1
2
3
4
WITHOUT ANY DOUBT CRAIG GREEN IS ONE OF THE MOST IMPORTANT AND RECOGNIZED MENSWEAR DESIGNERS OF TODAY. HIS UNIQUE WAY OF COMBINING DIFFERENT ELEMENTS AND POETIC STORIES MADE HIM WHAT HE IS, JUST A FEW YEARS AFTER LAUNCHING HIS BRAND. THIS IS THE FIRST OF THREE BOOKS SHOWING THE STORY AND DESIGN AESTHETIC OF CRAIG GREEN. 5
INDEX
12 20 6
22
26 THE STORY
DESIGNER TIMELINE
BRAND OVERVIEW
28 44 58
THE SHOW
COLLABORATIONS
CAMPAIGNS
LAST SHOWS
90 66 70 71 74
ICONIC PRODUCTS
PRODUCT OFFERING
ARCHIVE ITEMS
COMPETITORS MARKET POSITION
94 98 100 104
BRAND VALUES UNIFORMITY
SIGNATURE DESIGN
3D BUSINESS MODEL VISION MISSION VALUES
THE TRIPPLE THREAT
SWOT 7
8
9
EARLY YEARS
THE STORY
Craig Green was born in 1986 and grew up in Hedon, North London. The North Londoner never planned on becoming a fashion designer growing up. That all changed when he signed up for foundation year at Central Saint Martins. In an interview, Green expressed that he didn’t grow up surrounded by fashion but he was always making things and surrounded by people that were handy and making crafts. He was always interested in clothes growing up but did not really follow any trends or seasonality of fashion that is shown on fashion magazines. Before undertaking placement with Walter Van Beirendonck and Dane Henrik Vibskov, he felt very much out of place as it was the era of avantgarde Alexander McQueen and feminine Diane Von Furstenberg. His two mentors, introduced him a world of fashion in which it could be about absolutely anything. Green then saw a way in fashion to show his own vision. He then pursued a MA in fashion at Central Saint Martins under legendary professor Louise Wilson with full scholarship saying that “I think she knew I was poor.” 10
11
12
„It was the first collection I’d ever made outside of university, I got friends to help, my family was helping – it was very communal – and those people made me realize that it was good to split opinions.“ - CRAIG GREEN
13
14
THE BEGINNING Craig Green graduated from Central Saint Martins in 2012 with a MA in fashion and ever since has earned his place amongst the most innovative and creative menswear designers. He was one of the designers chosen to present his collection for Topman and Fashion East MAN initiative for Autumn Winter 2013 London Collections menswear fashion show. Ever since, the brand has been on a very successfully journey both creatively and commercially in a quite short period of time. Today his menswear collections, that are “firmly rooted in the steady development of simple, yet rigorously considered signature garments�, are on top of the list to see during the London menswear fashion week.
17 15
THE NEXT STEP Craig Green by Craig Green has become one of the most sought after menswear brand. His uniform and utility style is combined with dreamy concepts, innovative materials as well as exceptional colour choices and prints. Craig Green is not just innovative, his creativity is combined with high functionality and versatility by giving the possibility for the wearer to wear it in different ways. Despite having a “Core� line of simpler version of designs that is inspired by the runway, the main collection can be extravagant but still wearable. The Core collection which corresponds to his main line from the materials, colours and silhouettes, generates 70% of the brand’s sales. As a designer and brand, Green is very commendable. Offering a core collection for people who may admire his vision and creative work but are not the type who will wear the more daring runway pieces as well as it being more commercially accessible and driving profit for the brand. His work is clever, balance and flattering yet has a lot of storytelling, limitless creativity and at the same remains humble, down-to-earth and organic.
