Autumn/Winter Trends: Snake Skin by Kate Emily Ferguson

The Snake Skin Trend

Kate Ferguson. N0615789. FASH10105 Visual Awareness SUMMATIVE Brief.

The Snake Skin Trend For the trend report I have chosen to study snakeskin, to observe how the fashion and creative industries use this trend and how it is communicated through cultural contexts. Therefore, I will study Fashion Communications, consisting of retail, market and brand analysis, Cultural communication, to study visual, historical and creative references and then finally, develop my own communication where I will present my ideas of how I would promote snakeskin. This is in order to develop a wider understanding of snakeskin on a global perspective and execute my own ideas of the broader fashion landscape.

Contents Page Introduction Contents Page Fashion Communication: Task 1a Fashion Communication: Task 1b Cultural Communication: Task 2a Cultural Communication: Task 2b My Communication: Task 3- Salvatore Does Snakeskin Harvard Reference

2 3 4-5 6-7 8-9 10-11 12-15 16-17

Fashion CommunicationTask 1a

Figure 2. House of Holland Resort (2015)

that are found. For instance, Prada, a high end brand, has used the snake skin print in their Fall 2011 Campaign to denote an image of women lounging around in luxurious winter wear on a composition of block coloured furniture and surfaces, to promote the narrative of casual elegance. This already translates a message to the viewer, that Prada are trying to signify a laid back, chilled atmosphere for

lthough they are both from different market levels and have contrasting brand values, it can be seen that both Prada and House of Holland have used the motif of snakeskin print in their advert campaigns. The chosen adverts have their own semiotic visual codes, themes and narratives. However, it can also be seen that there are still similarities between the two fashion campaigns alongside the differences

their campaign whilst also communicating a non-serious, dynamic approach to fashion and as Steven Meisel, photographer of the campaign, expressed himself, “an anything goes attitude to fashion maximalism,” [Chau. C 2011] due to their combination of wild scaly animal textures and vibrant colours. Holland’s Resort 2015 campaign can be seen to take on a similar concept as they have also portrayed a laid back and relaxed theme. However, Holland’s theme for the campaign connotes a surf n turf narrative through the use of beach motifs, such as surfboards and tussled wavy hair in order to translate an image of a hot exotic summer holiday to their customers. Although the narratives differ, it still relates to the same theme as Prada due to this relaxed summer holiday vibe it connotes with an essence of glamour. In terms of the specific customer, both brands arguably are reaching out to a similar consumer with their use of snakeskin print however, their values still remain different. Prada has used snake skin print to communicate a vision of traditional female attire but one with a futuristic stylish twist to promote a daring, confident approach to women’s fashion in the contemporary society. Therefore, Prada are arguably reaching out to a new generation of younger customers with their fashion forward and style conscious choices but still maintain their brand values by combining snakeskin with an element of class and sophisticated silhouettes to sustain their mature upper class

loyal consumers and their conservative feminine identity. However, although similarly to Prada this use of the trend is daring, Holland uses snakeskin to directly and solely reach out to a younger target consumer by communicating a playful and energetic narrative promoting swimwear. Holland uses intensely saturated hues to revitalise the snakeskin pattern and offer a more youthful and fun take on the reptile graphic print to match Holland’s quirky and creative brand identity. Furthermore, in terms of the promotion of the print, Holland has centralised his model standing tall to push the high street sale in a bold exciting way to catch the customer’s eyes. However, Prada has presented their models effortlessly lying down, indicating a lax approach to the print to arguably signify the idea that they do not need to push the sale because of their already gained luxurious market level, designer status and strong customer loyalty. Therefore, they do not need to draw their customers in as forcefully as a high street brand would to gain recognition for using the print.

“The idea, shot by Steven Meisel, was meant to, “exemplify an anything goes attitude to fashion maximalism”. [Chau. C 2011]

Figure 3. Prada Fall Winter Campaign (2011)

Fashion Communication

Task 1b - Retail Analysis I

n terms of visual merchandising for the snakeskin trend, both Prada and Calvin Klein have displayed the print within their window displays. Visually, it can be seen that Prada’s Fall 2011 Window display in Milan denotes an image of two women waiting in front of an aeroplane with luggage. The use of luggage and the aeroplane arguably connotes a narrative, based on travel and lifestyle which communicates a message of adventure and optimism in terms of world travel and experimentation with style. Furthermore, the display conveys themes of 1960’s vintage attire and femininity. These themes relay a message to the customer that snakeskin print is a recycled trend that has been around for many decades and it has been primarily used in the design and production of traditional women’s fashion and accessories.

