INTERPRETING FA S H I O N ’ S PA S T Profiles in Authenticity: Constructing Fashion from the Peripheral
I
Text CODY WYANT
n the fast-paced industry of fashion one can often overlook the importance of history. In more recent years public interest in the personal lives of legendary designers, fashion ‘icons’, brand heritage and the display of historical clothing has provided substantial force in selling headlines, books and major exhibitions. The immaculate structure of fashion in modern culture has morphed into a living and breathing organism, consistently mutating its seasonal façade into a visual feast of splendiferous magnitude. Those who hold the keys of knowledge behind the scenes support the structure of this elaborate framework; they are charged with the task of preserving, collecting and interpreting fashion’s past to a global audience.
Preserving the Past
The academic pursuit of a fashion is perhaps more difficult to pursue than a career in the industry itself. Years of formal education are required to reach a gnostic understanding capable of diluting the evolution of fashion. Few institutions and universities across the world offer historical-based instruction in the area. In most instances design schools and colleges provide minor offerings in the subject, while universities may cover modules in disciplines of Art History, Anthropology and Sociology. Leading the forefront in historical research of fashion is the Courtauld Institute in London. The History of Dress M.A. program was established in 1971 as the first of its kind, and has since cultivated the talents of a selective group of enthusiasts that remain loyal to the subject. In recent years alumni Aileen Ribeiro has led the initiative of the program, preserving the academic pursuit of the subject as an intellectual field. Her publications cover a range of subjects from the discourse of morality in dress, fashion in the French Revolution and the history of cosmetics in perceptions of female beauty. One might ask why such esoteric knowledge is worth preserving? Ribeiro explains, ‘The subject of beauty and fashion has until recently been avoided as a serious topic of research. But historians have belatedly begun to appreciate the significance of adornment in women’s history, at all levels of society…these studies are crucial
in any discussion of culture and taste.’ Ribeiro is adamant that historical studies of dress, costume and beauty are relevant in various contexts. The imbued social values of their study are an integral to dissecting the past, present and future of fashion. She argues that they hold particular importance in constructing narratives of women’s lives in the grand schema of social and economic interaction. Admittedly, assessing such topics in contemporary times presents difficulty. She comments, ‘The historian of dress cannot refuse to engage with the contemporary. But the more modern the period, the more difficult it is to assess what will be important in the wider cultural history of dress.’
Collecting the Past
Although many perhaps envision the modern act of shopping as a compulsive behaviour, collecting of historical clothing and costume moves beyond this ritualistic realm. Haunted by knowledge and images of fashion history, those who aim to collect such pieces develop particular affinities with clothing design, construction and patronage from ages bygone. International Editor-at-Large of American Vogue Hamish Bowles began collecting period clothing at the age of seven and has since amassed an immaculate showcase of over 3,000 pieces relating to the history of women’s haute couture. Over the years Bowles’ career in the industry has aided his obsession, finely tuning an awareness of couture history and fuelling the penchant desire for hunting couture relics. He relates, ‘There are so many different criteria for my collecting, and I have to confess that the goalposts do shift. But obviously, with my background, I am particularly drawn to things that have been documented in contemporary magazines… It also helps that I spent so much time in the Vogue archives, so I know those images back to front through the decades.’ What drives one to collect at such a level? ‘I am acquiring things for the exhibition in my head,’ he boldly states, ‘I am thinking, ‘Well, this would be a great dialogue with that’.’ The exhibition in Bowles’ cranium has spilled into his professional portfolio. In recent years he has curated clothing-based exhibitions at the Costume
Institute, Young Museum and the Queen Sofía Institute. The most recent explored the Spanish influence behind the work of Cristobal Balenciaga. Preparation for the exhibition followed a scholarly approach. Bowles explains, ‘The process started by contacting every museum and private collection in the world. I visited as many collections as I could and the Balenciaga archive in Paris was hugely helpful in this process. Then I researched Spanish art and cultural history and began looking for resonances. Nicolas Ghesquière was helpful in lending pieces from the archive and allowing access to the archive of sketches and photographs.’ In conjunction with the exhibit Bowles published Balenciaga and Spain, a voluminous compendium documenting the life and work of the designer. This work joins the ranks of his esteemed biographic publications on such figures as Jacqueline Kennedy Onassis, Carolina Herrera, Yves Saint Laurent and Cristobal Balenciaga. With an undying love of clothes and intellect for arduous research Bowles stands an erudite collector with a knack for in-
terpreting the longue durée of fashion. Translating his interests to a wider audience has produced commendable efforts in the display of historic clothing and gained him international acclaim.
