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CLAIRE BARROW
LAURA LUKASZ LUK14423808 BA HONS FASHION PR AND COMMUNICATION YEAR 1 CREATIVE MEDIA PLATFORMS UNIT LEADER: EMILY HUGGARD
CONTENT INTRODUCTION BRAND IDENTITY INSPIRATION SOCIAL MEDIA STOCKISTS PRESS COVERAGE CONSUMER PROFILE COMPETITORS SWOT ANALYSIS COLLABORATIONS AW16 COLLECTION EXTERNAL TREND COMMUNICATION FOR AW16
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INTRODUCTION
Claire Barrow is a truly British brand with an edgy punk feeling, with a designer who creates both art and fashion. Claire was born and raised in a small town called Yarm in Stockon-on-Tees, North England. At the age of 16 she started Cleveland College of Art and Design where she could finally find herself after experimenting with her rebellious outfits and costum made leather jackets for her classmates. Later she listened to punk and metal music and dressed even more differently and music started to play a strong influence in her life which reached out to her art and design process. In college she met one her of best friends, ELOIS PERRY photographer and they have been collaborating together since then. They did photoshoots and mini projects during college years, also listened to the same kind of music and dressed the same way; differently from the others while keeping it a bit awkward, like wearing bright lipstick and white paint as makeup.
This was also an inspiration for her SS15 show makeup looks. Music kept playing important part in Claire’s life with punk,rock, experimental and velvet undergroud genres which made her interest in politics and being active about it. She is against Tories and conservatives and she tries to highlight that on her social media platforms. She went to University of Westminster in Fashion Design when she was 18 years old and she still lives and creates in London since then. Her signature pieces are the hand-painted luxury leather jackets which she started to make during her sandwich year at university for her friends. (And earlier in high school). Those soon have become hyped, when the British Vogue fashion editor, Francesca Burns styled her jacket in Vogue and had a photoshoot for iD by Terry Richardson. Or when Mel Ottenberg styled Rihanna in her jackets. She is in selection of influential creatives called Dazed 100 and actively collaborating with different cultural magazines. On 23 May she announced to reject the fashion week system in order to concentrate on her art work and work on different projects.
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BRAND IDENTITY LOGO
The Claire Barrow brand and the designer herself known for the luxury handmade significance, or with her words for the “carboot sale aesthetic”. Her design ethos is “do-it-yourself ” while keeping it luxurious. Her hand painted leather jackets and different illustrated pieces are good examples. The brand’s whole image relies on Claire, seen as an ambassador for the brand, sharing her visual inspiration and private moments in their communication. Therefore the brand is really designer concentrated, which is a strong and quite unique behaviour from a brand. Claire is the one who managing communication, highlighting the artistic essence of the brand and showing the creative process of her products. She posts selfies, writes about her thoughts and it makes the brand closer to consumers. COMMUNICATION AUDIT
The logo confirms the importance of Claire’s person, as it is her name handwritten by her. The black simple logo is practical as it is simple to adjust it to different brand materials or collaborations, however still has that essence what the brand represent; DIY AESTETHIC, which still niche.
E-COMMERCE
The brand doesn’t have a physical store, online an online store, where they occasionally upload few products and Claire’s art, however there is no constant stock of everything from the latest collection.
PR agency: A-M PR – Amee Petal (former PR and press manager for Yves Saint Laurent, launched PR agency in 2015)
The product description and the payment method is clear and quick to process the payment.
The brand has good relationship with all of the underground lifestyle magazines, like Dazed and Confused, i-D, Love, Purple magazines. Probably she and her team knows the editors, maybe they are even friends. She has all of her shows, exhibitions featured and also has long interviews published.
They also did a special sale for costumers who sign up for their newsletter receive a secret code where they can enter a secret online pop up store with exclusive products. This idea is perfect in order to establish a stronger connection with costumers and create a unique shopping experience.
She says “The question is always, ‘Is it fashion or art?’”. Her runway shows definitely a form of artistic self expression which can be also found on the clothes themselves. The surrounding where the clothes shown seems more important as that is the part where she can express herself as an artist. Although the story of the clothes and the set design works very well together.