The narrative also communicates a message of status and wealth because the semiotic visual codes suggests that the women are from a higher class due to the quality of their clothing and the contextual reference of the 1960’s and air travel as being something only accessible to those with economic and cultural capital in this era. These messages are significant to Prada as a brand because they cater for an upper class prestigious target customer who is likely to wear Prada as a statement to show off their affluence in society. Although Calvin Klein’s brand also caters for an upper class target customer, it can be seen that Prada reaches out to another specific customer with their visual merchandising. Prada has arguably offered a narrative that communicates to a mature customer who can relate and culturally connect retrospectively with the vintage style and social characteristics depicted in the window display.

Figure 4. Prada Fall Winter Window Display in Milan (2011)

Figure 5. Calvin Klein: Snake skin. (2013)

Figure 6. Calvin Klein: Snake skin. (2013)

fashion garment with their own applied colourful interpretation. Furthermore, Prada’s narrative does not surround the context behind the print, whereas Calvin Klein has intentionally celebrated the Chinese holiday and the print by overpowering their minimalistic black clothing and providing a conventional, realistic reptile textured screen to symbolise the dominance, mystery and value that this specific animal has within Chinese traditions. The cultural messages are significant to Calvin Klein’s brand because it allows the American brand to promote themselves in a wider richer global market in Asia, showing they acknowledge other origins traditions. Therefore, they reach out to a large Chinese target customer with their theme as well as their global upper class loyal consumer by utilising the expensive commodity, snakeskin.

Calvin Klein however, has offered a completely different narrative with their visual merchandising display in Jakarta, Indonesia in 2013. This is because it represents a narrative revolving around the animal zodiac sign for the Chinese New Year 2013, the snake. In terms of denotation it can be seen that Calvin Klein has used interiors such as reptile graphic screens to surround the mannequins dressed in basic black garments. By only using colour in the screens, Calvin Klein have demonstrated the importance of the snake in Asia and the impact it has on individuals, who are symbolised by the mannequins. Both Prada and Calvin Klein’s window displays offer historical and cultural references which is connoted in Prada’s display through the semiotic code of status and 60’s fashion and in Calvin Klein’s narrative as the brand communicates the messages of religion and culture. However, Calvin Klein’s representation differs to Prada, as Prada’s display has included snakeskin as a style conscious

Cultural CommunicationTask 2a Figure 7. Nicholas Cage in Wild At Heart, a film of David Lynch in 1990. (2013)

Figure 8. Wild at Heart. (2013) 8

Literally the architecture is covered in various earthy tones to depict an obvious snake skin print. However, the Boa Canteen arguably communicates messages of modernity to architectures but also of futurism and urbanization. These themes of futurism and urbanization arguably have similar visual codes to my third reference of a graphic snake skin surface print on the structure of a car. Therefore, both of these creative references depict visual codes of contemporary art culture and expansion of design. They are also similar because they show experimentation with digitally imposed graphics projected onto a structure, demonstrating the overarching visual code of the influence that the technology of the 21st century has on the shaping of products within society.

Figure 9. D’HOUNDT+BAJART Architects & Associates. (2014)

lthough the snakeskin print has been communicated in terms of fashion previously, the print has also been executed creatively and culturally to provide an alternative context for the trend. In terms of creative context, the snakeskin print can be found in film costumes, architecture and graphic surface prints. For instance, in the 1990 film ‘Wild at Heart’ by David Lynch starring Nicholas Cage as ‘Sailor Ripley’, the character wears an iconic snakeskin print leather jacket. Literally, the snakeskin jacket worn by Sailor denotes an image of 90’s style and exotic pattern. However, laterally, the title ‘Wild at Heart’ draws an analogy between the ‘wildness’ of the reptile and how Sailor wants to be perceived when he wears the jacket. The jacket signifies Sailor’s individuality and personality as stated in the film when he expresses,

