears as quickly as it catches society’s attention. The recognition achieved by successful designs is

Emilio Pucci multicolor satin pumps

long lasting in addition to widespread, continuing to delight generations of consumers. This book explores not only the changing nature of textile design from simply functional to highly artistic, but also the continuously expanding boundaries of this art form. Fashion brands have partnered with artists, designers, and other brands for over 100 years. Designers and brand managers have, however, become increasingly creative, ingenious, and astute marketers in determining potential partnerships. The intriguing possibilities motivate designers to constantly expand their horizons, extending great fashion prints not only to predictable solutions such as household goods and furniture but also to riskier concepts such as hotels, cars and yachts. Successful collaborations between seemingly polar opposite brands, including Nike and Liberty of London, stretch the limits of print design even further. Who would have thought a premier athletic company strongly associated with the likes of Kobe Bryant and LeBron James would pair so well with a 130-year-old brand known for its delicate floral prints? Only a highly creative, forward thinking design team could have concocted such an incredible juxtaposition. Moving into the future, it will be fascinating to discover many more possibilities for print design. Companies must continue to evolve their classic prints, staying true to their origins while continuing to interest and engage.

Liberty x Nike Summer 2011 Collection

Brief History of 20th Century European and American Print Design

1900-1910 1903: The Wiener Werkstätte is established in Austria, which produces incredible collections of modern block-printed fashion and furnishing textiles during the 1910s and 1920s

1904: Led by architect Josef Hoffmann, the Wiener Werkstätte designs every aspect of the Sanatorium at Purkersdorf near Vienna, including the interior decorations and furnishings

1907: Deutscher Werkbund is established in Munich by artists and architects to encourage good design for utilitarian products

1910: Textile department is officially formed at the Wiener Werkstätte, which produces about 1800 patterns. The fashion department, established in 1911, works closely with the textile department.

1907: The Wiener Werkstätte opens its first showroom in the center of Vienna 1905: Art Nouveau began to decline, and artists’ focus shifts to the modernist movement, which is centered on abstraction, primitivism, and experimentation

1908: Austrian architect Adolf Loos proposes a new approach to design that focuses on feasibility of industrial production rather than excessive ornamentation

1911-1920 1911: Paul Poiret visits the Wiener Werkstätte and is inspired by its layout resembling artists’ studios and the gallery showroom. He believes, however, that the actual designs produced are too repetitive and geometric.

1913: British art historian and curator Roger Fry founds the Omega Workshop with artists Vanessa Bell and Duncan Grant. In the Omega Workshop, artists can design, manufacture, and sell their products, which include many textiles.

1915-1917: Followers of the Russian avantgarde movement exhibit their work at the Modern Decorative Art exhibitions in Moscow, showing the influence of textile design on later Russian art

1912: Raoul Dufy collaborates with Lyon textile manufacturer Bianchini-Ferier, creating over 2000 dress and furnishing patterns during his time with the company.

1912: Painter Marguerite Zorach produces batik prints, highlighting the interest in batiks in the United States at the time 1911: Paul Poiret establishes the Atelier Martine to create patterns for printed textiles and wallpapers. Raoul Dufy forms the Petite Usine (Little Factory) with Poiret, representing the first attempt to combine art with textile design.

1914: Members of the Vorticist movement, which is centered on futurism and modernity and interested in breaking barriers between fine and applied arts, set up the Rebel Art Centre, a workshop for the applied arts.

1916: “Designed in America” contest is established by Morris de Camp Crawford, an editor for the daily journal Women’s Wear, as a way to spur new textile designs

1920: The Burberry check print is introduced as a lining to a trench coat

1921-1930 1922: Wiener Werkstätte establishes its New York showroom, bringing its modern design aesthetic to American consumers

1923: Alec Walker establishes Cryséde, a company focused on developing high quality art inspired block print silk for the fashion industry

1925: Art Deco style emerges from the revolutionary Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes 1926: Textile manufacturers Stehli Silks and Mallinson & Co. develop collections based on American themes to appeal to American consumers, including the American series and the American National Park series

1925: Franco-Russian painter Sonia Delaunay creates a “simultaneous boutique” with the couturier Jacques Heim for the Paris Exposition Internationale des Arts Décoratifs

1928: James Morton establishes Edinburgh Weavers, the most important British textile manufacturer in terms of its influence on the development of artist designed textiles

1928: Paul Mansouroff, another member of the Russian avant-garde movement, moves to Paris from Italy and has a very successful career in textile design throughout the 1930s. He completes many projects for Parisian couture houses including Patou, Chanel, Lanvin, and Schiaparelli.

1930: W. & J. Sloane firm commissions American artist Ruth Reeves to produce a series of 29 screenprinted textiles focused on American life

1929: Tom Heron, formerly part of the Cryséde company, establishes Cresta Silks, another company that produces modern block printed fashion silks designs by artists

1931-1940 1931: Painter Allan Walton and his brother Roger establish Allan Walton Textiles, which collaborates with painters and sculptors to create textile designs

1930s: Blockprinting is gradually taken over by screenprinting because it is faster and cheaper to produce

1936: Fashion designer Elsa Schiaparelli creates her Une Main Ă Baiser textile, 1933: Black which shows elements of the Mountain College Surrealist style so popular at is founded, another the time, as well as the need institution that to appeal to international focuses on the consumers merging of art and commercial design

1932: Cranbrook Academy of Art is established, which focuses on the collaboration of 1933: Industrial designer art and industrial Walter Dorwin Teague design creates a line of textiles for Marshall Fields department store to celebrate architectural and technological achievements at the Century of Progress Exposition in Chicago

1937: The decline of the Art Deco movement is obvious at the Exposition des Arts et Techniques

1937: Edinburgh Weavers produces a series of textiles called Constructivist Fabrics that are designed by artists and sculptors including Ben Nicholson, Barbara Hepworth and Winifred Dacre

1941-1950 1941: Heal Fabrics is founded in London and holds a strong reputation for innovation throughout the 1950s and 1960s

1941: Coach, a company known for its iconic logoinspired print designs, is founded as a partnership called the Gail Manufacturing Company

1944: Zika Ascher commissions textile designs from sculptor Henry Moore and Polish painter Feliks Topolski, which represents his company’s first collaborations with artists

1942: Ascher (London) Ltd is founded by two Czech émigrés, Zika and Lida Ascher. The company plays a key role in the postwar period, drawing public attention to the aesthetic potential of printed textile design.

1949: Artist Graham Sutherland receives a commission for textile designs for Horrockses Fashions, a company whose work with artists and designers in the 40s and 50s led to its success

1947: Art Director at WS Crawford Ltd, a top advertising agency, redesigns Liberty of London’s logo to give it a more modern look

1947: Collection of 37 Zika Ascher’s textile designs by French and British artists are exhibited at the Lefevre Gallery, highlighting print design as true art

1949: Liberty of London launches its Young Liberty collection, which aims to make the brand more appealing for young, modern women

1951-1960 Early 1950s: Emilio Pucci achieves international recognition for his bold print designs

1955: Mary White, a leading textile designer of the 1950s, creates her Cottage Garden design, which was one of her most successful. During this time period, a growing number of consumers become interested in contemporary design.