The brand’s strongest significance is the connection to art and fine art. This is a great essence to communicate and highlight in communication. Her signiture neo primitive illustrations make the brand outstanding from different punk, British brands, which should be handled to create advantage out of it. BRAND VALUES
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As the clothes manufactured in England, quality is one of the strongest values of the brand. The six person team works on all the orders and collection together. Claire used to hand paint each product, however because of the amount of orders it is impossible now, so they changed to screenprinting. BRAND PERSONALITY
The brand is exactly like Claire: brave and edgy with a humorous touch, with all those illustrations and comments on products.
PACKAGING
As the brand doesn’t own a store and they only have stockists they haven’t developed a branding image for the packaging. The found example shows belowe that they only send out their products in a normal mailing bag. This isn’t a positive branding image, especially for a higher end, niche brand as Claire Barrow. However they do quality packaging for hosieries and other accessories.
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INSPIRATION
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Claire uses inspirations from different subcultures, but there is a strong association with ancient cultures from Egyptian or Roman art history. Her “neo primitive� creatures usually mirrors this, also her calligraphical prints. The red, black and white colours probably comes from the impact of the music she listenes to and political views and for their natural sources. These are the basic colours ancient art could use as well, thinking of cave drawings or hieroglyphs.
ASSOCIATED ARTIST: JEAN COCTEAU
French writer, designer, playwright, artist
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SOCIAL MEDIA WEBSITE
The design of the website follows the same brand image guidelines:
The brand’s Facebook page is handled by Barrow herself, which could be an advantage in case to communicate directly from the designer to the consumers, however it seems she does not have enough time and energy to put an effort in it and create strong materials on that social media platform.
SIMPLE STYLE MAIN COLOURS: BLACK, WHITE, RED TYPOGRAPHY: CLAIRE’S HANDWRITING WHICH WAS MADE INTO A FONT AND ADOBE
This is shown but different weaknesses of the page; most of the posts are just reposts from external websites where Claire had a coverage or an interview. This is not a direct communication from a brand, therefore it does not say much or engages with the consumer as they are able to find that information from the other publishers as well. Furthermore, even the reposts are quite similar, usually articles from Dazed and Confused and i-D online. These are good to communicate as well, but these should not be the majority.
CASLON PRO
The website offers basic information about the brand, social media links, online store and all the previous lookbooks and campaigns. This feature can work as a portfolio as well for future stockists as they would not be able to see the whole collection through the online store.
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For a young emerging designer brand the website shows enough information and contact to the brand. In the future uploading videos for the collections and News section could be an improvement.
AESTHETIC
The whole Facebook feed is not consequent, seems like it is not planned or deliberate. There are posts with emojis connected to the message, sometimes there is only a short capture or not at all. The cover photo and profile picture mostly don’t match and don’t have a clear brand message or visual communication why it has been chosen.
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Suggestion: A News or DIARY OF CLAIRE section, as seen at big brand as well like Gucci’s The Agenda section, would bring the consumer closer as it would feel intimate, personal. This is basically what Claire does on Instagram, bu it could be taken to a next level. The above is an example how Claire is able to communicate to her audience. Bringing these topics and personal experiences to her own platform would create a great connection and direct communication to consumers.
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SUGGESTION
The main problems with the platforms can be solved with a direct communication strategy which would increase visitor numbers, which is essentially low. Also there is no visible engagement from the consumer, only likes and eventually a few comments. The goal is to create more awareness and two-sided communication between the brand and the followers and to reach more people.
Claire has a bigger base of folllowers on her Instagram platform, also a stronger voice and characteristics in her posts. She has 1 post daily average, which keeps her audience’s awareness and they more likely to react under her pictures. FIGURE 13
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As all social media platforms, Claire edits this one as well, however in a more personal way, showing her private life. This on one hand is an advantage in the communication, because consumers can engage with her and feel more close to the brand. On the other hand it seems a bit unprofessional, as she shares private pictures, however this is also shows the brand’s essence and what she represents. She also uses the platform to express her political views, or shows photos of going to protests. This is actually started to become a trend between millenial creatives.
To engage with visitors and keep their interest the brand should start creating exclusive Facebook materials such as backstage sneak peaks, behind the scenes of photoshoots and the design process.
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From the brand’s point of view the platform is very up-to-date, covering all the appearances in magazines, interviews and information.