“This is a snakeskin jacket! And for me it’s a symbol of my individuality, and my belief in personal freedom.”[IMDB, 1990]

Figure 10. Snake Skin Car. (2007)

“This is a snakeskin jacket! And for me it’s a symbol of my individuality, and my belief in personal freedom”. [IMDB 1990] Therefore, the jacket is a symbolisation of Sailor’s identity but also arguably acts as a representation to the similarities he has to the mythical characteristics of a wild snake such as cunning, slippery and sinful.

The structure of the third example illustrates an image of a car covered in snake skin print with a sculpture of a snake wrapped around the body of the vehicle. However, laterally the design of the car possibly symbolizes a cross over between a realistic representation of the animal and a digitally created print, to depict a juxtaposition between real life and graphic replication through technology. Furthermore, in terms of visual codes; arguably the snake has control over the car and preserves the rare pattern. Therefore, this demonstrates an exclusivity of the snake skin print but shows that the car shares a similar visual code with Sailor’s jacket which is a precious item but one that also has control over Sailor’s personality.

Another creative reference that includes the snake skin print is the architecture of the Boa Canteen / D’Houndt and Bajart Architects & Associates building in LilleLomme, Nord, France. In terms of similarities, referring back to the jacket worn by Sailor, the jacket arguably has similar meanings and overarching visual codes to the architecture of the Boa Canteen as the building can also be seen as a representation of individuality, originality and imagination.

Cultural Communication

Task 2b -Cultural Context Figure 12. 1990’s. (2013)

Figure 11. The Best Braids of All Time: From Princess Leia to Beyoncé. (2014)

or the use of snakeskin in terms of cultural context, the print has been presented throughout fashion over the past century, being significantly worn in alternative ways during the 70’s, 90’s and post millennium. Therefore, indicating that there is historical and social context behind the trend. For instance, in the image captured of Twiggy for Vogue by Jason de Villeneuve in 1970, the use of snakeskin signifies themes that would be identified with the hippie culture of the 70s and the bohemian trend, represented by Twiggy’s snakeskin maxi styled dress and long braided hair. This suggests that culturally, fashion was starting to be shaped around the influence of sub cultures and style conscious attitudes. Furthermore, the image also arguably represents themes of dominance and power illustrated by the bold application of the snakeskin on the dress and the shoes, which symbolises confidence in female fashion in the 70’s. Culturally, the use of snakeskin in this image represents a vision of a woman with an assertive female identity in terms of Twiggy’s self-assured stance and style. Therefore, the image communicates values in the 70s where women were becoming less subordinate, shaping their own version of a ‘new woman’ identity and were not as traditional with their clothing choices after the cultural change in the sixties. Ultimately, the use of the snakeskin communicates a shift in

femininity and social expectations illustrated by this experimentation with pattern. In terms of creative context for the use of snakeskin, Twiggy’s stance and the twists of her braids arguably resembles the curvy silhouette of a snake’s body. Therefore, she has been sculpted to signify the strength and flexibility of snakeskin. In my reference of the North Beach advertisement in the 90’s, the themes are similar and different to the image of Twiggy. In terms of the values, it would suggest the image was still trying to promote a confident female identity but in a seductive, attractive and sexually allured way due to the body con silhouettes covered in the wild, exotic pattern. Furthermore, as for creative context, by styling the snakeskin pattern in two alternative ways, this illustrates that there are many different functions to the print to exemplify 90’s iconic garments and as fashion has moved forward, so has the application of certain patterns.

