Visual Essay Report on Fashion Collaborations FMB by maggistew

Collaborations Do Fashion,

Benefit the industry.

Maggie Stewart N0749568 Word Count : 2732

1 - Title Page 2 - Contents Page

Contents Page

Ethics Clause

3 - Ethics clause 4-5 - Introduction 6-7 - Primary Research Methodology

I confirm that this work has gained ethical approval and that we have faithfully observed the terms of approval in the conduct of this project.

8-17 - Fashion and Art 18-28 - Fashion and Music 29-35 - Fashion and Awareness

Signed .................................................. Date ...............................

36-44 - Luxury and Mass 45 - Conclusion 46-48 - Appendix 11 - Refrences 2

12 - Bibliography

Adam Selman x Le Specs

Introduction “Collaboration is an engagement of mutual appropriate, to gain awareness, increased commerce, and creative direction.” This visual essay will be exploring how inter-industry collaborations creatively challenge both sides of the exchange, and the beneficial or negative outcomes of the venture, using the theorists Kotler, John-Steiner, Strauss and Howe to contextualise key collaborations of the past. Collaboration is an engagement of mutual appropriation, to gain awareness, increased commerce, and creative direction. “It is the co-construction of knowledge, and it is through these joint activities that we confront our shifting realities and search for new solutions” (John-steiner, 2000). There will be a focus on consumer-based brand equity as a driver of consumer interaction with collaborations, as discussed by Keller in 1993, and the question will be raised as to whether collaborations and the internet are retribalization society, as outlined by Maffesoli (1995).

“Diverse partnership strategies have been deployed to drive innovation and newness in a highly competitive market” (Wigley and Provelengiou, 2011) 4

Primary Research Methodology

A survey was conducted to measure consumer interpretations of inter-industry fashion collaborations. This survey was conducted online via Facebook and received 39 samples of 35 females, and 5 males aged between 18-25 (see appendix 1). Publishing this online is convenient as the results were collated quickly, however it was limited as most participants were of the same age. On the other hand the collaborations analysed are aimed at Millennials and Generation Zâ&#x20AC;&#x2122;s, who are the target audience for the collaborations mentioned.

Fashion & Art

(Cutler; Tomasello, 2015)

Jackson Pollock

“In traditional core fashion markets, designer brands have become ubiquitous (existing everywhere). Brands are constantly in search of creating the new ‘it’ bag that will become pop culture sensation”. Fashion tribes, Tamangi; Rosario Dawson, Abrima Erwiah, 2015.

Cecil Beaton’s 1951 Vogue

Art vs. Fashion. Collaborations between the two started as early as 1932 with Schiaparelli and Dali, and Yves Saint Laurent with Mondrian in 1960. Many believe this rivalry began with Cecil Beaton’s 1951 Vogue shoot, in which models posed in front of Jackson Pollock paintings.(Cutler; Tomasello, 2015)

The collaboration between designer and artist, allowed the collection to gain a deeper meaning for consumers. The history surrounding the art is then borrowed by the clothing itself. Allowing for a story to be told without much effort or explanation.

An early form of fashion and art collaborations was Vivienne Westwood’s 1991 ‘Portrait’ collection inspired by the oil painting, ‘Daphnis and Chloe’, 1743 (ArtUK, 2018). Boucher’s work best represents “the frivolity and elegant superficiality of French court life in the middle of the 18th century” (Chilvers, 2017). During a time in fashion where minimalism was becoming prevalent, it was a bold use of classical art in couture fashion. It absorbed the Rococo playfulness depicted by Boucher, emanating a mid 18th-century rebellion, mirroring Westwood’s own rebellious attitude towards social constructs.

Francios Boucher Daphnis & Chloe, 1742 “I am a great believer in copying; there has never been an age in which people have so little respect for the past” - Vivienne Westwood. 10

“Art is about something being seen, whether it is absorbed by the eyes of people in subways or of people in galleries” Keith Haring.

2010

Cindy Sherman The artist Cindy Sherman used blown up paintings as backgrounds for her 2010 chanel archive shoot (Cutler; Tomasello, 2015). The art replicated her feeling of sorrow and disdain, she uses the cold landscapes’ to comment on her irritation at fashions relationship to the female form. This feeling is juxtaposed by the Chanel Couture, which at the time, represented female expression and freedom. Here art is used to express emotions in a small space of time.