1958: Textile designer Lucienne Day, who is a household name in the 1950s, presents a solo exhibition with Heal’s Fabrics

1953: Missoni, an Italian fashion house known for knitwear, is founded by Ottavio and Rosita Missoni 1953: Commercial exploitation begins to make textile design more generic, despite the fact that it is still influenced by artists such as Joan Miró, Paul Klee and Jean Arp 1951: Marimekko is established in Helsinki by Armi Ratia

1959: Arthur Sanderson & Sons Ltd, a textile and wallpaper manufacturer, commissions five textiles from the painter and designer John Piper as part of its centenary celebrations

1957: Hull Traders, a small British textile printing firm, is established. The company, known for its commitment to handscreen-printing, produces designs by the painter Trevor Coleman and artists Eduardo Paolozzi and Nigel Henderson.

1959: Lilly Pulitzer establishes and becomes president of her own company 1960: The 15 foot long “Avon” textile, designed by painter Cecil Collins and commissioned by Edinburgh Weavers, is created for a new conference hall in the British Embassy in Washington. The print is representative of trends at the time, in which many new public buildings were furnished with artistdesigned textiles.

1961-1970 1960s: Textile artists design big, bold prints with a painterly style and diverse subject matter

1964: Terrence Conran establishes the first Habitat store in London, which sells home furnishings that feature innovative textile designs

1964: Heal’s Fabrics purchases the “Top Brass” textile from Zandra Rhodes, one of the most influential people to work simultaneously as a fashion designer, textile designer, and artist

1964: The term “Op Art” first appears in print in Time magazine. Op art, a unique style of visual art that uses optical illusions, significantly influenced print design in the 1960s. 1965: Emilio Pucci designs uniforms for Braniff International Airways

1964: Gucci begins using its double G logo for accessory decorations 1966: Louis Vuitton launches its Papillon bag, a cylindrical bag that still sells well today

Mid 1960s: Psychedelic prints are a key feature of the mod trends that highlight London as an important fashion capital

1970: By this time, artists were no longer as interested in textile design. They were more involved with the basic activities of painting and sculpture, as well as conceptual art forms.

1971-1980 Early 1970s: Missoni reaches the peak of its influence on the fashion world

1972: Marimekko forms licensing agreements with Dan River, Pfalzgraff, Contempo, Motif, and Samuel Ward in the US

1973: American Motors Corporation’s Hornet compact “Sportabout” station wagon collaborates with Gucci to become one of the first American cars to feature a luxury interior created by an iconic fashion brand

1975: Liberty of London celebrates its 100th anniversary

1978: Louis Vuitton opens its first stores in Japan, expanding its iconic brand to Asia

1979: A Miami-based aftermarket company offers a Gucci edition of the Cadillac Seville, featuring the double G logo on both the exterior and interior

1980: Lincoln offers designer editions of its Mark VI Coupe car, featuring interiors designed by Cartier, Pucci, Bill Blass and Givenchy

1980: Burberry’s export business begins to increase drastically, showing the familiarity of overseas consumers with the company’s iconic prints

1981-1990

1987: Legendary print designer Maija Isola leaves Marimekko, deciding to focus on painting rather than textiles for the rest of her career

1980: Coach changes its name to Coach Leatherware Company Inc. and enjoys strong business throughout the 1980s

1988: Liberty of London develops a subsidiary in Japan to sell Liberty products in major Japanese shops

1984: Lilly Pulitzer closes down her entire clothing business

1981: Missoni launches its Missoni Home collection, expanding its highly recognized prints into the home furnishing business

1983: Marimekko reacquires Decembre, a spin-off established in the 1970s. Throughout the 1980s, Fujiwo Ishimoto is one of Marimekkoâ&#x20AC;&#x2122;s only designers to create prints that sell well, showing the companyâ&#x20AC;&#x2122;s struggle with creativity and innovation during this time.

1987: Louis Vuitton becomes luxury conglomerate LVMH in an important merger with MoĂŤt et Chandon and Hennessy

1991-2000 1993: The Lilly Pulitzer brand is revived by Sugartown Worldwide, Inc., proving the long lasting, iconic nature of the print designs

1991: Kirsti Paakkanen, a former advertising executive buys Marimekko and brings success back to the company

1992: After Emilio Pucciâ&#x20AC;&#x2122;s death, his daughter Laudomia continues to design for the label

1994: Tom Ford becomes creative director of Gucci, bringing a more daring, innovative style to the brand

1999: Carrie Bradshaw (Sarah Jessica Parker) wears a Marimekko bikini and dress on the hit series Sex and the City, bringing more publicity to the brand

1998: Missoni introduces its M Missoni line, a less expensive brand that is very successful in reaching a greater number of consumers 1999: Louis Vuitton introduces its first ready-to-wear collection and releases its mini monogram line

2001-2011 2001: Stephen Sprouse, collaborating with Marc Jacobs, designs a collection of graffiti-inspired Louis Vuitton bags

2005: Missoni signs an agreement with Rezidor Hotel Group to create Hotel Missoni, a unique collaboration that further extends the limits of great design

2011: Missoni partners with Target on an incredibly successful collection with unprecedented sales records

2009: Liberty of London partners with Hermes, A.P.C, Cacharel, and Topshop on collections

2003: Japanese artist Takashi Murakami begins his famed partnership with Louis Vuitton 2008: Marimekko collaborates with H&M on a collection for men, women and children

2010: Building its reputation for collaborations, Liberty of London partners with Nicholas Kirkwood, Target, MAC and 10 Corso Como

During the golden age of Finnish design in the 1950s and 60s a phenomenon appeared that is unquestionably one of the milestones pointing toward the future of our industrial art, namely a firm that represents a new way of thinking in the textile and clothing sector: Marimekko. -Erik Kruskopf, design historian

I really donâ&#x20AC;&#x2122;t sell clothes, I sell a way of living. They are designs, not fashions. -Armi Ratia, founder of Marimekko As unfaded as songs from the 1960s and 70s the vivid Marimekko pop bloom and squiggles (and electric blues, magentas, scarlets, and yellows) are bursting onto the fashion and home furnishings scene again. -The New York Times

Marimekko Overview Starting in 1951 “as a joke” in the words of founder Armi Ratia and growing to one of Finland’s greatest influences on contemporary fashion, it is impossible to discuss iconic print design without highlighting Marimekko. Marimekko holds an incredible reputation within decorative arts and design throughout the world, presenting a revolutionary spin on traditional print design that inspires countless others. Bold, organic shapes, free associations rather than perfectly geometrical patterns, and vibrant, happy colors characterize Marimekko’s prints. From its inception, Marimekko has placed great importance on the individuality of its artists and designers, while still keeping a coherent brand identity for Marimekko as a whole. Iconic prints are linked to their individual creator, and the company profiles its unique designers on its corporate website. This sense of individuality and independence translates perfectly to the Marimekko customer: a strong, intelligent woman who isn’t afraid to express herself.