Figure 13. Alexander Mcqueen ‘Platos Atlantis’ dress at the Fashion Institue of Technology. (2016)

McQueen’s use of snakeskin print was used to connote “an apocalyptic forecast of the future ecological meltdown of the world”. [Mower, S 2009] Furthermore, for cultural context of snakeskin, I have chosen an image from Alexander McQueen’s ‘Plato’s Atlantis’ collection in 2010 debuted in the exhibition ‘Fairytale Fashion’ at FIT in New York, demonstrating the application of snakeskin in 21st century. The themes are futuristic, natural and evolutionary and are represented through the use of digital print to create a rejuvenated style of snakeskin which “is engineered to follow the silhouette of the dress”.[Anon 2016] Culturally, McQueen’s use of snakeskin print was used to connote “an apocalyptic forecast of the future ecological meltdown of the world” [Mower, S 2009] and therefore, depicts a biological image of the future identity of creatures of the planet and culturally, a representation of Charles Darwin’s ‘Origin of the Species’. Arguably this representation communicates the values of the survival of mammals due to global warming but artistically, McQueen still manages to offer a creative context through his use of graphic illusions and vivid illustration to create a new modern, vision of snakeskin apparel. Therefore, new technologies have allowed creativity within fashion to advance.

Figure 14. Alexander McQueen (2013)

My CommunicationThe Big

Idea salvatore does snakeskin

or my own communication of an alternative use for snakeskin, I have decided to take Salvatore Ferragamo’s Spring Summer 2015 collection and use it in a window display, whilst adopting a narrative that revolves around the historical myth of Cleopatra, who died from the bite of an asp snake and the historical use of the snake as a fashion trend that signified social class throughout Ancient Egypt. However, to display the Ferragamo’s use of the trend I intend to display the print the brand has designed onto ceramic snakes and place them around the bodies of the mannequins. Not only does this contextually signify the death of Cleopatra from the snake, but it also portrays the belief that “women (were) believed to have worn live snakes around their necks”[Hays, J 2008] as a fashion conscious statement to show that they were from the upper class during the period of before Christ in Ancient Egypt. Coinciding with the idea of class, Ferragamo’s brand is one that obtains the target customer of a high class, elegant customer, therefore by using a luxurious and wealthy commodity such as snakeskin, it allows the brand to maintain their prestigious and high market level identity and offer a print that will allow their customers to embrace their status but in an striking, bold way. Therefore, the prints on the surface of the ceramic snakes will symbolise the patterns used from Ferragamo’s collection but instead, the display will showcase them in a creative and realistic way.

However, to make the use of snakeskin appeal to an audience that is not keen on the use of animal skin within fashion, the print will be faux and graphically designed onto the ceramic snakes to provide a more nature friendly but lively approach to the visual merchandising. The mannequins will be dressed in some of Ferragamo’s white dresses from the collection to resemble the white linens the Egyptians were contextually known to wear. As part of my Big Idea, to create a promotional impact and allow the consumers to interactive with the window from the beginning of their shopping experience, using modern technology, I would like to include an IPad at the front of the window, which would enable customers to select their favourite snakeskin that has been manipulated onto the ceramic snakes. Then I would allow them to take that print and virtually apply it to an image on the iPad of their chosen plain garment from Ferragamo’s collection featured in the window. This allows the customer to create their own customisation of the different snakeskin patterns and Ferragamo’s silhouettes, to fit their own style. By using this digital technology, it also creates a juxtaposition between the historical era of Ancient Egypt when these gadgets did not exist and the importance of technology in the fashion industry now. Therefore, I intend to mix cultural context with the use of a contemporary devices to modernise the narrative.

Narrative for the Window Display

Figure 15. Cleopatra’s wig. (2011) Figure 16. Cleopatra. (1615)

Figure 19. MARIA FRANCESA PEPE Snake Goddess Head Chain (2014) Figure 17

Figure 17/18. Rachele @ MAJOR & Brad Pitt Snake. (2014) (edited by Kate Ferguson)

Figure 20. Salvatore Ferragamo SS15. (2014) (edited by Kate Ferguson)

Display Inspiration As for the rest of the display, I have taken inspiration from Christian Louboutin’s Fall 2013 window display and artefacts from the ‘Ancient Egypt Transformed’ exhibition at the Metropolitan Museum of Art in New York to gain an idea of the structure of Egyptian architecture for the backdrop of the window display.