13 12

Fashion marketing is now moving to bring the traditional to the contemporary to educate and entertain consumers at the same time. Jeff Koons x Louis Vuitton demonstrates the use of cultural signifiers to aid brand consumption, and allow conversation between consumers, for them to ultimately connect through brands, using art as it’s medium. Galleries and Museums are places in which likeminded people gather, connect and share ideas; when art is represented through fashion, these same emotions are evoked, and a feeling of community is created. By using Koons who describes his work as “a celebration of what it is to be human” (Louis Vuitton, 2017). It bridges the gap between the so called intelligentsia and mass media, humanising an aspirational, heritage brand such as Louis Vuitton. In 2017, attendance to DCMS sponsored museums declined by 2.8% (Hill,2017). Koons is creating a youthful enthusiasm for art within pop culture. 5,598 posts used the hashtag of “lvxkoons” (Instagram, 2018) with several media outlets covering the release.

Louis Vuitton X Jeff Koons : The Masters 14

“#lvxkoons” 15

Vivienne Westwood, Portrait Collection 1991

Both collections brought classic art to the attention of the consumer. However, Westwood used the art in a more effective way, using it to underpin the essence of her whole collection, to tell a story. Westwood appropriated the paintings Rococo heritage so that the consumer could understand the theme of the collection.

Fashion & Music

Cabinet Des Modes, 1785

Music and fashion are intrinsically mixed, as both rely heavily on visual branding. Historically music genres have been represented by a fashion style, for example, mods listened to Ska (Perone, 2009).

The earliest example of music and fashion working together to form the consumers ‘aspirational self’ was in one of the first fashion magazine ‘Cabinet des Modes’ released in France, 1785. It outlined the standard for “elegant living’ which included the appreciation of literature, fine arts, and music” (E. Davis, 2006).

Yeezy, Season 3

In a study by Youngjoo Na in 2013 on the “Relationship between the preferred styles of music and fashion and the similarity of their sensibility” she found that “there indeed is a close relationship between music and fashion. People who are more interested in music and fashion tend to have a stronger correlation between their preferences.” A perfect example of a modern synergy of fashion and music was Kanye West’s Yeezy season 3. The hour-long display of the collection was accompanied by West’s new album ‘The Life of Pablo’ in its entirety. Transforming the event into a runway, listening party hybrid. (Grobe, Highsnobiety, 2017)

Kanye West X Adidas 21

Kanye West is a controversial, pop culture phenomenon. Dubbing himself the first “Hip-hop designer” (Business of Fashion, 2016).

Yeezy Boost 750, 2015

The ‘Yeezy’ collaboration began in 2013 and has had 6 seasons of varying success. (Highsnobiety, 2013). Adidas saw a surge in its share of the secondary shoe market from 1% to 30% in 2016, with the introduction of the Yeezy Boost 750 in 2015, the best seller of the collection (MarketWatch, Germano, 2016).

In Yeezy Season 1, West puts forward the uniform of a dystopian tomorrow, for the urban youth of today. The images evoke a feeling of community and solidarity, transcending Geographic, Demographic, Psychographic, and Behavioral segmentation (Kotler, 2015), addressing postmodernist consumer nature to question what they recieve and derive their own meanings (Hall, Jefferson, 2006).

The images are raw and vulnerable, yet the high angles and confident poses juxtapose this by implying strength and determination, which gives the impression of a struggle overcome. The collection was inspired by the 2011 London Riots, see the image of a gilet resembling a bulletproof vest. It could be speculated the collection is making a political comment on the general feeling of “unsettlement and insecurity, from growing up through the great recession” possessed by Millenials and Gen Z’s (Strauss, Howe, 1991), which are West’s core audience, this marketing acts as a beacon of empowerment for the young, positioning Kanye as their voice, reinforcing the idea of the consumer acting as his ‘tribe’ or ‘army’.

Issues such as the hyper-sexualization of the female body within mass media are tackled, by using the naked female form within the campaign images to represent power and strength, resembling a marble statue, positioning her nakedness as art to be appreciated. The uniformity of the collection lends itself to the trend of gender fluidity and sexual identification. (Trendone, 2017). The ready-to-wear show reinforced this idea of an army, with a multi-ethnic, visually diverse cohort of models trudging forward in military style ranks.

Understanding the Zeitgeist of 2018, West marketed his most recent collection using faux-paparazzi shots of his wife. No mention of price or release date. West continues to use ambiguity, with emphasis on consumer hype and the ‘Kanye West’ brands positive consumer-based equity to sell his products. Defined by Keller (1993) as “the marketing effects uniquely attributable to the brand” and in 2003 as “the differential effect that brand knowledge has on consumer response to the marketing of that brand”.