Connections to culture at the time Marimekko caught on in the 1960s as a staple in the wardrobes of the European “radical intelligentsia.” The radical intelligentsia truly came to be in 1968 when, inspired by student riots in West Berlin, Paris and

Prague, a group of Finnish students took over Helsinki’s student union building and announced a revolution. Marimekko’s originality and individuality corresponded perfectly with the mentality and motivation of these well-educated, independent students. Marimekko designer Vuokko Nurmesniemi’s Jokapoika shirt quickly became a symbol of academic revolution, and the unofficial uniform of these radical students was a prime topic in the most important Swedish newspaper Hufvudstadsbladet. In the 1960s and 1970s, blue jeans became the ultimate representation of freedom and leisure. Rather than trying to directly compete by creating jeans, Marimekko designer Annika Rimala put her own spin on relaxed fashion, creating a comfortable striped jersey t-shirt which she called Tasaraita. This idea of innovating to build on trends rather than simply following them comprises a core aspect of Marimekko’s culture. Jacqueline Kennedy Onassis put Marimekko on the American fashion radar when she bought eight of the brand’s summer dresses to wear to high profile events on her husband’s campaign trail in 1960. She appeared on the cover of Sports Illustrated wearing one of them, drawing much attention to the brand. As seen later in this book, Jackie Kennedy created incredible PR for many new labels simply by wearing the stylish clothes in public settings. A few witty references to the pop culture of the time are apparent in Marimekko designs. Maija Isola’s 1968 print Lovelovelove, featuring an aerial view of the countryside, was inspired by the Beatles’ 1967 song “All You Need is Love.” Her 1969 print Mansikkavuoret (translates to strawberry hills) features giant strawberries floating in the sky, an obvious reference to the Beatles’ 1967 songs “Strawberry

Mansikkavuoret (strawberry hills) print bag

Fields” and “Lucy in the Sky with Diamonds.” In 1969, Maija Isola created a very pertinent collection titled Avaruus (space), inspired by the Apollo moon landing. Her designs include Meteori (meteor), Raketti (rocket), Kiintotähti (planet) and Linnunrata (milky way). All of these designs, which featured solar systems, galaxies and stars, stemmed from public excitement and curiosity about outer space.

Impact on contemporary design Marimekko secured Finland’s place in the fashion world, drawing attention to the innovation and creativity of Finnish designers. Throughout the world, Marimekko not only serves as a symbol of Finnish fashion but also is intricately linked to Finnish culture as a whole. Marimekko emerged and grew in importance simultaneously with Scandinavian design as a whole. The Scandinavian aesthetic did not come into being until the 1950s, characterized by minimalism, simplicity, and a perfect balance between functionality and great design. Today, Scandinavian design is renowned worldwide for its uniquely modern aesthetic, whether in the realm of fashion, furniture or architecture. In addition, Marimekko continued to make mainstream the practice of using artists as textile designers, embracing their individuality rather than forcing them into a corporate, utilitarian mold. Since its founding, Marimekko has been an epicenter of fresh ideas and new approaches to design, resulting from a culture than encourages originality and creativity. Marimekko’s most influential designers include Maija Isola, Annika Rimala, Vuokko Nurmesniemi and Fujiwo Ishimoto, each leaving their own signature mark on print design.

Collaborations In order to efficiently reach the American market, Marimekko began an ongoing partnership with Crate and Barrel in 1967. Crate and Barrel

Autumn/ winter 2008/2009 coat

founders Gordon and Carole Segal discovered Maija Isolaâ&#x20AC;&#x2122;s prints for Marimekko and decided that this brand would give the perfect international flair to their store. Today, Marimekko continues to build on its successful relationship with Crate and Barrel. In 2010, Crate and Barrel moved from simply selling Marimekko products in its stores to creating shop-in-shops devoted to the brand, greatly increasing the presence of the innovative designs. In 2008, Marimekko partnered with fast fashion leader H&M on a collection for men, women, and children. Collaborations are nothing new for H&M, which frequently pairs with premier brands, although the Marimekko collection was unique in that it offered lower price points than many of H&Mâ&#x20AC;&#x2122;s other collaborations including those with Karl Lagerfeld and Versace. The products remained true to classic Marimekko style, featuring exciting prints in fun, carefree colors. Marimekko recently began a partnership with Converse, leaving fashionistas to wonder if there could possibly be a more perfect paring of classic American and Finnish brands. The shoes that resulted from the joint effort are incredibly adorable, adorned with polka dots, flowers, and colorful patchwork.

Marimekko Chronology 1951: Marimekko is established by Armi Ratia, who is Marimekkoâ&#x20AC;&#x2122;s managing director, art director, and chief publicist until 1979. First Marimekko collection presented at the Kalastajatorppa Hotel in Helsinki.

1959: Design Research, an innovative retail concept founded in 1953 by Ben Thompson, becomes the exclusive US representative for Marimekko, remaining so until 1976

1954: Marimekko logo, which consists of all lowercase letters in Courier font, is designed by graphic artist Helge MetherBorgstrom

1964: Maija Isola designs the iconic Unikko (poppy) print for Marimekko

1960: Jacqueline Kennedy begins wearing Marimekko dresses during the Presidential race, drawing great attention to the company in the US.

1966: Marimekko merges with Finnish textile firm Printex

1972: Marimekko forms licensing agreements with Dan River, Pfalzgraff, Contempo, Motif and Samuel Ward in the US, as well as Nishigawa-Sangyo corporation in Japan

1967: Marimekko begins its collaboration with Crate and Barrel, a successful partnership that continues today

1975: Exports amount to 45% of net sales, proving the companyâ&#x20AC;&#x2122;s strong influence abroad

1979: Armi Ratia dies and the company suffers a decade of financial instability

1986: Marimekko faces a rough decline, with profitability plummeting to minus 38% of net sales

1991: Kirsti Paakkanen, a former advertising executive, buys Marimekko and is credited with bringing success back to the company

1983: Marimekko reacquires Decembre, a spin-off established 1981: in the 1970s. Throughout the Marimekkoâ&#x20AC;&#x2122;s 1980s, Fujiwo Ishimoto is one return on of Marimekkoâ&#x20AC;&#x2122;s only designers investment to create prints that sell well, tops all showing the companyâ&#x20AC;&#x2122;s struggle other firms with creativity and innovation listed on during this time. the Helsinki Stock Exchange

2007: Marimekko begins opening Marimekko Concept Stores in the US and Canada

1999: Carrie Bradshaw (Sarah Jessica Parker) wears a Marimekko bikini and dress on the hit series Sex and the City, bringing more publicity to the brand

2008: Marimekko collaborates with H&M on a collection for women, men and children 2011: Marimekko begins partnership with Converse

2010: Crate and Barrel opens Marimekko shopin-shops in some of its stores 2011: Marimekko operates 84 stores around the world

This formula of free overlapping, breaking with traditional schemes, of cheerful mixing of dots, weaves, patterns, motifs, colors, in many coordinated-uncoordinated garments- which has been dubbed â&#x20AC;&#x153;puttogetherâ&#x20AC;?- is an invention of Missoni. -CondĂŠ Nast, 1975

We make clothes which can live together with their owners for years; garments which people purchase as objects, not just in order to wear them, but to collect and conserve them. And, perhaps, to rediscover them after years have passed. -Ottavio Missoni They are stylists, but manufacturers too. Everything behind them, family and work, is solid. They are Missoni, a name that has been a byword since 1953. We have rediscovered the pleasure of knitted clothing? It is they, the Missoni, who have invented everything in knitwear, surprising us by their creativity, by their capacity to come up with something new each season. -Laura Dubini, Corriere della Sera