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The Claire Barrow Instagram is authentic after all, which is also an emerging habit between young designers, showing their real world and not the fake, retouched manipulating content (Saunter, 2016). Followers nowadays are able to tell what is fake or payed advertisement and what is coming from a real person with a real intent. Claire would not post just for the sake of the sales, she is posting to share her life and inspiration behind her brand with her followers.
Finding and ambassador or collaborating with chosen muse can be a potential factor for engaging as well. It would be even eviwdent to use Claire itself as she represents her target costumer and would be an organic and personal touch on storytelling.
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Snapchat name: MR CLAIRE
The brand’s Twitter account mostly used for reposts from their own Facebook page or recent news. As Claire edits this platform as well she occasionally posts about political news or inspiration sources.
Claire only has her Snapchat for personal use, however shared her username on her brand’s platform so consumer can follow her and have a peak into her life. This could be a positive impact on the brand’s engagement with the costumers, however she doesn’t post anything connected to her work or the brand in general.
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As Claire wants to communicate directly to her consumers she should take the advantage of Snapchat. WSGN report says that “the youth audience is incredibly receptive right now to its content. They’re sick of Facebook friends with their manicured profiles and flock to Snapchat for its authenticity and its real-time emotional resonance” (2015). The Claire Barrow brand is known for its authenticity and would be able to create organic content which increase engagement. Other brands create brand align stories, about exclusive backstage happenings or image photoshoots.
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W STOCKISTS
Claire has several stockists around the world, but mostly concentrating on the US market in New York. She also has stockists in the following countries:
JAPAN
ITALY
LONDON STOCKIST
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The brand doesn’t have its own flagship store, which is a big weakness in direct communication to the consumers and they only have one stockist in London. The stockist is MACHINE A on Brewer Street in SOHO, which is a niche area mixed with underground places, sex shos and tattoo places around. That is probably the most suitable location for Claire Barrow to be in.
CHINA
AUSTRALIA RUSSIA
The brand has already established a worldwide chain with its stockists and for the next step they either need to open a flagship store or stock in more London stores. This is an important factor as the brand is British, especially now when they quit the fashion week system, because this will be an important part to reach out for costumers.
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The store sells all of Claire’s competitor, such as Sibling, Ryan Lo, Nicopanda,etc. None of the brands in the same section, all pieces are separated into outfit suggestions.
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The SS16 collection was the first Machine A stocked and according to the sales assistants it sells really well. That suggests there is a demand for buying Claire’s clothes in store instead just from online (Machine A store interview, 2016).
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PRESS COVERAGE As Claire has several friends at underground British art and culture publications like DAZED AND CONFUSED and iD, her stories and latest activites have always been covered by them both in print and online.
CELEBRITY COVERAGE
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Claire has already had celebrity coverage when she was still at Westminster University. RIHANNA’s stylist MEL OTTENBERG found her Tumblr page, when she was only creating pieces for orders. That was probably the most valuable coverage which helped her delevope the brand and later on show her collection at London Fashion Week. Rihanna wore her customised jackets during tour, street style shoots and also on her album cover “Talk that talk”.
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They attend her presentations and publish all of her press releases, lookbooks or collaborations.
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Claire also works with magazines to create editorials, usually including her collection as well. One of the latest big work was with Novembre magazine which is a niche cultural magazine and she worked on the project with her friend, Reba Maybury.
Artist, singer-sonwriter FKA TWIGS wore a Claire Barrow AW14 sheepskin for coat, which was probably a really organic product placement, as she probably bought it by herself because she liked it.
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CONSUMER PROFILE As Claire basically designs for herself and her friends, she can be considered as the target consumer for the brand. Scrolling through her social media account the active followers mostly work in the creative industry or art and fashion students.
ELLA ROSE FOX ARTIST, PHOTOGRAPHER LIVING IN SOUTH LONDON ARTIST FRIENDS - DJS, DESIGNERS, ARTISTS INSTAGRAM PROFILE: HUMOROUS, GIRLY, BUT A BIT TRASHY SHOPS AT COS, SECONDHAND STORES SOMETIMES SHE IS ABLE TO SPEND MONEY ON HIGH END ACCESSORIES, FROM BRANDS LIKE COMME DES GARCONS COCA COLA, ASIAN FOOD READS STÃœSSY MAGAZINE MUSIC: KANYE WEST, ELVIS FREETIME: PARTIES, EXHIBITIONS, PHOTOGRAPHING FRIENDS, CRAFTING
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K Active follwers of Claire’s account who read her writings and follow her activity. This does not mean they can afford a Claire Barrow piece, but clearly appreciating her art and go to her exhibitions. This means there is a clear need for direct communication with consumers to keep awareness and share backstage moments from Claire’s life as she is a role model or inspiration for young artists.