Wearing the Past
Translating the past into the modes of everyday living is a phenomena envisaged by aficionados of vintage. The realities of most recent economic times have perhaps contributed to an influx interest in fashion’s past. Journalist and historian Judith Watt postulates, ‘The interest in wearing vintage is really escapism: the fantasy of delving into another universe. The beauty of it, the uniqueness of the piece -- the fabrics, the touch, the quality of an era gone by.’ Watt believes that the role of vintage in modern fashion is two-fold: it allows the consumer to express individuality in dress, and provides inspiration for industry designers. In a culture where mass production of clothing dictates the need for trends, the issue of ‘influence’ permeates all levels of design, production and sale.
She conjectures, ‘The influence of vintage is relative as to how it influences designers. This reaches from designer down to the high street chains. If Kate Moss says her collection is based in on pieces in my cupboard, it really means it is based on vintage. It is a way of recycling the past in a very direct manner.’ Among the higher echelons of design top designers continually reference vintage aesthetics in their runway collections. References to the past saturate the AW 2013 collections of Marc Jacobs, Miu Miu, L’Wren Scott, Vuitton and Gucci. As long as designers continue to pay homage to earlier eras consumers will mimic. So, what is the future of the consumption of vintage pieces? Watt applies economic principle in her pythic oracle, ‘Supply is drying up, there will simply be less and less.’
Image credits: http://putthison.com/post/22608397318/voxsart-big-bow-bigger-flower-hamish-bowles
Overview at Liberty, Illustrating the detail in interiors and positioning of clothes
LIBERTY Connecting High Street and Designer at Liberty Photography LIBERTY LONDON Text LYDIA DANKOVIC
T
from left: ‘Acne AW13’; ‘Liberty and Levi’s collaberation’; ‘Antipodium 2013’
o many savvy fashion adherents Liberty of London is a crown of immeasurable beauty -- a true retail gem on the most famous high street in England. The historically prestigious department store was opened in 1875 by Sir Arthur Liberty to sell tea, textiles and objets d’art from the Far East. From this early period it was at the forefront of covetous product sales, offering a range of exclusive and fashionable goods. Undoubtedly, Sir Arthur Liberty would be proud of the future impact his store would have on the 21st century capital. The 1920s Tudor-revival building of today’s business hub emerges as a quaint complex among a pool of sleek modern retailers like Banana Republic, Topshop and Cos. The treasure inside the walls of the store stays true to its heritage, representing an emporium of wondrous product. In preserving its heritage Liberty has managed to bridge the gap between high street and designer shopping. How has the store accomplished such a feat? They’ve worked hard to position themselves in the retail industry by balancing the image of elite consumer trends and keeping high-priced tags within the reach of many shoppers. The visual layout of the store perhaps has also contributed to their success. Liberty has maintained its historical integrity, shunning the urge for sleek and modern interior and relying on the charms of its carved English woodwork. A non-invasive space devoid of escalators and harsh white lighting seemingly calms the shopping experience and personifies authentic eclectic ‘heritage’. The dedication to original craftsmanship in terms of interior and product has struck a chord with waves of erudite shoppers seeking a certain je ne sais quoi when spending their pounds. With this, interest in amicable relations between the store and its stock has added to this mentality. Liberty has continued to offer collaborative projects with designers throughout its history, sponsoring partnerships with nota-