West has cultivated, through his controversial voice, a new form of consumer tribalism. He connects his consumer through the Yeezy collections via social media, in a similar way that punks connected with Vivienne Westwood.

The Yeezy collections have positive consumer-based brand equity due to the favourable association’s millennials and gen Z’s have with West as an artist, with journalist Tim Blanks commenting “Ardent fans will always find a reason to cut him slack” (Blanks, Vogue, 2015). To further support this, in the primary research gathered (Appendix 4), it was found that 85% of those sampled would be swayed to purchase from a fashion brand if they collaborated with their favourite musician. This also links back to the research conducted by Youngjoo Na in 2013.

Michel Maffesoli argued that mass culture is being replaced by “fragmented tribal groupings” (Maffesoli, Smith, Shields, 1995), like Kanye’s Yeezy army. Wests core audience consists of Millennials and Generation Z, who are described as “being comfortable with technology, and interacting on social media websites for a significant portion of their socializing”. McLuhan observed “the internet would ‘retribalize’ human society into clusters of affiliation” (Kozinets, 1999). These generations use social media as a vehicle to present a bricolage of their ideal selves, meaning very spesific marketing must now be employed to effectively target those consumers.

Fashion & Awareness The analysis of the primary research (Appendix 7), shows cost as a big influence on consumer purchase decisions when looking into fashion collaborations. Participants also found that a negative outcome of fashion collaborations is the ‘over hyped’ nature of the releases, meaning the products are hard to purchase (Appendix 7). The price architecture of West’s collaboration reached above most of his younger target audiences budgets. The media frenzy surrounding the release also lead to high demand, meaning lack of realisation of the consumers aspirational self which could possibly move the consumer based equity into the negative, and lower consumer perception of the collaboration.

“Fashion has influenced culture in the same way that it has reflected cultural change” (Bruzzi, Church Gibson, 2000)

In 2016 Heron Preston collaborated with the Department of Sanitation for New York, to raise awareness of their ‘0X30 initiative’, which aims to send no waste to landfills by 2030. (New York City Department of Sanitation, 2016).

The business of fashion claim “sustainability will be at the centre of innovation in the fashion industry in 2018” (Business of Fashion, 2018); with Fernando and Hennayake commenting that “consumers have translated their environmental concerns into actively demanding and purchasing green products” (Fernando, Hennayake, 2017).

What Heron is doing speaks to the 2018 consumer trend “circular economy” which is defined as “no product to become waste after it’s end use, and reintroduce them into the production cycle as secondary raw materials”. (Trendone, 2018). Millenials are Preston’s target consumer, due to his association with Kanye West and Virgil Abdol (W Magazine, 2016). The business of fashion commented that “66% of global millennials are willing to spend more on brands that are sustainable” (Business of Fashion, 2018), also taking into consideration that “Consumer decisions are made more conscientiously than in the past, and have become a status symbol.” (Trendone, 2017). The unique collaboration arrived during an optimum period of awareness, which is the main aim of the collaboration.

Preston reworked donated uniforms from sanitation workers to create his pieces and sold them on during his 2016 New York Fashion Week show, thereby re-entering them into the production cycle, creating a circular economy. Levy and Gardner, in 1955 noted: “People buy products not only for what they can do but also for what they mean” (Levy and Gardner, 1955). By buying this garment, the consumer is agreeing with the statement that Heron is presenting. It is not just a corporate product it is a shared belief between the brand and the consumer, forming an emotional link between the two.

Modern consumers are quick to distrust brands motives and claims, a consumer trend highlighted in 2017 by Trendone. Naomi Khan said, “it is difficult to avoid viewing most, if not all, of these developments as reflecting popular sentiment, more than engaging in any profound manner with the substantive issues at stake.” (Khan, 2000). To combat consumers sense of disillusion with brands, Preston donated a portion of the proceeds to “The foundation for New York’s strongest” the departments non profit organisation. To further convince the consumer of his belief, Preston posted a passionate message on his social media, and hosted the event in the Salt Shed (Highsnobiety, 2016), constantly reminding the audience of the department of sanitation.

New Yorks Strongest Foundation The Department of Sanitation pipe and drum band (pictured below) lead a procession of sanitation workers into the event, and large bales of used clothes emphasized the importance of waste reduction.