AMNA HAFIZ FREELANCE STYLIST LIVING IN LONDON INSPIRATION: CRIS BRODAHL, FRIDA KAHLO ARTIST BOYFRIEND AND FRIENDS FREETIME: GOING OUT TO BUPS LIKE THE BLUE PALE DOOR, PICNIC AT PRIMROSE HILL, CONCERTS MUSIC: ANOHNI, BEYONCÉ READINGS: ANOTHER, ID, DAZED TATTOOS, CIGARETTES, DRINKING ALCOHOL
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Z COMPETITORS COMPETITOR STRENGHT
Claire personally thinks she doesn’t have a direct competitor in the UK market, as no one is on the same level as her. Here she probably suggested that she has the most artistic influence in her work while others are more consumer oriented (Barrow, 2016).
Ashley Williams, who is also good friend with Barrow represents the same brand values with her British punk aesthetic, however she doesn’t have that strong artistic impact on her work. She works with influencers and her front row is filled with celebrities, like Pixie Geldof and Suki Waterhouse. Her AW16 collection was opened by Georgia May Jagger which obviously gave her lot of coverages and backstage stories. Even Claire walked for her. Claire doesn’t work with influencers which needs to change and find someone who can be the ambassador for her brand. Sibling and Craig Green are more established, bigger brands, but have the same way of communication; clearly rebbellious and keen on new ways of expressing themselves. Craig Green is just received £150 000 grant from British Fashion Council and GQ’s award from emerging menswear designers (Dazed and Confused online, 2016). Sibling also participated in the competition and that means they moved to the menswear section as well, which is a field Claire hasn’t touched yet.
POSSIBLE COMPETITORS:
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ASHLEY WILLIAMS CRAIG GREEN NICOPANDA SIBLING
FAUSTINE STEINMETZ
WEAKNESSES
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These brands are all part of NEWGEN and shows at FASHION EAST. This makes competing more difficult as buyers look at them in the same way, put them in the same circle when they have to choose, however each brand has different aesthetic and brand personality.
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None of the competitors have certain weakness next to Claire, mostly that Barrow concentrates more on the artwork side of her products and nothing is mass produced. On the other hand competitor brands like Craig Green have a lot of wholesale request so they have to fulfil, so they do not produce in a small studio but take the orders to manufactures. Also they do not have enough time to concentrate on the design process and the art value of their collection. Claire just announced quitting the fashion week calendar and work on collections as projects, concentrating on her art and the research process.
Also, Claire’s only stockist in UK, MACHINE-A almost stocks all of her competitors, however according to the sales assistant the brand sells really well next to the other brands.
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It is hard to draw a conclusion on why these brands could be more effective than Claire, however it is clear that they really focus on businnes and their connection with the consumers, while Claire prioritise art and doesn’t want to design for the consumers. For her fashion is more like a self expression than a business.
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T SWOT
STRENGTH
WEAKNESSES
One of the few exhibitions that merge art and fashion proving they can co-exist. Dazed magazine defines her work as “she’s been disturbing the line between the two occupations, adorning clothes with distinctive, surreal scenes and characters of her own making”.
Improve social media and brand awareness. Claire edits her on Instagram which is a really personal platform for her. This can be a positive impact as costumers can get closer to her, however on the other hand the brand doesn’t have a a strong story telling and concept about their communication on their media platforms.
In April she has staged her first solo exhibition at London’s M. Goldstein Gallery.
Highlight the brand essence and the uniqueness of the pieces that are a product of art.
Painting on canvas in preparation for the show gave her the idea of holding the launch at the Institute of Contemporary Arts. Proof of the deep essence of art of her brand, which gives to her collection a higher value.