bles such as William Morris, Yves Saint Laurent and Vivienne Westwood. Other high streets have embraced this approach in more recent seasons; retailers like H&M, M&S and Debenhams have made effort to support new up and coming designers in their collections. Amidst all of this, competition from entry-level high street stores that offer top trends at a low budget has not dampened the Liberty spirit. In recent seasons both levels of retailers have attempted to expand their costumer base. The formation of Topshop’s Unique line moves toward the higher-end of consumer spending; in recent months they have released a line of dresses acceptable to be worn at the Met. At the same time, Liberty has retailed pieces comparable to Unique prices. For example, the contemporary London-based label Antipodium have a space on the second floor to sell distinct pieces like a pair of emerald green and gold tapestry shorts priced at £130 or a brushed cotton top with variegated stripes at £95. Compared to high street brands to the likes of All Saints or Reiss these prices are affordably within the reach of many. The non-discriminatory atmosphere at Liberty expresses the point that a spectrum of consumers can afford designer duds. As many more people are becoming disenfranchised with the superficial side of high fashion many are turning toward investing in autochthonous labels with less clout. Essentially, modern fashion is being built around what mainstream consumers can afford. Consumers are ultimately the inspiration for the future of fashion. Liberty’s venture to infuse affordable product into their store is evidence of this, supporting the notion that successful retailers must consider the pocket books of a diversity of shoppers
Image Referencing: http://www.liberty.co.uk/blog/
Fashion Media and Publishing Research Portfolio
contents
key roles in publishing- pages 3-4
editor-in-chief profile- pages 5-10
love magazine profile- pages 11-18
the love reader- pages 19-21
the future of print?- 22-27
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key roles in publishing
board of directors
strong background in business- oversee the activities of the businessliable for financial backing.
editor in chief
head position of any selected magazine in the industry- main priority is to make the magazine the most successful it can be- business and fashion focused- public role involvedrepresent the brand.
creative direction
works on both fashion and features sides- give concepts for the magazine to think about- not heavily involved in the detail- like to be involved in the cover choice- strong connection to the industry.
senior editor
answers directly to the editor in chief- head editor of each team answer to senior editor- control of daily theme, direction and feel of magazinekeep balance on floor- communicate between all areas- assist on publishing side.
features editor
involves research for informative pieces of writing and imagery- research and ideas based- editing, writing, proofreading, organising images, photographers, production- oversee layouts and appearance of magazineteam of assistants and interns
3
key roles in publishing
fashion director
fashion side of magazine- fashion directors usually have a vast amount of experience in the industry- strong aesthetic that works well with identified magazine- strong connections with people in the industry- direct the editors and assistants and interns- works closely with features editor for words within magazine.
senior fashion editor
oversees their team of fashion assistants- heavily involved in every stage of creative process- 3-4 fashion assistants working- all assistants chosen on different unique aesthetics that allow the magazine to be diverse- regular interns that help with numerous jobs.
fashion director
outside perespetive to the magazine- not set 9am-5pm position in the office- influenced by numerous creative areas- provide option for different concpets.
design director
aims to deliver a magazine layout that suits the individual magazine’s aesthetic and is clearly what the reader is after- up to design team to make sure the issue compliments- everything is aligned accordinglyteam of assistants involved in design and layout needs
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editor in chief profile- anna wintour
makes things happen. “She can be so She’s tough, but she’s intimidating not cruel.” “...She
and all of that,
but she is just so
incredibly positive” Diane von Furstenberg on Anna Wintour
5
Vogue November 1988, Photographer- Peter Lindbergh.