There is a view that fashion uses sustainability and diversity issues as just marketing ploys. These messages could then be seen as meaningless. This thought is backed up by Peattie and Charter in 2003, who proposed that “identifying, anticipating, and satisfying the needs of consumers and society in a profitable and sustainable way is through holistic management process; in other words, the need to consider environmental issues within the whole organisation, rather than only the marketing department.” Every element of Preston’s show linked back to the main purpose of the event, educating the consumer on the cause, and encouraging them to trust his motives. “Industry pioneers such The Ellen MacArthur Foundation and the Danish Fashion Institute have relentlessly focused on sustainability” (BoF Team, McKinsey&Company, 2018), but this collaboration represents the issue of sustainability in a way that is relevant to Millenials, due to their pop cultural associations to Heron Preston.

The ‘Uniform’ collection is still sold on his website, continuing to raise awareness for the cause, and solidifying the idea that Heron Preston is emulating ‘fashion with an attitude’ for 2018. The movement’s origins were championed by designers such as Katharine Hamnett and Vivienne Westwood and can be traced back to the ‘Che Guevara’ T-Shirts of the 1960s (Khan, 2000).

Patagonia has also applied the circular economy strategy to their business, their ethos is to “manufacture, repair, and recycle products to last a lifetime” (Business of fashion, Hoang, 2017). Preston could analyse Patagonia’s practices, for example they are currently trying to protect “Bears Ears National Monument in Utah from oil and gas development” (Business of fashion, Hoang, 2017), and become involved in an external causes close to the main statement of the collaboration. If Preston continues forming collaborations with other charities or educational bodies to position himself as a sustainable, luxury streetwear brand, it will give the brand a strong and unique USP. The emotional connection consumers have with charity work would humanise the brand, as well as encourage engagement.

Mass & Luxury “It is no longer the use-value of things that are being consumed, but rather their exchange value. Consequently, the reciprocal and fixed relations between social groups are dismantled, and commodities function increasingly as signs organising value and desire”. (During, 2001).

“According to Google trends, the fastest growing search term in business marketing is content marketing” (Pulizzi, 2012), in other words storytelling through marketing. However, most high street brands do not have the budget to undertake this kind of project, so collaborations between high street and luxury brands are formed. “The average consumer is bombarded by some 33,000 adverts on UK TV per day” (E. Miller, 1999). Brands are favouring using social media sites such as Youtube, Facebook, and Instagram, over the saturated medium of television as a vehicle to showcase their content, with Duncan and Caywood saying in 1996, “clients of advertising agents were no longer accepting television advertising as the primary medium for reaching consumers”. “It is no longer acceptable for content to be telling the consumer the product is good, as modern consumers are more discerning than in the past, they also need to be entertained” (Easey, 2002).

The traditional communication theory consists of “sender, message, receiver”. However, in the case of storytelling within marketing, the AIDA (Awareness, Interest, Desire, Action) process of communication would be more appropriate, as the ‘desire’ element of this process is what makes storytelling marketing so powerful. Storytelling is used to give the consumer voyeuristic pleasure, usually creating an aspirational lifestyle through visually stimulating images, targeting the “consumers ideal and social selves” (Rosenberg, 1979), which is implied to only be achievable through buying into the brand. “Every company with a powerful brand is attempting to develop a relationship with consumers that resonates so completely with their sense of self that they will aspire, or at least consent, to be serfs under these feudal brandlords” (Klein, 2000).

“Fashion brands are actively seeking unique co-marketing alliances to compete for consumer based equity and to differentiate themselves in a heavily saturated market” (Alexander, Contreras, 2016).

“Competitive branding became a necessity of the machine age — within a context of manufactured sameness; image-based difference had to be manufactured along with the product.” (Klein, 2000)

Collaborations of this nature are used to leave an impression on social grades C1 and C2 (UK Geographic, 2014), by imbuing the low-end retailers with the luxury brands industry credibility. These collaborations often use the promotional strategy of celebrity endorsement, whereby the featured celebrities positive personality traits are absorbed by the brand (Easey, 2002). The small production of the collection initiates hype, which promotes media coverage, and in turn drives footfall into stores, this being the overall goal of the venture. It also helps to retain the exclusivity of the luxury retailer, as the collection is limited edition it therefore obtains added value. However, this could also produce negative consumer responses as shown in the primary research, Appendix 7, with 31% of the sample agreeing that ‘over-hyping’ of a collaboration capsule collection can put consumers off, due to the high demand and low product availability.