16
17
18
DESIGNER TIMELINE
BORN IN LONDON
1986
STARTED CENTRAL SAINT MARTINS FOUNDATION COURSE
2008
FASHION BA FASHION HONS IN PRINT CSM, NEW ERA XC PRIZE IN CELEBRATION OF THE BRAND’S 90TH ANNIVERSARY
2010
GRADUATES MA FASHION CENTRAL SAINT MARTINS, LAUNCHED NAMESAKE LABEL, COLLECTION SHOWN AT LONDON COLLECTIONS: MEN FASHION EAST INSTALLATION SPACE
2012
FASHION EAST AND TOPMAN’S MAN INITIATIVE SHOW, GRADUATE COLLECTION RECEIVES THE L’OREAL PROFESSIONEL CREATIVE AWARD, NOMINATED FOR THE DESIGN MUSEUM’S DESIGN OF THE YEAR FOR HIS MARRIAGE OF MINIMAL GARMENTS, AND DRAMATICALLY SCULPTURAL BODY-PIECES.
2013
FIRST SOLO SHOW SS15 LONDON COLLECTIONS: MEN, AWARDED EMERGING MENSWEAR DESIGNER AWARD FROM THE BRITISH FASHION COUNCIL
2014
METROPOLITAN MUSEUM OF ART’S EXHIBITION CHINA: THROUGH THE LOOKING GLASS, AW15 FASHION FILM SHOT BY NICK KNIGHT, FINALIST FOR THE LVMH YOUNG FASHION DESIGNER PRIZE
2015
BRITISH MENSWEAR DESIGNER, BFC/GQ DESIGNER MENSWEAR FUND PRIZE, CREATED COSTUMES FOR WAYNE MCGREGOR’S ‘OBSIDIAN TEAR’ AT THE ROYAL OPERA HOUSE
2016
BRITISH MENSWEAR DESIGNER, CREATED COSTUMES FOR RIDLEY SCOTT’S ‘ALIEN: COVENANT’
2017
BRITISH MENSWEAR DESIGNER, METROPOLITAN MUSEUM OF ART’S EXHIBITION HEAVENLY BODIES: FASHION AND THE CATHOLIC IMAGINATION, MENSWEAR GUEST DESIGNER AT PITTI UOMO 94
2018
19
2220
London, England
GOOGLE TRENDS Junya Watanabe Haider Ackermann Walter Van Beirendonck Raf Simons Rick Owens
GOOGLE TREND SEARCH
11-50 Employees
HEADQUARTER
Privately Held
COMPANY SIZE
2012
TYPE
FOUNDED
COMPANY
PEOPLE ALSO SEARCH FOR...
COMPANY OVERVIEW
UK South Korea Hong Kong
Farfetch Yoox Ssense Antonioli(retail) Mr.Porter Matchesfashion.com Raffaello network Totokaelo Opening Ceremony FWRD Gallery Aesthete KM20 H.Lorenzo Slam Jam Socialism 18Montrose RAIL Store L’Inde Le Palais MAAS & STACKS SHOWstudio/Machine-A
CONCEPT STORES
Barneys Bergdorf Goodman Dover Street Market Galeries Lafayette Joyce MatchesFashion Mr. Porter Selfridges 10 corso como Machine A
ONLINE
OFFLINE
STOCKISTS Wallace & Murron Minamihorie, Osaka, Japan Tomorrowland, Kyoto, Japan
21
THE COMMUNITY Craig’s designs really are a team effort. In an “In Fashion: Craig Green” ShowStudio interview Craig has express his love of working with people, being surrounded by inspiring people and friends everyday that makes working more enjoyable. London fashion week is very collaborative and Green is at the center of it. He has always been working with many different people of different skills. Green explained that the reason of his love of a community may be because of his obsession with groups, cults, subcultures and grouping of people which comes off in the aesthetic of his work. “I’ve always had this weird obsession with like community feeling...” - Craig Green
22
ACHIEVEMENTS
His success has extend to his many awards received and his work featured in major exhibitions internationally like the Metropolitan Museum of Art’s ‘China: Through the Looking Glass’ in 2015, and ‘HEAVENLY BODIES: Fashion and the Catholic imagination’ in 2018. The accolades includes the British Menswear Designer at the Fashion Awards 2016, 2017 & 2018, Menswear Guest Designer at Pitti Uomo 94 in 2018, the BFC/GQ Designer Menswear Fund prize 2016 and Emerging Menswear Designer at the British Fashion Awards 2014. The designer also created costumes for Wayne McGregor’s ‘Obsidian Tear’ at the Royal Opera House in 2016 and Ridley Scott’s ‘Alien: Covenant’ in 2017.’