Not superficial art. Attracts artists and an intellectual audience and not only people into fashion but into both art and fashion. Claire says “my work is somewhere between fashion and illustration. I just like creating new ideas”. Her strong point is to collaborate with herself, creating the illustrations as an artist and put them on clothes like a designer.
Avoid to be seen as only art and not wearable fashion.
Avoid attracting only an English segment of people and increasing awareness oversea, like in New York or Japan.
The low brand awareness is visible more internationally makes the company to be perceived as local which consequently brings a lower income to the brand as international people don’t know about it.
Stockists in the United Kingdom need to be increased for more sales, as she only sells in A Machine. Dover Street Market with its artist features could be a good place, also smaller more artist based and niche boutiques.
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The brand’s unique selling point is England and being a British brand, which gives an additional strength as costumers appreciate the English manufacturing and gives a strong brand essence in communication.
On their webshop they only stock a few items of the collection, mostly the accessories so the brand seems unreachable for most of the costumers as you have to request orders. As there are not enough stockists products should be available online.
The brand took feedbacks from Instagram for the AW16 collection, as Claire Barrow said: “The collection is a reaction to Instagram, that we’re getting references pushed down our throats all the time. I wanted to question – is there anything new? Can new subculture or fashion or art even exist any more?” The brand takes into consideration feedbacks from the audience.
OPPORTUNITIES
THREATS
A good opportunity for the brand could be taking benefit from artists and use them as influencers in the social media such as Instagram. As this would highlight her being an artist together with being a designer. The audience would then change its perception of the collection and in general about fashion.
obstacles Launching a different style nowadays its risky but at the same time it could change the perception of fashion. The risk is to be taken into consideration and must be advertised carefully.
Since technology has been evolving and is a main focus in nowadays people’s life the brand could benefit from advertising online and on social media platform, like on Instagram.
competitors Competitors are trying to raise their brand awareness through events and social media, therefore it is a big matter to be always on track and to grow through social media platforms day by day and organize shopping events, press days. Most of her competitors work with influencers
Get the most popular influencers to wear the brand’s pieces of the collection so that the brand could be perceived as fashionable and attract a young costumer base to buy the clothes. Also if the brand is to be seen in different kind of influencers such as artists it would generate more profit to the company if Claire would include worldwide know influencers such as Chiara Ferragni or celebrities like Beth Ditto. This could increase brand awareness overseas.
quality standards, products or service High quality is always a matter of priority in order to compete with the highest brands. It is important therefore to find the right supplier that has low costs and therefore try to lower the prices of the collection would be a great strategy to face competition. The brand has to be aware of the prices of the competition and their quality.
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COLLABORATIONS As Claire’s brand essence is her creations and illustrations on her garments she doesn’t need other artists to collaborate with her, however she does collaborations, mostly with her friends or friends involved. Her long term collaborator is Elois Perry artist and photographer, also Reba Maybury her best friend and art collaborator.
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MATCHESFASHION.COM CAPSULE COLLECTION
Claire’s first biggest partnership was with Matchesfashion.com where she created her signature hand painted leather jacket (with screen printing here) and leather0 clutches. She created three fictional girl brands (The Embers, The Earth Angels and The Jewel Lake Ritual) inspired by the love of music.
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She teamed up with different artists to create the look book pictures and also collaborated with a newcomer girl band, SKINNY GIRL DIET for a video covering the song Spooky by Dusty Springfield.
ALEX SAINSBURY - PHOTOGRAPHER ELLIE GRACE CUMMING - FASHION EDITOR/STYLIST LUCY BRIDGE - MAKEUP ARTIST
ALICE KIRKPATRICK - SET DESIGNER REBA MAYBURY - MODEL
CLAIRE BARROW X PURIFIED
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Claire did a collaboration with the London based shoe brand PURIFIED for her SS15 collection. She met the creative director, DOMINIC WEBSTER through a mutual friend and they decided on a collaboration. Claire chose three styles of shoes and created the illustration to screen print on the shoes. These were the shoes Claire showcased at her SS15 presentation.
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TATTY DEVINE
Claire worked with the accessory designer, Tatty Devine who created perspex earrings for her AW15 collection. Tatty is known for working with other UK designers like Sibling and a good collaborator to reach out to a more “kitsch” consumer and create a story for the press to cover.