Vogue April 1992, Photographer- Patrick Demarchelier
Vogue November 1992, Photographer- Herb Ritts
Vogue 2009, Photographer- Annie Leibovitz
editor in chief profile- anna wintour
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editor in chief profile- katie grand
“...She is valued for
energy, her puppyish enthusiasm, her willingness to her
give other people the credit
fun to be around.�
and the fact that she is
Lynn Barber on Katie Grand
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POP Magazine, Spring Summer, 2003 Photographer- Mert Alas & Marcus Piggott
LOVE Magazine- Spring Summer 2009 Photographer- Mert Alas & Marcus Piggott
LOVE Magazine- Spring Summer 2011 Photographer- Mert Alas & Marcus Piggott
LOVE Magazine- Spring Summer 2013 Photographer- Mert Alas & Marcus Piggott
editor in chief profile- katie grand
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editor in chief profile- carine roitfeld
“Her
independence is what I love,”
“Carine is a
perfectionist” always inspired by Carine.” “I am
Tom Ford on Carine Rotfeld
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French Vogue August 2005, Tim Walker
French Vogue November 2007, Bruce Webber
French Vogue, October 2010, Mert Alas and Marcus Piggott
French Vogue December 2010, Mert Alas and Marcus Piggott
editor in chief profile- carine roitfeld
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love magazine profile love cover
LOVE Magazine- Spring Summer 2011 Photographer- Mert Alas & Marcus Piggott
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love magazine profile photographers
1. SS2009- icons generation- Mert Alas & Marcus Piggott 2. AW2009- new blood- Mert Alas & Marcus Piggott 3. SS2010- fashion icons- Mert Alas & Marcus Piggott 4. AW2010- model type- Mert Alas & Marcus Piggott 5. SS2011- this is hardcore- Mert Alas & Marcus Piggott 6. AW2011- supernatural- Mert Alas & Marcus Piggott 7. SS 2012- aftertaste- Mario Testino 8. AW2012- costume drama- Mert Alas & Marcus Piggott 9. SS2013- clean- Mert Alas & Marcus Piggott
Sølve Sunbsdø Mert Alas & Marcus Piggott Liz Collins Angelo Pennetta Tim Walker David Hughes Nigel Shafran Alice Hawkins Mikael Jansson Boo George Daniel Jackson Toby McFarlan Pond Mario Testino Bruce Weber Willy Vanderperre Terry Richardson Alsdair McLellan Patrick Demarchelier Danko Steiner Gien Luchford Steven Klein Steven Meisel Glen Luchford David Sims Karim Sadli
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love magazine profile advertising
graph indicating the amount advertising vs content in Issue 8 advertisements 187 pages content- 276 pages
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love magazine profile advertising
LOVE magazine issue 8 cover brands
Prada, Comme Des Garsons, Louis Vuitton
4 page advertisements
Prada, Dior, Chanel, Gucci, Giorgio Armani, Cartier, Calvin Klein Jeans, Salvatore Ferragamo, Marciano, Belfast, Ralph Lauren, Miu Miu
3 page advertisements
Valentino, Emporio Armani, Versace.
2 page advertisements
1 page advertisements
Dolce&Gabbana, Balenciaga, Burberry Prorsum, Bottega Veneta, Bulgari bags, Loewe, Marc Jacobs, Tom Ford eyewear, Stella McCartney, Alexander McQueen, Chloe, Balmain, Nina Ricci, Tod’s, Monclar winter, Isabel Marant, Michael Kors, DVF, Ermano Scervino, Mulberry, Brian Atwood, Celine, Hermes, Dom Perignon, Joseph, Jason Wu, DSquared, Alexia Bittar, Neil Barett, Diesel, Topshop, Moschino, Faberge, Paul Smith, Alberto Ferreti, Kenzo, David Morris, Patrizia Pepe, Proenza Schouler, Rag& Bone, Jitrois, Pinko, Leon Max, J Brand, Orla Keily, Cycle, Ruco Line, Swatc, Closed. Dolce&Gabbana, Balenciaga , Burberry Prorsum , Bottega Veneta, Bulgari bags, Loewe , MArc Jacobs , Tom Ford eyewear , Stella McCartney, Alexander McQueen, Chloe, Balmain, Nina Ricci, Tod’s, Monclar winter, Isabel Marant, Michael Kors, DVF, Ermano Scervino, Mulberry, Brian Atwood, Celine, Hermes, Dom Perignon, Joseph, Jason Wu, DSquared, Alexia Bittar, Neil Barett, Diesel, Topshop , Moschino , Faberge, Paul Smith, Alberto Ferreti, Kenzo, David Morris, Patrizia Pepe, Proenza Schouler, Rag& Bone, Jitrois, Pinko, Leon Max, J Brand, Orla Keily, Cycle, Ruco Line, Swath, Closed.
more information: file:///Users/emilyhiggins/Documents/LOVE%20issue%208%20Analysis.pdf
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love magazine profile layout title- usually name of person, or strong title is used. title and byline are very important to LOVE article.