Missoni Overview A brand so iconic it singlehandedly takes down the online presence of a Fortune 33 corporation must absolutely be mentioned. The obviously incredibly successful collaboration between Italian knitwear brand Missoni and American mass merchandiser Target provides yet another example of a luxury brand’s print designs achieving a much broader reach than its originally intended market. Missoni’s highly innovative prints featuring stripes, zigzags, and space-dyed patterns are recognized throughout the world. Just how did a sole Italian’s passion for his art forever change the face of knitwear? The story lies within the tight knit (no pun intended) Missoni family. Rosita and Ottavio Missoni met at the 1948 Olympic games, where he represented Italy in the 400-meter hurdle race. Ottavio’s design talents emerged as a result of his commitment to his sport; his first creation was tracksuits for the Italian Olympic team. Eventually he shifted his focus to solely design, establishing his first knitwear workshop in 1953 with his wife Rosita. Today, multiple generations of the Missoni family work together to create the incredible knits for which the company is renowned. Daughter Angela is Creative Director, and her daughter Margherita acts as an unofficial muse for the company, achieving recognition most recently by starring in Missoni for Target’s ad campaigns. The Missoni family serves as a prime example of the

practically dynastic hierarchy found occasionally in fashion that seamlessly intertwines family and business.

Connections to culture at the time Missoni’s radical, unconventional knitwear achieved popularity amongst young people during the turbulent 1960s. According to Vittorio Missoni, the oldest son of Ottavio and Rosita and current head of Marketing and Promotion for the company, “The Sixties was a period of great change everywhere. People were looking for fresh directions in fashion, and the fact that my parents were artisans rather than designers meant that they were not influenced by existing trends. What my parents did was create a revolution in the knitwear industry by combining colors and patterns in ways no one else had every done. And because the times were such that Italy and Europe in general was ripe for change they found a ready market.” Missoni’s creations struck a chord with the young and rebellious of the era, acutely symbolizing the mindset of those who refused to conform. Missoni’s kaleidoscopic knitwear appealed to the strong desire of people at the time to stand out and express their personality rather than demurely agree with the morals and values of the prior generation.

Impact on contemporary design It is no exaggeration to say that Missoni revolutionized knitwear. Since its founding, the company has experimented with colors, shapes, patterns and techniques in ways that are unimaginable to others. They boldly contradicted traditional fashion standards of the time, offering an alternative, more exciting way for women to express their personal style.

Pre-fall 2011

Ottavio Missoni’s background in painting and artistic approach to fashion led him to diverge from the norm, creating pieces that reflected his unique style rather than trends of the time. Missoni’s creations were not always well received, however. The unconventional clothing was first met with a mixture of confusion and disgust from many. Luckily, a few influential people, including legendary past editor of Vogue Diana Vreeland, recognized Missoni’s incredible potential and propelled the brand to the forefront of the fashion world. Missoni continues to influence numerous other brands to create their own daring designs, experimenting with traditional notions of color and pattern. The company’s iconic knitwear is much imitated, although others cannot achieve the signature Missoni balance between quality, sophistication, and unexpectedness.

Collaborations Missoni initiates some of the most unique collaborations in the industry, venturing outside the realm of fashion into hotels and costume design. One of Missoni’s earliest collaborations involved designing costumes for a 1982 production of the opera Lucia di Lammermoor at the Teattro alla Scala, a unique twist on traditional fashion design. Ottavio Missoni had never before designed costumes and knew little about the opera, but he was not intimidated by the task of creating 120 original costumes for the production. Missoni’s first theater stint went so well that in 1994 the company created space-dyed black and white jersey costumes for a ballet titled “Step Into My Dream” by the David Parsons Dance Company. Collaborating with theater productions adds a new element to 2007 the functionality of design, as the platform heels technical standards for costumes are much higher than for regular clothing. In addition to being aesthetically pleasing, costumes must move with the performers

rather than restricting them, look just as good from the third balcony as they do up close, and truly represent the character of a piece. In 1980, Missoni collaborated with Fiat, joining an increasingly large group of fashion houses to partner with auto companies. Missoni was one of the first brands to jump on the hotel bandwagon, designing luxury resorts for those lucky enough to book a stay. Hotels offer a unique opportunity to completely surround guests with a brand, putting a signature Missoni touch on every aspect of their stay. Missoni signed an agreement with Rezidor Hotel Group in 2005 and opened the first Hotel Missoni in Edinburgh, Scotland in 2009. Hotel Missoni Kuwait opened in 2011, and the company plans to establish locations in Oman, Brazil and Turkey by 2013. As mentioned earlier, Missoniâ&#x20AC;&#x2122;s most recent collaboration involved an extensive collection of over 400 pieces for design-focused mass merchandiser Target. The incredibly successful collaboration significantly outperformed all expectations, shocking everyone with the way the knitwear brand resonated so well with the Target guest.

Missoni Chronology 1947: Olympic athlete 1963: Missoni begins Ottavio Missoni and to experiment with his friend Giorgio rayon-viscose, a fabric Oberweger begin a the company will use knitwear venture in substantially in the Trieste, Italy to produce future wool tracksuits. In 1948 Olympics, the tracksuits are used as 1958: Missoni the uniforms for the presents a small Italian team. fashion collection at La Rinascente in Milan

1960: Missoni 1953: Missoni is dresses begin to founded as a small appear in fashion knitwear factory by magazines Ottavio and Rosita Missoni

1966: Missoni presents its first official collection at Teatro Gerolamo in Milan, receiving glowing reviews from the press

1968: Missoni appears on the cover of French Elle

1965: Anna Piaggi, at the time the fashion editor of Arianna magazine, is the first journalist 1967: Missoni participates in the to take a serious interest in Missoni fashion shows at Palazzo Pitti in Florence for the first time, appears on the cover of Arianna magazine, and begins selling its clothing in Paris

1970: Marvin Traub, president of Bloomingdaleâ&#x20AC;&#x2122;s, opens a Missoni boutique inside the department store

1969: Diana Vreeland of American Vogue takes an interest in Missoni and plays a critical role in bringing Missoni to American consumers

1973: Rosita and Ottavio Missoni win the prestigious Neiman Marcus Fashion Award for their outstanding work

1981: Missoni launches its Missoni Home collection, expanding its highly recognized prints into the home furnishing business

1979: Missoni presents its first men’s collection in Florence

1974: Missoni begins a collaboration with furniture company Giorgio Saporiti

1980: Missoni collaborates with Fiat to design car interiors

2011: Missoni collaborates with 2002: Missoni launches Target in an incredibly its Missoni Sport brand successful collection that sets unprecedented sales records 1994: Missoni designs costumes for Parsons Dance Company and the televised show “Sport in Dance”, featuring Ater Ballet and telecast from Foro Italico in Rome

1983: Missoni designs costumes for La Scala Theatre in Milan’s production of Lucia di Lammermoor, starring Luciano Pavarotti

1998: Missoni launches its M Missoni collection, a less expensive brand that is very successful in reaching a greater number of consumers