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FISH WIFES WITH REBA MAYBURY
Claire’s best friend, Reba Maybury owns a publication company, Wet Satin Press where she creates zines and usually does collaborations with Claire.
Their latest and probably biggest collaboration is called FISH WIFES. They created a line of clothing and published them in a zine and sell it in New York. They used the same significant DIY style and created “home made” campaign pictures and stock it in underground stores. However this is not clearly connected to the Claire Barrow brand it is still an important part of her brand image. It shows how she works on different kind of creative projects beside of her collections and it helps consumers to engage with her more or buy something personal and unique from Claire.
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AW16 COLLECTION AW16 PRESENTATION
Barrow showcased her AW16 collection at LONDON FASHION WEEK on 21st February in the London’s Institute of Contemporary Arts. The collection based on different historical periods of time on each garment as an ironic response to how the modern fashion world and interent use these decades as inspiration. This concept came as a big whole idea and then trickled down into different aspects what became slightly a confusing, but complex result. Barrow created the collection in a way that there are no clear connections between the referenced decades in aim to make people think, same way as people think about art.
INSPIRATION
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“For this season, the garments each take direct inspiration from various decades, creating a racket of contrasting ideas, shapes and identities of the people she wants to dress”.
Barrow based her idea on how modern fashion uses all kind of inspirations from different eras, yet it doesn’t have an own particular significance. Playing with this idea she also mixed them up and created non-realistic connections between eras, which made it weirdly contrasting whole.
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PRODUCTION STYLING: EMMA WYMAN CASTING: CLAIRE BARROW SET DESIGN: CLEMENTINE, KEITH-ROACH HAIR: TEIJI UTSUMI AT D+V USING KMS CALIFORNIA MAKE-UP: DANIEL SALLSTROM AND THE MAC PRO TEAM MUSIC: OWEN PRATT
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SHOES: DR MARTENS SCENT: AGRARIA LAVENDER & ROSEMARY PRODUCTION: BACCHUS BACKSTAGE, THE BRIDGE CO. ART DIRECTION: JAMIE ANDREW REID PRESS RELEASE: REBA MAYBURY INVITE: DITTO PRESS
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LOCATION: INSTITUTE OF CONTEMPORARY ARTS
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The location was chosen carefully connecting to the concept of Barrow’s collection. Showing different decades and historical events the venue was suggested as a museum space, which was described as “a form of blatant narcissism where Barrow’s work became historic in its own terms for the period of the presentation” (Post Show Release, 2016).
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INVITATION
Barrow illustrated the invitation with the models wearing her design on the presentation, also including a shot from the Liv Fontaine short film, “Opulence, Violence and Loss”. It harmonises with the essence of the presentation itself, which shows the strenght of the visual of the collection.
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MODELS
The models were selected by Barrow herself, concentrating on individual attitude and representation. None of the girls and boys were professional models, they were all selected from the designer’s friend circle or social media channels. For this kind of particular personality Faye Wei Wei is a good example, who is a BA Painting student at Slade School of Fine Art and presumably inspired by similar things as Barrow according to her work. Likewise Hannah Hetherington who is a London-based artist creating clothes and illustrations. (figure x,y,w)
These two girls and the rest of the models show how the brand wants to position itself and their target consumer. Using the ideal consumer as models in the presentation helps to strenghten brand identity and attracts a type of consumer they would like to focus on. Second of all makes it easier to get coverage on more edgy, niche platforms like Garage and Mushpit magazines as it aligns with their readership circle as well.
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AW16 FASHION FILM COLLABORATIONS
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Claire teamed up with three different artists to create fashion films for her AW16 collection. She didn’t give a brief, just told the inspiration behind her collection and let them do anything they wanted. Therefore they came up three completely different concepts which they screened during the presentation.
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ALICE NEALE
The originally photographer Alice shot the movie “Kubla Khan” featuring the clothes from the collection and a poem from Taylor Coleridge read by Frank Leon.
DUKE BROOKS
13 years old filmmaker – film about Claire is painting on a 15 meter long canvas at Elms Lesters Studios from which she made her couture gowns. The film is capturing Claire during work and showing her whole creative process.