Figure 24. Louboutins Passion for Egypt. (2014)

Figure 21. Christian Louboutin Egypt Windows. (2014)

Figure 23. Cleopatra. (2010) Figure 22. Primary photography at The Metropolitan Museum of Art- Ancient Egypt Transformed. (2016)

Figure 25. My Big Idea for the Snake Skin Trend. (2016)

Harvard References List of Illustrations Front Page Figure 1. Goodman, Georgina. 2014. Love Shoes and Other Stories: Veruschka von Lehndorff by Franco Rubartelli (1970s). [ONLINE] Pinterest. Available at: https://uk.pinterest.com/pin/407786941230081402/ [Accessed 28 December 15] Introduction Page Anon. 2015. Snakeskin digital print dress with high contrast vivid pattern symmetry; mirror print fashion // Alexander McQueen . [ONLINE] Pinterest. Available at: https://uk.pinterest.com/pin/517914025869975308/. [Accessed 23 January 16]. Task 1a: Figure 2. Anon. 2014. HOUSE OF HOLLAND SURF ‘N’ TURF RESORT 2015 [ONLINE]. The Fashion Supernova. Available at: http://thefashionsupernova.com/2014/06/27/house-of-holland-surf-n-turf-resort-2015/. [Accessed 20 December 15]. Figure 3. Prada. 2011. Prada Advertising Campaign Archive. [ONLINE] Prada. Available at: http://www.prada.com/ en/collections/advertising-campaign/archive/woman-fw-2011.html?adv=adv-content3. [Accessed 17 December 15] Task 1b Figure 4. Beautiful Window Display. 2011. Prada Autumn/Winter 2011. [ONLINE] Pinterest. Available at: https:// www.pinterest.com/pin/59532026298484715/. [Accessed 20 December 15]. Figure 5. Display Hunters 2. 2013. Calvin Klein: Snake Skin. [ONLINE] Available at: http://displayhunter2.blogspot. co.uk/2013/02/ck-calvin-klein-snake-skin.html [Accessed 20 December 15]. Figure 6. Display Hunters 2. 2013. Calvin Klein: Snake Skin. [ONLINE] Available at: http://displayhunter2.blogspot. co.uk/2013/02/ck-calvin-klein-snake-skin.html [Accessed 20 December 15]. Task 2a Figure 7. Anon. 2013. Nicholas Cage in Wild At Heart, a film of David Lynch . [ONLINE] Pinterest. Available at: https://uk.pinterest.com/pin/337066353332207825/. [Accessed 29 December 15]. Figure 8. Anon. 2013. Wild at Heart. [ONLINE] Pinterest. Available at https://uk.pinterest.com/ pin/94012710942754858/ [Accessed 29 December 15] Figure 9. Lanoo, Julien. 2014. D’HOUNDT+BAJART Architects & Associates. [ONLINE]. Arch Daily. Available at: http://www.archdaily.com/546319/boa-canteen-d-houndt-bajart-architects-and-associates. [Accessed 29 December 15]. Figure 10. Parekh, Alan. 2007. Snake Skin Car . [ONLINE]. Hacked Gadgets. Available at: http://hackedgadgets. com/2007/02/14/snake-skin-car/. [Accessed 29 December 15]. Task 2b Figure 11. Betker, Ally. 2014. The Best Braids of All Time: From Princess Leia to Beyoncé. [ONLINE] VOGUE. Available at: http://www.vogue.com/866034/the-best-braid-hairstyles-of-all-time/#1. [Accessed 29 December 15]. Figure 12. The Gloss Menagerie ca. 80s, 90s. 2013. 1990’s. [ONLINE] Pinterest. Available at: https://uk.pinterest.com/ pin/517562182146730455/. [Accessed 29 December 15]. Figure 13. Ferguson, K. 2016. Alexander McQuuen’s dress from ‘Platos Atlantis featured in Fairytale Fashion at the Fashion Insitute of Technology. New York Figure 14. Anon 2013. Alexander McQueen. [ONLINE] Pinterest. Available at: https://uk.pinterest.com/ pin/101471797827257324/. [Accessed 29 December 15].