2005: Missoni signs an agreement with Rezidor Hotel Group to create Hotel Missoni, whose first location is Edinburgh, Scotland

I have known about Liberty since I was a young boy. My mother used to order Tana Lawn fabric and make us outfits. The store is so beautiful and its history is so rich. -Manolo Blahnik

I was determined not to follow existing fashion but to create new ones. -Arthur Lasenby Liberty, 1895 Shopping at Liberty is an experience to savor...a perfect clash of innovation, tradition, and English eccentricity. -Time Out London

Liberty is the chosen resort of the artistic shopper. -Oscar Wilde

Liberty of London Overview Liberty and Co. provides a prime example of a company adapting throughout its history to remain interesting and relevant while maintaining a coherent brand image. The company does not venture too far from the beautifully delicate floral prints for which it is known, yet adapts these prints in ways that consistently appeal to modern women. The brand reveals modern innovations at some times and plays off its retrospective, nostalgic qualities at others. Liberty is sensitive to the culture of the time, finding unique ways to make its brand work with the wardrobes of stylish women. Liberty and Co. prints are to be treasured for their classic nature, to be worn and rediscovered years later. They are truly timeless, as proven by the fact that they have withstood countless changes in fashion trends over the past 135 years. Trends may come and go, but Liberty is always here to stay.

Connections to culture at the time Liberty and Co.â&#x20AC;&#x2122;s evolution throughout its history mirrors cultural and social trends. When establishing his first store in 1875, Arthur Liberty capitalized on public fascination and curiosity at the time concerning Asian culture. His first store, called East India House, sold Asian ornaments, fabric and objects dâ&#x20AC;&#x2122;art. As

Liberty and Co. grew, its reputation became very closely linked to fabric and print design. By the 1950s, however, Liberty and Co. found itself in an undesirable position in which it was less in sync with the culture of the time. The companyâ&#x20AC;&#x2122;s long-lasting reputation led to perceptions of old-fashioned and outdated styles, hindering it from appealing to a more modern consumer. The company worked to reinvent its classic brand, developing a new logo, showing designs made from Liberty textiles in Paris expositions, and creating a Young Liberty brand. Designer Colleen Farr is known for creating more updated, contemporary fabrics during this time to give a fresh look to the company. In the 1960s, Liberty found itself suddenly very relevant again. Young designers rediscovered the iconic prints, bringing significant attention to the brand by using these fabrics in their collections. The greatest photographers of the time, including Irving Penn and David Bailey, photographed premier models such as Twiggy and Jean Shrimpton in Liberty prints. By the early 1970s, fashion had become much more retrospective, with people desiring iconic pieces from ages past. During this time Liberty capitalized on its long history, playing a significant role in the revivals of the Art Nouveau and Pre-Raphaelite styles.

Impact on contemporary design Liberty and Co.â&#x20AC;&#x2122;s textiles, which were revolutionary when they were first developed in the early 20th century, greatly influenced fashion designers of the time. The fabrics were much softer and more easily draped than their predecessors, and they enabled designers to create beautiful pieces that were not achievable in prior eras. Both Lucille and

Liberty Meadow Print Tie

Paul Poiret, prominent designers of the time, used Liberty fabrics in their designs. Liberty furthered the movement of using artists to create textile designs, commissioning some of the top artists of the time including Jacqueline Groag, Lucienne Day, Martin Bradley and Robert Stewart. Robert Stewart’s name was particularly connected to Liberty; although he was technically a freelance designer, he created most of his work for Liberty. His designs were used for furniture, curtains and clothing, and his work appeared more often than that of other designers in Liberty’s mail order catalogs.

Collaborations Although it is by no means abnormal for great print design to extend itself to other brands, Liberty of London pushes this concept to the extreme. The company could accurately be described as collaboration crazy, partnering with more brands in the past three years than most companies collaborate with throughout their entire history. Hermes, Nike, Target, Hello Kitty, MAC, Nicholas Kirkwood, APC, Cacharel, 10 Corso Como…the list goes on. What truly is incredible, however, is not the multitude of Liberty’s collaborations, but the diverse range of companies that somehow mesh successfully with the delicate floral prints synonymous with Liberty. The designs adapt seamlessly to an incredibly wide range of brands, from extremely high end (Hermes) to mass merchandise (Target), to premier athletic (Nike) to just plain cute (Hello Kitty). Juxtaposing athletic shoes and demure floral works just as well as printing the classic floral patterns on chic makeup cases.

Liberty for Hello Kitty

Liberty and Co. Chronology 1875: Arthur Lasenby Liberty opens his first shop called East India House, which sells Asian ornaments and fabric

1890s: Arthur Liberty develops relationships with the most prominent English designers, helping the store achieve a more 1920s: Fabric colors become prestigious status brighter to suit the tastes of the time

1930s: Silver Studio provides many patterns for Liberty’s widely recognized Tana Lawn floral prints

1948: Ashley Havinden, art director at top advertising agency WS Crawford Ltd, designs a new “L” logo for Liberty

1913: Arthur Liberty is knighted for his services to the decorative arts

1885: The business expands and begins to develop its iconic Liberty fabrics

1917: Arthur Liberty dies, seven years before the completion of his shops

1904: Liberty acquires Merton, a print factory where printing is done with wood blocks until the 1930s

1946: Liberty begins a reinvention to appeal to the next generation of 1925: Liberty’s incredible modern customers, Tudor building that a significant part of houses its flagship store which is its Young in London is completed Liberty collection

1952: First Liberty catalogue focuses on the company’s most influential designers: Ashley Havinden, Eric Lucking and Robert Stewart

1953: Design Committee is formed to give the Board of Directors greater control over fabric design

1959: Liberty’s holds a silk exhibition, featuring its own products as well as those of other influential companies such as Bianchini-Férier

1976: French fashion house Cacharel buys almost one million meters of Liberty fabrics to use for its designs

2009: Liberty partners with A.P.C and Kate Moss for Topshop

2011: Liberty partners with Hello Kitty on a limited edition fabric collection

1965: Designer Bernard Nevill produces a range of prints inspired by Islamic tiles, showing the influence of ethnic clothing on fashion

1964: Directors create a new subsidiary company, 1975: Liberty Merton Printers Ltd, so celebrates its that Liberty can enhance 100th anniversary with a large scale its profitability by 1957: Liberty Merton controlling all of its own exhibition at the Victoria and printing factory printing Albert Museum begins to consider moving to automatic screen-printing, as it 1990: Arthur Stewart is much cheaper than Liberty, the last member of hand screen-printing the Liberty family to hold the chairmanship, dies, leading to management and financial struggles

2008: Liberty partners with Nike for the first time to produce athletic shoes with a print called “Umbel”

2010: Liberty partners with Nicholas Kirkwood, Target, MAC and 10 Corso Como

And who can think of Italian style without thinking of Emilio Pucci? Wouldn’t that pretty lady be less pretty—and less Italian—without her Pucci print? It is impossible—even dreary—to imagine Italy without the great Florentine designer’s kaleidoscopically printed silk jersey tunics that have defined The Good Life since the 1950s. -Josh Patner, fashion writer

Pucci means good times. It represents a dream. -Laudomia Pucci, daughter of Emilio Pucci

Pucci distilled the freedom of a vacation — the brighter colors, the heightened curiosity, the concept of collecting — into a woman’s everyday wardrobe, so that every day was la dolce vita. -Ariella Gogol, The New York Times

Emilio Pucci Overview Forget about simply influential or significant. Emilio Pucci’s fans go so far as to label the late designer the “Prince of Prints”, and with good reason. Pucci’s designs exude luxury, conjuring up images of summers in Capri and rubbing elbows with the international jet set. Pucci himself knew a thing or two about luxury, as he was born into one of Florence’s oldest noble families and spent most of his life in the Pucci Palace in Florence. Pucci’s foray into fashion began almost accidentally in 1947 when a ski suit he created for a female friend landed on the pages of Harper’s Bazaar, causing an immediate sensation around the outfit’s creator. An unlikely designer, Pucci’s background included degrees in agriculture, social science and political science, as well as a stint as a torpedo bomber pilot for the Italian Air Force in World War II. Nevertheless, he transitioned seamlessly into the fashion world, offering a unique balance between sophistication and excitement.