23 26
THE SHOW The self-described “cult-like runway procession� has been described as a holistic, emotional and beautiful experience. The silence, spirituality, grace and music all complements the collection. His shows mostly highlight the clothing instead putting spectacles that distracts from it for instance having models walk barefoot and choosing quite minimalistic settings. Honesty and reality is really shown in the runway.
24
25
COLLABORATIONS Craig Green has done multiple collaborations from creating furniture, sneakers to luxury outerwear. His love of working with people makes him one of the best brands to collaborate with. His focus is not to show himself in another brand but by working together to create and build something special that will bring out each brand from a new perspective. Green manages to marry the brand’s heritage and DNA together. The designer also likes to go outside of his comfort zone to enter a brave new world. Green enjoys challenging projects which allows him to grow as a designer and learn different techniques from other brands.
26
27
X BJORN BORG 28
The collaboration with Bjorn Borg combined the influence of the London working-class root and Scandinavian fashion, taking both brands in a new direction. Bjorn Borg started with making underwear while Green is known for his advanced materials and workwear inspired pieces. It was “The unusual pairing is a good thing,” says Green. Green also mentioned that the fact that Bjorn Borg has never done any collaborations before gives him a blank canvas. Another thing that he enjoyed about this collaboration is that “Every fabric had a technical story and was being used for a reason rather than for any aesthetic value. It was so interesting to work this way, to consider, for instance, how our designs would work with compression fabric for runners instead of, say, choosing a fabric because it was lovely and would look great as a jacket.” The unisex capsule collection was composed of smart and minimalist sportswear. It focuses on performance while being very stylish and fashionable. The inspiration behind it was the human fascination with light and shadow.
29
X MONCLER _ PROJECT 1 - FW 18 30
On protection and performance, „I have always explored ideas of protection and functionality within my work, something that is also at the core of Moncler‘s heritage,“ said Green.
31
X PROJECT 2 - WEARABLE HABITATS - SS 19 32
On the “Wearable Habitats” project, „Green’s visionary way of dealing with items of clothing is architectural just as much as it is pragmatic. The extreme shape in fact responds to a need, and as such, it performs,“ said Moncler.
33
34
X PROJECT 3 - FW 19
35
X IKEA 36
Green designed the Paradise Woven Rug for Art Rug Project 2019 presented at New York Design Week.
37
X GRENSON 38
Sneaker Collaboration
X NIKE
Created concept sneakers, Nike React Element 87 and Nike Flyknit models which was not released, for the Sprirng Summer 2019 Collection at Pitti Uomo.
39
40
LONG TIME COLLABORATORS
X ROBBIE SPENCER
X DAVID CURTIS-RING X DAN TOBIN SMITH
David Curtis-Ring is the man behind Craig Green’s sculptures, “when I work with him (Craig Green), it’s very much that coming together. And the way that we work is that he usually has a starting point and we work together from that.” The London based artist, set designer and art director have collaborated for around 12 years with Green. Working on the campaigns, runway sculptures and installations. He describes his work as dark, mystical and tactile. Also that his work “sits on a periphery of a bunch of different areas. It’s not quite theatre, it’s not quite fashion, it’s not quite film, it’s not quite fine art. It kind of hovers between those worlds— which I like, I think it kind of enriches it.” and fashion is not his main focus.
Robbie Spencer, as the creative director of Dazed magazine, has produced some of the most striking images in his generation with his established aesthetic that reflects our “times and global community through its deep conceptual roots and diverse cultural references.” He has worked with numerous publications such as Dazed, AnOther, AnOther Man and L’uomo Vogue and celebrities including Rihanna and Kendall Jenner. He also does styling consulting for brands including Simone Rocha, Craig Green, Ann Demeulemeester, Phillip Lim, MM6 Maison Margiela, Ambush, Moncler, Givenchy, Versus, Hugo Boss and Calvin Klein.
The man behind the lense for Green’s campaigns and visuals. With over a decade of experience, Dan Tobin Smith specialises in installation and still life photography. His work covers multiple fields from fashion, music, publishing to advertising for the likes of Numeéro, Wallpaper*, Alexander McQueen, Nike and Louis Vuitton.