[word count: 2,704] Task 3 Figure 15. Anon. 2011. Elizabeth Taylor’s Cleopatra wig up for sale. [ONLINE]. Oh Know They Didnt. Available at: http://ohnotheydidnt.livejournal.com/65045139.html. [Accessed 23 January 16]. Figure 16. Reubens, Peter Paul. 1615. Cleopatra. [ONLINE] Available at: http://www.peterpaulrubens.org/Cleopatra. html. [Accessed 08 January 16]. Figure 17 Page, David. 2014. Photographer : David Page - Model : Rachele @ MAJOR & Brad Pitt Snake Mua : Charlotte Prevel - Hair : Miwa Moroki. [ONLINE]. Pinterest. Available at: https://uk.pinterest.com/ pin/309059593152363238/. [Accessed 08 January 16]. Figure 18. Page, David. 2014. Photographer : David Page - Model : Rachele @ MAJOR & Brad Pitt Snake - Mua : Charlotte Prevel - Hair : Miwa Moroki. [edited by Kate Ferguson][ONLINE]. Pinterest. Available at: https://uk.pinterest.com/pin/309059593152363238/. [Accessed 08 January 16]. Figure 19. Spanish Mosh Shop. 2014. MARIA FRANCESA PEPE Snake Goddess Head Chain . [ONLINE]. Pinterest. Available at: https://uk.pinterest.com/pin/428897564482922819/. [Accessed 23 January 16]. Figure 20. Anon. 2014. Salvatore Ferragamo SS15. [ONLINE] Elle. Available at: http://www.elle.com.au/runway/ ready-to-wear/ss15/2014/9/salvatore-ferragamo-ss15/. [Accessed 08 January 16]. Figure 21. Anon. 2014. Christian Louboutin Egypt Windows. [ONLINE] Pinterest. Available at: https://uk.pinterest. com/pin/302444931196252539/. [Accessed 23 January 16]. Figure 22. Ferguson, Kate. 2016. Primary photography at The Metropolitan Museum of Art- Ancient Egypt Transformed. New York Figure 23. College Fashion. 2010. Read The Royal Treatment: Beauty Products Inspired by Cleopatra. [ONLINE] Pinterest. Available at: https://uk.pinterest.com/pin/325736985523952462/. [Accessed 21 January 16]. Figure 24. Anon. 2014. Louboutin’s Passion for Egypt. [ONLINE]. What Women Want Mag. Available at: http:// whatwomenwant-mag.com/2014/09/25/louboutins-passion-for-egypt/. [Accessed 08 January 16]. Figure 25. Ferguson, Kate. 2016. My Big Idea for the Snake Skin Trend. Nottingham List of References: [quotes and further reading] Anon. January 2016. Fairytale Fashion. The Museum at the Fashion Institute of Technology. New York [Task 2b] Anon. 2010. Women’s Spring/Summer 2010 ‘Platos Atlantis’. [ONLINE]. Alexander McQueen Available at: http:// www.alexandermcqueen.com/experience/en/alexandermcqueen/archive/womens-springsummer-2010-platos-atlantis/. [Accessed 02 January 16]. [Task 2b] Chau Chi. 2011. Prada Shows Off a Bright, Lax Approach For Fall 2011 — Love It or Leave It? Pop Sugar. [ONLINE] Available at: http://www.popsugar.com/fashion/Prada-Fall-2011-Ad-Campaign-17943472. [Accessed 04 January 16]. [Task 1a] Display Hunters 2. 2013. Calvin Klein: Snake Skin. [ONLINE] Available at: http://displayhunter2.blogspot. co.uk/2013/02/ck-calvin-klein-snake-skin.html [Accessed 20 December 15]. [Task 1b] Hays, Jeffrey. 2008. CLOTHES, FASHION, HYGIENE AND SEX IN ANCIENT EGYPT. [ONLINE]. Facts and Details. Available at: http://factsanddetails.com/world/cat56/sub365/item1939.html. [Accessed 19 January 16]. [Task 3] IMDB. 1990. Wild at Heart by David Lynch. [ONLINE] Available at: http://www.imdb.com/title/tt0100935/quotes. [Accessed 29 December 15]. [Task 2a] Mower, Sarah. 2009. Spring 2010 Ready To Wear Alexander McQueen. [ONLINE]. Paris. VOGUE. Available at: http://www.vogue.com/fashion-shows/spring-2010-ready-to-wear/alexander-mcqueen. [Accessed 02 January 16]. [Task 2b]