LOVE always explore the inital letter. always larger and explore fonts.
always use complimenting colours
Strong Imagery used within the article. encourages reader to stay on page.
negative space is really important column’s: strong LOVE aesthetic for articles. 2-3 max
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love magazine profile layout
LOVE issue 7, minimalistc example of a layout
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love magazine profile layout
LOVE issue 7, minimalistc example of a layout
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love production process IDEA Love Magazine work with 6 month cover so the features and fashion editorial teams for ideas that are going to happen over a 6 month, and look at the last collections that occurred. An idea/ concept is thought of and then developed within the team. PRESENTATION The concept is then presented to either the editor of the particular team or the Editor in Chief. The idea will be approved or not approved and from there the idea is developed or another idea is thought of that then is approved. RESEARCH AND ORGANISATION Research and in depth development of the idea. The editor in charge will organise every aspect of the piece. - Commission a writer for the piece - Choose garments for the photo shoot - Choose a photographer and all associated plans (hair and makeup etc) - Stylists - Location - Design a layout for the piece All components approved by the Editor-in-Chief at some PHOTO SHOOT point. The photo shoot then is booked and occurs. From there the pictures are given to the retouching team (internal or outsourced) and altered and retouched to what the original editor envisioned. Approved by the Editor-in-Chief at some point, and changed if needed. ART TEAM The Design team are given all components of the editorial/ feature and then derive a layout that compliments the magazine as well as the feature. FINISH Once all content of the magazine is completed and all the content is approved by the lawyers, it then begins the publishing message
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the love reader “magazine that dictates” “gives her more information” “define’s seasons” “explains why she love what she loves” “love luxury as much as irreverence” “youthful vibrancy team” “most photographers in the world” “nurture a dynamic clash of ideas” “fashion that feeds outside the industry for new ideas” “looks to art and music” “fashion is a creative cross” “cultural dialogue” “shape tomorrows aesthetics in its purest form.”
love media kit
19
the love reader
“explains not only why a paritcular collection looks the way it looks, but why it is what is, where it came from, and where it will be heading next season.� love media kit.
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the love reader who is she? 26 years old lives in central london studied a combination of business and fashion works within the creative industry / business orientated job requires her to travel to New York various times through out the year cloesly follows the fashion calander, the latest collections. investing in clothing , buying luxury pieces has the funds and chooses to spend them on clothes brands are not important, clothing that long lasting and her style job allows her to dress with a stylistic approach has subscriptions to LOVE, tank, garage and monocle magazine and well as the seasonal collections magazines has a very busy social lifestyle that involves various events she is required to attend travels regularly wide interest in a variety of music and art huge online presence, social networks and spends a lot of time on blogs enjoys loves because it is a luxury magazine with edge expects content that is intelligently stimulating with a focus of visual
Information based on combination on group ideas and LOVE media kit
21
?
future of print
22
future of print statistic
“MediaIdeas predict’s that in 2022 digital magazines would represent 30% of the magazine market, and in 2032, 75% of all periodicals market.”
source- the future of digital magazine publishing
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future of print Digital presence A brand or company not having an online presence would effectively leave the them in a weaker position than their competition. Not having digital involvement is essentially loosing profit for your brand. Uploading daily, is needed in order for their consumer to stay interested. Vogue is a clear example of a magazine that is constantly present online and needs to be. Uploading numerous times daily it what their consumer is after. Love magazine can afford to update their blog once a day and their consumer will be satisfied. British Vogue Digital Presence- Daily Twitter- 25 times Facebook- 10 times Online- 9 times British LOVE Magazine Digital Presence- Daily Twitter-7 times Facebook-1 times Online- 3 times (not daily)
British GQ Digital Presence- Daily Twitter- 10 times Facebook- 4 times Online-4 times Conde Nast Traveller Digital Presence- Daily Twitter- 8 times Facebook- 2 times Online- 4 times
Figures based on a week’s study into each magazine’s online presence
24
future of print LOVE is digital
print and digital in the future will continue to compliment each other, but the power of digital will constantly increase
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future of print future brand advertising “Fashion brands need to be advertised in many different places. More has to be brought to the party to stay relevant. Things feel important when people see them in a lot of places. A body who has a one-dimensional approach to marketing will be in trouble.” A brand can continuously reinforce and promote themselves by using the multiple digital pathway’s. Using digital media as a source of inviting the reader to then come back to the original document being print.