A high street retailer such as H&M have much smaller marketing budgets in comparison to their luxury counterparts. The collaboration campaigns are grand and cinematic, with unique storylines made to pull on the consumer’s emotions and memories associated with the traditional three-part narrative structure of equilibrium, disruption, equilibrium. (Chandler, Munday, 2011). “In the absence of the conflict, there is no story-just a sequence of incidents” (Fog, 2005). H&M’s short film “The Secret Life of Flowers” directed by Baz Luhrmann constantly reminds the consumer of the collection due to the constant focal point of flowers throughout the film, without using aggressive advertising. They are instead using the subtle manipulation of hedonic consumption which is described as “designating facets of consumer behaviour that relate to the multi-sensory, fantasy and emotive aspects of one’s experience with products.” (Holbrook and Hirschman, 1990). H&M are using fantasy and emotive elements of consumers experience with high-end clothing to promote in-store footfall.

The Powerof flower

Creating an alliance between a mass retailer and a luxury retailer opens up both partners to new markets. Keller and Aaker discussed the benefits of luxury and mass collaborations within the context of “consumer evaluations of brand extensions” (1990), commenting that an established brand name, like H&M, is used as a vehicle for luxury brands to gain access to new markets. In the primary research survey, 38% of the sample agreed with this idea, saying collaborations allow the consumer “to purchase an aspiration brand that would normally be above my price range” (Appendix 7). Keller and Aaker also found that a brand will experience more positive consumer responses by elaborating on the aspects of the brand extension, in this case, the collaboration, rather than focusing on the positive elements of the original brand (Keller, Aaker, 1990). This thought is backed up by the primary research, showing the 54% of those sampled are interested in fashion collaborations as they create ‘unique design opportunities’ (Appendix 1). On the other hand, 21% of the sample said “they do not buy into fashion collaborations”, which put into question how much exposure the collaboration participants are receiving from collaborations, but due to the restricted sample taken, we cannot say this for sure (Appendix 1).

43 A more refined visual aesthetic is allowed due to the luxury brands identity.

To Conclude Despite the use of filmography being a thought-provoking tool to entice consumer interaction, the participating brand must have strong brand basedconsumer equity for it to pay off. The Erdem collaboration was the lowest in terms of social media impressions, “registering 53.7 million”, compared to “KenzoXHM” hashtag “registering 81.6 million impressions”, and “AlexanderWangXHM” hashtag “registering 266 million”, according to BrandWatch (Business of Fashion, Shannon, 2017).

Mass and luxury fashion collaborations are a strong brand extension strategy that can refresh a brands marketing techniques, providing a welcome newness. However, to avoid this kind of marketing becoming formulaic, brands should consider the frequency at which they release collaborations, and whom the mass retailers partner with. Brand such as Supreme have successfully cultivated a continuous flow of consumer hype, releasing new collaborations every week. For H&M to continue to receive notoriety for their efforts, they should consider possibly moving away from garments, and explore other markets such as a collaboration with luxury makeup brand. Nicole Tyrimou, a beauty analyst from Euromonitor said “Beauty’s affordability helps fashion brands expand their target audience without compromising on brand image. On the other hand, we’re seeing fashion and luxury brands getting into it, because beauty represents an entry point and a way to capture a lot more consumers.” (Business of Fashion, Chitrakorn, 2015). This is becoming popular amongst high street retailers in the hopes to become a ‘one stop shop’ for consumers. Having released a 700 piece range consisting of an H&M Flagship, eco, and premium line of beauty products in 2015, a beauty collaboration would be in line with H&M’s current brand extension, and their annual strategy of co-marketing alliances. It would also differentiate them from other fast fashion brands such as New Look, Primark, and Topshop, giving them a competitive advantage.

Modern inter-industry collaborations are vital for the health and relevance of the fashion industry. They are an innovative vehicle for the brand to disguise their true motive of commerce, in a paranoid consumer environment. It is evident that some co-marketing partnerships can appear formulaic, so brands must use collaborations to push the creative constructs of their identity to surprise and invigorate the consumer, which will ultimately drive sales, profit, and footfall. Through this medium consumers can achieve a sense of their aspirational self, which they can then build into a bricolage of themselves to reflect onto the world, therefore creating positive associations with both sides of the partnership for the consumer, evoking brand loyalty which is crucial in the saturated, fickle world of fashion.

Appendix

Appendix E

Appendix A Appendix B

Appendix F

46 Appendix C

Appendix G

Appendix D

Appendix 8

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