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LIV FONTAINE
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Claire asked Liv who is an artist from Southampton to create anything with her clothes. She came up with “Opulence, Violence and Loss”. Story: Medusa loves her life beside the ocean and her ravishing looks bring her many suitors. But when she is raped by Poseidon in Athena’s temple, the enraged goddess transforms Medusa’s beautiful hair into serpents and makes her face so terrifying that the mere sight of it turns onlookers to stone. Betrayed and violated, Medusa is left desolate.’
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AW16: JOHN SMEDLEY
For the accessories in the AW16 collection Barrow collaborated with the British luxury knitwear designer, JOHN SMEDLEY. First Claire drew the illustrations and then they decided on the garments together (Claire Barrow, 2016). They created 10 PIECES of the “intricate and surreal printed jacquard and embroidered knit designs”, including sweaters, dresses, also “evening-length gloves and leg warmers too, with collegiate doodles like “I Love 2016” and “Miniskirts Forever” (Yahoo style, 2016). “IT’S A NICE WAY OF GETTING THE ARTWORK INTO MORE WEARABLE PIECES,” SAID BARROW.
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D L EXTERNAL TRENDS
In the recent years consumers have became more sensitive of the realness of brands and authentic content. Since social media is constantly expanding consumerism became faster and there are almost no limits. As the whole fashion system became faster and faster people in the recent years started to appreciate honest storytelling and real meaning behind brands and products. This external trend report will examine different factors of the changing fashion system what would be suitable for a smaller, still emerging brand, as Claire Barrow.
AUTHENTICITY
“Authentic marketing crosses all areas – from in-store messaging to the (role) models now used in advertising” (Saunters, 2016) - was written in the New Authentics: The Rise of Realism in Fashion Marketing on WGSN. As storytelling is the key factor in brand communication it has to be everywhere where the brand is available. Claire’ social media platforms have to mirror the story and the inspiration behind her brand, as well as would be important to invest in a flagship store or a pop up store, which is the key to keep up awareness and communicate directly to consumers. “EMBRACE REALNESS. CONSUMERS ARE TIRED OF MARKETING SPEAK AND POLISHED
(Mickiewicz and Smith, 2015). As Claire edits her own social media channels it helps to deliver real stories from a real person to the costumers. Using all the advantage of being her own muse, Claire should concentrate on an even more personal approach of showing bits of her life.
CAMPAIGNS. THEY WANT TO SEE THE PEOPLE BEHIND THE BRAND”
RETAIL EXPERIENCE
As nowadays consumers more keen on the experience not on constant spending and fast online shopping it is important to provide them a space where they can engage with the brand and experience its quality and personality. A special flagship store or pop up store would attract new and already existing costumers, because as Doug stated in Business of Fashion article, Offline escape and the future of retail, “they crave physical experiences at retail — not because they can’t get the goods they want online but because of an almost primordial need to interact with the things we gather.” (Doug, 2016)
Using the advantage of Claire’s artistic value the brand’s store can function as an exhibition space. Young creatives, who are Barrow’s target costumers, crave cultural influence and she can give that to them. Connecting shopping experience with the appreciation of her art helps costumers to understand the brand and the inspiration behind it, therefore there will be a stronger connection towards the brand. “INNOVATIVE BRICKS-AND-MORTAR RETAIL BRANDS ARE LAUNCHING A NEW OFFENSIVE AGAINST THEIR ONLINE RIVALS BY BUILDING A STRONG SENSE OF DESTINATION AND
LOCATION-SPECIFIC EXPERIENCES INTO THEIR GREATEST ASSET – PHYSICAL SPACE”
(Retail Futures 2016, 2016).
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VETEMENTS only does reports on their Instagram platform, selecting photos from real costumers or stockists.
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Dover Street Market is famous for its installations in-store, which makes retail experience more like an art experience. The regularly redesigned store is the perfect example of building and maintaining an image, which will always attract consumers.
FIGURE 86-87
GUCCI featured PETRA COLLINS, feminist photographer and artist to do a Snapchat takeoverto document her trip in Tokyo for the campaign shoot for the AW16 collection. Being a luxury brand communicating through Snapchat can make consumers feel closer to them.