“Digital magazines and advertising are increasingly capturing the attention of the industry due to their ability to attract readers through interactive content, without involving high costs in production and distribution as traditional magazines.”
source- the future of digital magazine publishing
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future of print brand magazines and brand extension blogs
A growing trend where brands are now producing a magazine to promote the brand and their product’s. Digitally brands are introducing a interactive magazine where consumers are able to read the content as well as consider purchasing the products on the page by a click of a button. Indicates the benefits of a online associated magazine and the benefit of digital branding.
Net-a-porter is a company that has transformed the use of digital connectedness. “The Edit”, a weekly magazine which is constantly reinforces the brand and relates back to the brand. As well as this Netaporter has presence in facebook, twitter, pintrest, tumblr, google+ and youtube.
“Merging editorial and commerce, along with providing an integrated, modern platform for amazing content, social and shopping.”
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Reference List Santos Silva, D, 2011. The future of digital magazine publishing. Information Services and Use, 34/3-4, 301-310. “DIGITAL YES, BUT DON’T NEGLECT PRINT.” States News Service 19 Mar. 2013. Academic OneFile. Web. 27 May 2013. Lockwood, L, 2010. Digital Versus Print: Brands Rush To Web, Just Not To Advertise.. Women’s Wear Daily, 199, issue 130, 1. Magazine Specialism. 2010. Job Roles within the Magazine Industry. [ONLINE] Available at: http://snctimes-nd2amyrushdasilva.blogspot.co.uk/. [Accessed 15 May 13]. Wilson, E, 2013. Condé Nast Adds to Job of Longtime Vogue Editor. New York Times, 13 March. online. Barber, L, 2011. Why Katie Grand is the most-wanted woman in fashion. The Guardian, 08 July. Online. Wilson, A, 2011. CARINE ROITFELD: FASHION’S FAIRY GRANDMOTHER. Harpers Bazaar online, 08 July. Online. Grand, K, 2013. all articles, layouts. LOVE Magazine, 12 February. 1-423. Grand, K, 2012. all articles, layouts. LOVE Magazine, 21 February. 1-423. Grand, K, 2008. Media Kit. 1st ed. London: Love Magazine. Net-a-porter. 2000. Net-a-porter. [ONLINE] Available at: http://www.net-a-porter.com/. [Accessed 20 May 13]. Image/Art Partner. 2000. Image Art Partner- Mert Alas & Marcus Piggott. [ONLINE] Available at: http:// www.artpartner.com/artists/image/mert-alas-marcus-piggott/. [Accessed 13 May 13]. fine art america, (2013), Seattle Magazine Stand [ONLINE]. Available at: http://images.fineartamerica. com/images-medium-large-5/seattle-magazine-stand-spencer-mcdonald.jpg [Accessed 20 May 13]. Pintrest. 2013. Superlora. [ONLINE] Available at: http://pinterest.com/search/pins/?q=quentin+jones. [Accessed 26 May 13].
FAY E TOOGOOD Set and Interiors Designer
I
Text DIANA FILLMORE
first came across Faye Toogood’s work when marvelling at the shoe section in Dover Street Market, as I’m sure many have before me. The amazing concept surrounding the layout caught my eye, resulting in me being inquisitive as to who this women was. Faye Toodgood it seems, plays many different roles in the realms of design and fashion. Her talents in both areas seem to know no bounds and are represented through different mediums. I believe Toogood can be identified as one of the leading lights in the creative world today in terms of design yet it is difficult
to ultimately define her role or place in the field of design. She relishes her role “My job is to think about how people live, work, play, purchase…. And in some way, I am almost like a medium for clients, they come to me saying ‘I’m all about this Faye, can you create a space or experience for me?’”(Anaya, 2013) In recent years, her presence has attracted the attention of some of the fashion leaders. We have witnessed differing types ranging from Westwood to McQueen, tuning in to her way of looking, which has ultimately demonstrated her ability to adapt to different markets through providing a reference tool for some of the big names in the fashion industry. Toogood, has two different
Dover Street Market, London 2009
3.1 PHILLIP LIM, London 2012
“My job is to think about how people live, work, play, purchase…. And in some way, I am almost like a medium for clients, they come to me saying ‘I’m all about this Faye, can you create a space or experience for me?’