Connections to culture at the time Pucci’s highly recognizable prints played a significant role in pop culture at the time. A-list celebrities including Jacqueline Kennedy Onassis, Grace Kelly, Lauren Bacall and Sophia Loren were spotted in his designs, and Marilyn Monroe was even buried in a Pucci dress. Pucci’s psychedelic prints, of course, reflect the vibrant culture of the 1960s and 70s when such fashion was all the rage.

Impact on Contemporary Design Pucci added a wild spin to traditional print design, spicing up demure floral motifs with an incredible array of vibrant hues filling sharply defined geometric shapes. He revolutionized fashion in the 1950s and 60s, doing away with dull colors and heavy fabrics in lieu of lightweight silk dresses in exciting prints. Contemporary designers often draw from Pucciâ&#x20AC;&#x2122;s influences, creating their own kaleidoscopic prints. Pucci influenced not only the aesthetic of fashion, but also the technical side of the business. In order to produce the bold colors needed for his prints, he worked with chemical companies to develop a wider range of tones that was not previously achievable. Pucci explored novel uses for stretchy materials previously seen as appropriate for only swimwear or athletic wear. With these materials, he achieved a more effortless, comfortable look without sacrificing style. In addition, Emilio Pucci put Italy on the fashion radar, making the world aware of the accomplishments and potential of Italian couturiers. He gave Italian fashion a unique style and credibility, distinct yet equal in importance to other European aesthetics. Today, Creative Director Peter Dundas continues to take the Pucci brand in exciting directions. He fuses the brandâ&#x20AC;&#x2122;s geometric prints with new fabrics and designs, putting his own signature on the iconic label.

Collaborations Pucci was one of the first designers to venture outside the immediate fashion world for interesting

2011 opentoe clog sandal

opportunities to expand his brand. In 1965 he began collaborating with Braniff International Airways, designing hostess uniforms and using the tagline “The End of the Plain Plane”. A flight was no longer simply a flight. Just like so many products and services since that have been touched by luxury fashion, a flight was now elevated to a unique experience. Interestingly enough, in 1971 Pucci created the logo for the Apollo 15 space mission- not a task typically associated with a fashion designer! The tendency toward unlikely partnerships combined with a history of luxury led the Pucci brand to put its mark on the exclusive boating world, collaborating with Wally Yachts in 2003 to create Wallyno. Wallyno, a high tech, high fashion 60-foot yacht, was the product of a casual conversation that took place between Emilio Pucci’s daughter Laudomia and Wally Yachts president Luca Bassani at the exclusive Swiss San Moritz ski resort. Judging by the history of the company and its founder, how else would a novel collaboration begin? The Pucci brand leaves its mark on consumer goods as well, designing a limited edition carrying case for PlayStation Portable in 2006 and exclusive cell phones for Japanese telecommunications company Docomo in 2010. Extending to other fashion brands, Pucci partnered with Adidas in 2006, premier denim label 7 for all Mankind in 2007, and French beauty purveyor Guerlain in 2007.

1965 sketches for Braniff Airways uniforms

Emilio Pucci Chronology 1947: Emilio Pucci’s fashion career begins when a photo of a ski suit he designed for a friend appears in Harper’s Bazaar

1950: Emilio Pucci opens a boutique in Capri

1965: Emilio Pucci 1954: Emilio designs uniforms for Pucci wins the Braniff International Airways hostesses prestigious Neiman Marcus award for his contributions to the fashion industry 1971: Emilio Pucci creates the logo for the Apollo 15 Space Mission

1963: A model wearing a Pucci print appears on the cover of Harper’s Bazaar

1990: Vogue UK prints an article featuring Laudomia Pucci, daughter of Emilio, and discusses the newly renewed importance of color in fashion

1969: Pucci designs 12 rugs for Dandolo y Primi in Buenos Aires

1966: Pucci launches its Vivara perfume, which is relaunched in 2007

1977: Pucci designs the Lincoln Continental Mark IV for Ford

1992: Emilio Pucci dies, and his daughter Laudomia continues to design under the Pucci label

2010: Pucci collaborates with telecommunications company Docomo to launch a mobile phone for the Japanese market

2000: French luxury conglomerate LVMH acquires 67% of the Emilio Pucci company, and Laudomia Pucci becomes Image Director and Deputy Chairman 2004: Pucci collaborates with champagne manufacturer Veuve Clicquot to create “La Grande Dame”, a specialty Pucci champagne bottle

2003: Pucci collaborates with Wally Yachts to create “Wallyno”

2007: Pucci collaborates with 7 for all Mankind on limited edition jeans 2006: Pucci collaborates with Adidas

2008: Pucci partners with Marchon Eyewear to launch Pucci eyewear

2004: Pucci partners with luxury hosiery company Wolford to create Pucci tights

2008: A Pucci gymnastics leotard and tights created in honor of the Beijing Olympic games appears in Vogue China’s August 2008 issue 2007: Pucci partners with Guerlain to create a makeup collection

2010: Pucci launches its Miss Pucci fragrance

Louis Vuitton and the sea. From steamer trunks designed for ocean crossings to the steamer bag, Vuitton’s fine line of luggage has always pointed toward classics still in vogue. -Pierre Léonforte, 100 Legendary Trunks

The question for the future is how to understand and accept the new textile balance. Painting was declared dead the day photography was invented in 1839 — but we know now that it was not. -Susannah Handley, fabrics consultant for Louis Vuitton A dream. An icon. A masterpiece. Each Louis Vuitton product is the embodiment of uncompromising quality and exceptional craftsmanship. From the famous Monogram pattern to the astonishing Louis Vuitton diamond cut, the Maison enchants the world with its unique creations since 1854. -LVMH