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D L CREATING EXPERIENCE FOR THE PRESS
Investing in PR is a crucial part of successful brand communication. As a small brand like Claire Barrow with not letting out the social media from her hands, it is essential to reach out to the consumers on different platforms as well. Having and maintaining good connection with press can be quite simple if you know the right people, however in the recent ages there is a big competition on the market. It is usually not enough to send out press releases or invite press to a usual press day. Journalists and influencers need experience just as consumers to remember and use brands on their platforms. Creative press events, interesting shows or presentations and brand align, unusual press materials are necessary. Big brands, such as Dior and Gucci give experience to the press people, before, during and after the launch of their new collections.
FIGURE 91-94
“BRANDED CONTENT DOESN’T HAVE TO EXIST SOLELY IN THE DIGITAL WORLD. PRINT FORMATS ARE CRUCIAL IN COMMUNICATING EMOTIONAL NARRATIVES WHERE DIGITAL FORMATS SIMPLY CAN’T.”
Giving personalised presents seems thoughtful and press will appreciate it. Good examples are invitations, which are usually align with the forthcoming collection and there is a creative idea behind it, same with look books . Creating these can seem a small gesture, but it can leave a huge impact on brand communication.
FIGURE 89
DRIES VAN NOTEN
Hungarian designer, DORI TOMCSANYI created a flip book look book for her AW14 collection, which became popular immediately on international platforms as well because of its uniqueness.
FIGURE 90
GUCCI
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COMMUNICATION FOR AW16
L LAUNCH
PRESS DAY
For the launch of the AW16 COLLECTION the brand will hold a press day for approximately twenty-twentyfive Tier 1 journalist and influencers. The showroom event will take place on 7TH APRIL, when the press is out and about on other press days and located in EAST LONDON, Hackney or in SOHO around Brewer Street.
SET UP: highlighting Claire’s value as an artist, her art pieces will be exhibited next to her AW16 collection and will be available to buy them. The three short movies will be projected through the time of the event and the artists who created them can talk about it and explain it to press, so they can cover that story after as well.
The press day starts at 6 PM and guests welcomed with nibbles and beer served in branded plates and cups.
FIGURE 98-101
FIGURE 95
according to Claire she prefers small, friendly gatherings, therefore the guest list will be niche and inviting people who know eachother or have a close connection to Claire. These guests for example are Carine Rotfield editor, Poppy Kane stylist, Char Roberts stylist for Mushpit Magazine, Lotta Volkova stylist, Jamie Andrew Reidart director at Dazed and Confused, and more.
GUEST LIST:
at the entrance a polaroid picture will be shot by each arrivals in front of a big canvas hand painted by Claire with monsters on it. At the end of the party everyone will receive the pictures with their name on and a thank you note on the back by Claire. This will be a small gesture towards press, also a good chance for people to Instagram the events and their experience.
DJ: the most brand align choice is to have Claire’s boyfriend, OWEN PRATT as a DJ, as he is the one who creates the music for the presentations as well.
POP UP STORE
FIGURE 96-97
XO CLAIRE BARROW
ACTIVITY AND GIFT:
As the brand doesn’t own a flagship store, it is essential to at least organise pop up stores where consumers can engage with the brand and experience the brand’s identity. Therefore the day after the press day a pop up store will be continued at the same location, selling the SS16 COLLECTION and Claire’s art. This will be communicated to the press in a press release in order to create awareness around it and attract costumers. The pop up will be two week long from 8TH- 17TH APRIL.
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LOOK BOOK
With our look book choice we would like to carry through the DIY notion and brought Barrow’s art works to life. Using her neo primitive creatures as paper dolls we will create an interactive lookbook with clothes which are able to take on and off.
T Turning the lookbook interactive for the press, which is only will be sent out to a niche circle (as Claire suggested as a thank you for the support and coverage she has received in the past years) will be an exclusive gesture and a great opportunity for Instagram appearance when press people post them and hashtag Claire Barrow.
FIGURE 104
SHORT MOVIES FOR SOCIAL MEDIA
FIGURE 102
Next to the look book Claire will post short movies about the paper dolls in different situations, in order to create fun content for consumers showing the inspiration behind the brand. The dolls activity in the movie will mirror Claire’s personality and will be placed in a subculture inspired by the AW16 collection’s historical eras.
CONCEPT:
The dolls are in a STRIP CLUB, drinking beer and taking off their paper clothes in a stop motion movie, or walk around in different eras in history, educating the audience about the inspiration behind the collection.
FIGURE 103
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CLAIRE BARROW