‘brands’ showcasing her different skills. Studio Toogood represents her interior designs, installations, interiors and creative direction and ‘Faye Toodgood’ showcases her furniture designs. Both brands represent Toogood’s interest in the shift in the ongoing nature of fashion. Fay Toogood, was raised in Rutland a small town in central England, and studied at Bristol University where she graduated with a degree in Fine Art and Art History. After graduating she joined Conde Nast, working closely with Min Hogg, the founding editor of the World of Interiors. Whilst working for the World of Interiors, she became the decoration editor, where her ability and understanding of design was validated with the vast number of shoots she styled and the sets she designed. “Looking back, World of Interiors was where I got my foundation, it was where I learned how to make things because we had photo shoots with very small budgets, so I was doing sets, and I had my hands on 18th century furniture of great value (Anaya, 2013) After leaving Conde Nast she opened her own design studio on Regents Canal in 2008, which is where her office remains, with a team which has now grown to twelve. When asked about her employees she offered “It’s artists who want to design chairs and ar-
chitects who’d rather be working on shop displays than designing buildings that will take five years to become reality.” (Anaya, 13) In 2009 she created, in the Dover Street Market store, an area for shoes to be displayed, which is a permanent fixture in the store. From 2009 until 2012, She offered creative direction, to industrial designer Tom Dixon, with a pop up store, which was placed for three years at the ‘dock’ in London. Whilst working for Dixon she also undertook a project which saw her engaged as the interior designer for a five storey house in Notting Hill which took a year to complete. Most recently she has worked with a wide array of designers, and companies all involved in different aspects of design. From 2010 until 2012 she was the style director for Alexander McQueen, working closely with Sarah Burton, McQueen’s creative director. In 2011 the creative directors of French label Kenzo, commissioned Toogood, to create, a catwalk set for their 2011 Paris Fashion Week show, which was held at the LVMH headquarters. The set was unique and demonstrated Toogood’s and her team’s ability, to think outside the square, with the use of large polished letters spelling Kenzo, placed in the LVMH headquarters’ court yard. The set for the 2011 Kenzo show gained the attention of
Vivienne Westwood Fashion Show, Pitti Imaginne, Florence, 2011
Browns Focus, 2013
“It’s artists who want to design chairs and architects who’d rather be working on shop displays than designing buildings that will take five years to become reality”
many people. Through her work with Humberto Leon and Carol Lim, co directors of Kenzo (also the owners of cult store Opening Ceremony), this created the opportunity to further create an installation in the London 2012 Opening Ceremony pop up store. It also featured select pieces of her furniture which were specifically commissioned for the store. In 2012, she custom-built a ‘pop up store’ for Phillip Lim in London’s much loved Selfridges, which lasted six months. Her design aesthetic and brand ethos is constantly changing and evolving. It is also adapting to a number of different brands in the world of design. She has, however, demonstrated the ability to stay true to her artistic realms yet incorporate an element of commercialisation, while flying under the radar. Toogood adds “The biggest challenge is to commercialise what I do to ensure that I run a business”(Anaya, 2013) Her ability and concept of design, provides a reference tool for some of the big names in the fashion industry. Fast-forward to the present day, and the constantly busy designer is working on the refurbishment, of the Browns Focus store in London, creating a place for young emerging designers to be showcased. Ultimately, she is recreating a trademark and iconic
store which has developed a cult following yet making it more relevant today. She has created a space which is aesthetically appealing, for young emerging designers via her design and reflecting Joan Burstein’s vision. Furthermore, the different roles and projects Faye Toogood involves herself in sets her apart, and has created a unique brand ethos in the world of design. She has created a point of difference that sets apart, as well, in her ability to adapt and create unique offerings for a number of different companies. This leaves the consumer excited to see what she will create next. For those wanting to work in a similar field she offers “Forget what anyone thinks of you and just be yourself and do it for yourself. That way you’ll achieve more, because if you’re constantly worrying about what you should be doing…. Just follow your instinct and follow your heart. Be fearless.” (Anaya, 2013)
Image Credits on previous page: http://tmagazine.blogs.nytimes.com/2012/07/19/ asked-answered-faye-toogood/
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Love Magazine, Issue 3, Photographer: David Sims
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