Louis Vuitton Overview Prestigious. Timeless. Enduring. Louis Vuitton transcends trends, surpassing all others as the epitome of chic. Since its establishment in 1854 by Mr. Louis Vuitton himself in Paris, France, the brand has prided itself in creating the highest quality products. Vuitton’s company originally focused on travel, building off the exotic, elusive nature of sea voyages at the time. Louis Vuitton’s functional, attractive trunks immediately gained popularity, and in 1913 Georges Vuitton, then leading the company, established the world’s largest travel goods store on the Champs Elysees. Louis Vuitton’s amazingly innovative trunks served countless purposes. One trunk, created in 1905, contained a foldout bed for Pierre Savorgnan de Brazza, an early 20th century explorer. Another, designed in 1925, contained the toiletries of famed opera star Marthe Chenal. Endless stories exist chronicling the fascinating history of people and places touched by Louis Vuitton’s trunks. In one tale, Louis Vuitton himself wrote the following letter to the legendary magician and escape artist Harry Houdini: Sir, Allow me to say that I believe the box which you use in your experiments is made expressly for this purpose. I take the liberty of challenging you to get out of a BOX MADE BY ME, NAILED SHUT after you get in by

MY STAFF, and tied with ropes. If you are afraid to try this experiment in public, you can do it privately. NATURALLY the box must not be destroyed. L. Vuitton The Great Houdini immediately accepted this challenge, although there is no conclusive evidence supporting the fact that he actually went through with it. Louis Vuitton eventually expanded its product line to include the bags, wallets, shoes and clothing for which it is known today. According to a 2010 study by Millward Brown, Louis Vuitton is the 29th most valuable brand in the world, taking its place right between Wells Fargo and Gillette. Such a ranking is quite an accomplishment for a brand that is inaccessible to the majority of the world. Despite the fact that the vast majority of people will never own a piece by Louis Vuitton, the brand still holds a prime spot in their minds as the ideal representation of luxury and exclusivity.

Connections to culture at the time Though timeless and long lasting, the designs of Louis Vuitton continuously adapt in ways that reflect the culture of the time. The brandâ&#x20AC;&#x2122;s iconic monogram canvas, originally designed in 1896, reflected Victorian trends at the time to use Japanese influences in designs. The quatrefoils, flowers and LV monogram perfectly embody this design aesthetic. Throughout the end of the 19th century and through the 20th century, Louis Vuitton created trunks that supported the needs of people at the time. In the beginning, the company focused on the needs of explorers and wealthy travelers and

Monogram multicolor speedy bag

soon after created trunks for stage performers, artists, scholars and wealthy women with expensive clothing. In 1983, Louis Vuitton partnered with America’s Cup, a premier yacht race, to form the Louis Vuitton Cup. The Louis Vuitton Cup acts as a preliminary race to choose the team that will sail as the challenger in the American Cup. This partnership provided another opportunity for Louis Vuitton to become more connected with the interests and lifestyles of its core customers, further infiltrating their exclusive world. Today, the Louis Vuitton brand holds an incredible cache in contemporary culture as the ultimate symbol of luxury. Kanye West references the brand in his songs, and a wide range of prominent figures from Angelia Jolie to Bono to Mikhail Gorbachev appear in its advertisements.

Impact on contemporary design From its inception, Louis Vuitton’s influence on design has been remarkable. Louis Vuitton reinvented luggage, making lightweight, high quality flattop trunks that were transported much more easily than their predecessors. Even in the early days of the company many others attempted to imitate the style of Louis Vuitton’s canvas trunks, leading the company to create new designs that were less easily copied. However, the company’s influence extends much further than this one category. Louis Vuitton is one of the most counterfeited brands in the world, which is ironic since the monogram canvas was originally designed at the end of the 19th century to prevent counterfeiting. Everyone wants a piece of the Louis Vuitton brand, regardless of whether they can afford the real thing. Today, creative director Marc Jacobs continues to take the company in exciting new directions, extending its influence on fashion and 1890 Damier trunk design.

Collaborations Louis Vuitton’s collaborations, often focused on accomplished artists, provide a fresh look to the brand’s classic print designs. These collaborations present the Louis Vuitton brand under a different light, adding a unique edge to an otherwise timeless print. In 2001, fashion designer and artist Stephen Sprouse partnered with Louis Vuitton to create a limited edition line of bags covered in the brand name, and sometimes the name of the bag, written in graffiti. Pairing street art with the fashion equivalent of a classic masterpiece created an outstanding juxtaposition of style. In 2003, Louis Vuitton began a long lasting partnership with contemporary Japanese artist Takashi Murakami. Murakami first designed his Monogram Mulicolore line featuring the classic monogram canvas in 33 different colors. He went on to create cherry and cherry blossom patterns, adding an element of cuteness to the collection. In the following quote, Murakami perfectly describes the relationship between commercial design and fine art: “I don’t think of it as straddling. I think of it as changing the line. What I’ve been talking about for years is how in Japan, that line is less defined. Both by the culture and by the post-War economic situation. Japanese people accept that art and commerce will be blended; and in fact, they are surprised by the rigid and pretentious Western hierarchy of ‘high art.’ In the West, it certainly is dangerous to blend the two because people will throw all sorts of stones. But that’s okay—I’m ready with my hard hat.” Imagine the fantastic array of work that could result if only more artists and designers followed Murakami’s mindset.

Louis Vuitton Chronology 1854: Louis Vuitton opens his first store in Paris and creates the first of his legendary trunks in grey Trianon canvas

1860: Louis Vuitton opens a larger factory in Asnières-surSeine to keep up with increased demand for his products

1876: Louis Vuitton changes the Trianon design on his trunks to a beige and brown striped design

1896: George Vuitton, son of Louis Vuitton, designs the iconic Monogram canvas. The quatrefoils and flowers on the canvas reflect Victorian trends of the time to use oriental influence in designs. 1932: Louis Vuitton

1888: Louis Vuitton designs the beige and brown Damier canvas for his trunks with a logo stating “marque L. Vuitton depose” (L. Vuitton registered trademark). He was motivated by the desire to create a more iconic design for his trunks to prevent others from continuing to imitate his work.

creates its Noe bag, which was originally designed for transportation of champagne bottles.

1901: Louis Vuitton creates its steamer bag, a smaller piece of luggage designed to be stored inside other trunks

1959: Louis Vuitton creates its supple Monogram canvas, designed to be used for handbags and wallets rather than trunks

1936: George Vuitton dies, leaving his son Gaston-Louis Vuitton in charge of the company 1966: Louis Vuitton launches its Papillon bag, a cylindrical shaped bag that still sells well today

1978: Louis Vuitton opens its first stores in Japan, expanding its iconic brand to Asia

1998: Marc Jacobs becomes Artistic Director, and the 1994: Louis Vuitton launches a company launches its literature line called Monogram Vernis line, a collection of bags “Voyager avec…” with the iconic logo design embossed in patent leather 1983: Louis Vuitton establishes the Louis Vuitton Cup, a yachting competition associated with the America’s Cup

1996: Louis Vuitton celebrates the 100th anniversary of 1987: Louis Vuitton its legendary monogram logo becomes luxury conglomerate LVMH in an important merger with Moët et Chandon and Hennessy

2004: Louis Vuitton celebrates its 150th anniversary

2001: Stephen Sprouse, collaborating with Marc Jacobs, designs a collection of graffiti-inspired Louis Vuitton bags

2006: The company collaborates with Assouline to publish a book titled Louis Vuitton, Icons 2011: Louis Vuitton opens its first Island Maison (island store) in Singapore

2003: Japanese artist Takashi Murakami begins his famed partnership with Louis Vuitton 1999: Louis Vuitton introduces its first ready-towear collection and creates its mini monogram line

2008: Louis Vuitton introduces its Damier Graphite canvas, featuring the classic Damier pattern in black and grey rather than the traditional brown and beige

Jackie [Kennedy] wore one of my dresses â&#x20AC;&#x201C; it was made from kitchen curtain material â&#x20AC;&#x201C; and people went crazy. They took off like zingo. Everybody loved them, and I went into the dress business. -Lilly Pulitzer Lilly Pulitzer makes everyone look happier, richer and more fun-loving than they probably are. Lilly equals sunshine. -Jonathan Adler, fashion designer

Lilly was a rule breaker. We love that. -Janie Schoenborn, Design Director of Lilly Pulitzer Lilly Pulitzer was one of the first to take a personal look and lifestyle and turn it into a brand. Her cheery and colorful prints are much imitated, but she is a true original. -Kate Spade, fashion designer

Lilly Pulitzer Overview From its simple beginnings at a juice stand to its current status as a leader in print design, the Lilly Pulitzer brand has remained in the hands of the attractive and well connected. West Palm socialites and sorority girls alike adore the whimsical prints in punchy colors, offering something new each season yet staying true to the brand’s origins. Lilly Pulitzer strikes a chord with the girl who lives to have fun, yet prefers to do so while wearing a sundress and pearls. Always classy but never serious, the brand appeals to those who just can’t get enough multi-colored sea horse and elephant prints. The unmistakable bright pink and green combination shouts LILLY PULITZER, although it should be noted that a true Lilly girl would never feel the need to brashly announce her entrance. The Lilly girl is not perfectly demure, however. She isn’t afraid to break a few rules, although it is unclear how many well-defined rules exist concerning, for example, wearing teal green seashells after Labor Day.

Connections to culture at the time As she did for many new designers, Jacqueline Kennedy Onassis initially drew attention to the brand in 1962 when she wore a Lilly Pulitzer dress on the cover of Life magazine. It was simply luck, however, that Lilly’s new brand immediately attracted such a high-profile woman.

Jacqueline Kennedy Onassis and Lilly Pulitzer were in fact roommates during their time at the Chapin School, a private all-girls school in New York City. Soon after, Lilly Pulitzer’s brightly colored, fun-filled prints found their way into the wardrobes of the most important socialites of the 1960s and 1970s. Members of the Vanderbilt, Rockefeller and Whitney families wore the dresses, delighted by their carefree designs. Lilly Pulitzer herself was quite familiar with life in the most prestigious social circles, as she was the child of New York socialites Robert V. McKim and Lillian McKim, an heir to the Standard Oil fortune. Furthermore, in 1950 she married Herbert Pulitzer Jr., the grandson of the publisher Joseph Pulitzer. This firsthand knowledge of the elite is highly visible in every aspect of Lilly Pulitzer’s brand, from her design aesthetic to the privileged lifestyle it promotes. Lilly Pulitzer, dubbed the “Queen of Prep”, furthered the growth of classic preppy style. In 1980, the Official Preppy Handbook named Lilly Pulitzer dresses and skirts as a staple in a quintessentially preppy uniform. Lilly Pulitzer first gained recognition as one of the most iconic preppy brands over 50 years ago, yet the brand retains this status today.

Impact on contemporary design Lilly Pulitzer achieved recognition as the first designer to turn her own personal fashion sense and lifestyle into a brand, creating an entire persona and idealized world rather than simply making beautiful clothes. Her first dress resulted as a solution to her daily problems; she simply needed a colorful print to conceal orange stains from her juice stand. From the beginning, she created clothes that fit the lifestyles of herself and her friends, and her brand naturally took on the personality of these lives. The Lilly Pulitzer brand is associated not just with bright prints and pretty dresses, but also with beautiful families at country clubs, resort vacations, lounging poolside, and sharing cocktails with fun-loving friends.

Terrycloth bag

Today, every major luxury brand strives to become a true lifestyle brand, with the power of its image even more important than its high quality products. Designers and creative directors are an important breed of celebrities, infiltrating their own personalities into the images of their brands and sometimes even appearing in their own advertising. In addition, Lilly Pulitzer put her signature mark on preppy style. Her classic pink and green color combination, which immediately signals preppy chic, is much imitated. With her vibrant prints in conservative styles, Lilly Pulitzer defined the preppy image that toes the line between sophistication and fun.

Collaborations Little Lilly classic shift

Lilly Pulitzer recently embarked on collaborations that play off the fun, embrace your inner child aspect of the brand. In 2008 the company launched a special edition Monopoly game. Lucky players can buy property in Palm Beach (rather than Myrtle Beach in the traditional version), using palm trees, monkeys and shift dresses as their game tokens. In a unique twist on the brand’s whimsical animal prints, Lilly Pulitzer partnered with Barnum’s Animal Crackers in 2010 to create an exclusive Lilly version of the classic snack. Profits from sales of the animal crackers benefit tiger conservation efforts worldwide. To celebrate the Lilly Pulitzer brand’s 50th anniversary in 2010, the company embarked on two unusual and quite large collaborations. One involved Steinway & Sons, a premier piano manufacturer established in 1853. The other involved Jeep Wrangler, a brand not generally associated with preppy, pearl-wearing women. Both partnerships resulted in unique, unexpected products that drew much attention to the brand. Fitting with the Lilly image, the brand’s most recent ongoing collaboration involves sorority prints. Designing one of a kind prints for sororities lucky enough to be chosen provides a fantastic way for the company to continue to innovate and entice a younger consumer without venturing too far from the brand’s origins.

Lilly Pulitzer Chronology 1959: Lilly Pulitzer begins selling dresses at a juice stand in Palm Beach. Her designs are so well received that she establishes and becomes president of her own company, Lilly Pulitzer, Inc.

1960s and 1970s: Lilly Pulitzer dresses become a symbol of a luxurious lifestyle. Notable figures in society, including members of the Kennedy, Rockefeller, Vanderbilt and Whitney families, wear them.

1962: Jacqueline Kennedy Onassis appears on the cover of Life magazine wearing a Lilly Pulitzer dress. The 1980: The Official brand becomes instantly Preppy Handbook popular. identifies Lilly Pulitzer dresses and skirts as essential pieces of the preppy uniform

1984: Lilly Pulitzer retires and closes down her entire clothing company 2005: Lilly Pulitzer writes her first book, Essentially Lilly: A Guide to Colorful Entertaining

1993: Sugartown Worldwide, Inc. purchases the rights to the Lilly Pulitzer company and revives the business

2008: Lilly Pulitzer celebrates its 50th anniversary by collaborating with Steinway to create a limited edition piano

2010: Lilly Pulitzer launches an exclusive bridal collection and debuts a home collection exclusively for Garnet Hill

2008: Lilly Pulitzer launches a special edition Monopoly game and Jeep 2010: Lilly Pulitzer Wrangler to celebrate its 50th collaborates with Barnumâ&#x20AC;&#x2122;s anniversary Animal Crackers to make a Lilly Pulitzer version of the snack, the proceeds of which benefit tiger conservation efforts worldwide

Lilly Pulitzer Colors Lime Green

Hot Pink

Canary Yellow

Aqua Blue

Bright Orange

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