41
CAMPAIGNS Craig Green’s campaigns are spectacular and eerie. Seeming to resemble more of a political campaign rather than fashion. His non-traditional, generally with no known models, campaigns surely makes him stand out amongst the crowded fashion scene. The campaigns are beautifully captured sculptures of his clothes which triggers emotions and sparks opinions. These series of amazingness was first ignited by the spectacular AW 2015 video shot by Nick Knight. The brand successfully delivered the story telling and concept of each collection through simple yet bold images and stylist Robbie Spencer. One of Greens favourite collaborator is photographer Dan Tobin Smith who shot the brand’s campaigns from AW 2017 to the most recent.
42
SS16 The SS 2016 campaign is more of a personal affair. Showing a darker side of the collection compared to the more colourful show. His poetic campaign was described as an “art series� of monochromatic elements shot on the Isle of Sheppy with long time collaborators, Amy Gwatkin and Vincent Levy.
43
“THE GOAL IS TO CREATE MORE OF AN EMOTIONAL FEELING, IT’S NEVER ABOUT COLD REALITY” - CRAIG GREEN
44
45
FW16 46
The FW 2016 campaign is the first major campaign that was shot by drones. The images and short films shows models wearing the collection laying one on top of the other on a black sand beach like the have just been washed up ashore. This campaign was also the
SS17
The images of his campaigns often brings romanticism and poetry to his ideas of functionality and uniformity by bringing people en masse. For SS17, which was shot by Jack Davison, it is about showing the mood and the saturated and desaturated colours from the collection in a dreamlike blurry setting. The images shows models or dancers moving together creating the sense of motion and union. Despite referencing sports imagery and a car crash, the outcome resembles historical art of the Renaissance and religious iconography.
47
48
FW17
Unity in the face of turbulence is the theme of his AW 2017 campaign, a series of five images of models in padded garments and forming a water raft or human lifeboat in water. Green explained “I think campaigns, like shows, should try to have a fantasy element. I always like that a campaign gives you another way of communicating what the collection was about.” The images gives an idea of “human defiance” and group work especially when in an urgent situation that is chaotic and dangerous.
49
SS18 50
His SS 2018 campaign is on fire, literally. After the previous campaign he said “What are we gonna do next, set people on fire?”, which is exactly what they did. Sculptures was recreated in giant forms to represent a solitary figures “Using the human body as a symbol,” which was then set ablaze. The campaign also represents Green’s way of “not being precious about something; the same in a creative process where you just kind of rip everything up and just start again over and over.”
51
FW18 52
Another incredible campaign is the FW 2018 which features 13-meter windmill-like structures. Green explained that he “… always thought that windmills are interesting – something that existed in the past as a vital industrial machine powered by nature, a kind of very early use of sustainable energy-powered production,” and then goes on to explain that it became an unused idyllic postcard object but now seen as an energy producing symbol and the future. This idea of the past, present and future is reflected through the contrast of latex with wood. Perhaps not so obvious when the images are not justified, but the result is nonetheless beautiful.
53
SS19 54
The recently launched Spring Summer 2019 campaign is arguably the most interesting to date. The bold and vibrant collection was translated into a series of wooden boxes with effigy 3D figures made of straw of men battling beasts in green, pink and teal with red outlines that was then destroyed or pushed together to create a mythological hybrid. Green constantly reinterprets the human body and its geographical limits. He also plays often with the idea of impermanence and transcendance. But also always putting a lot of mystery in his work to leave room for people to receive it through their perspective.
The campaigns always seem to play with natural elements, such fire, water, earth and air, with some kind of contrasting materials. The images itself are incredible works of art that should be more glorified. Green doesn’t care so much about making a fashion campaign like other brands, he does it in his own way, preferring that it looks more like pages in a National Geographic magazine. He also expressed that shooting campaigns, whether it is through photographs or videos “allows you to present the collection with something that maybe wasn‘t captured in the catwalk show…an idea of movement and energy that the catwalk show couldn‘t express.”
55
56
LAST SHOWS
SS 19 GEOGRAPHY OF HUMAN LIMITS
The Spring Summer 2019 show was Craig Green’s first show outside of his home based, London. He was invited as a guest designer during Pitti Uomo and presented his collection in Florence, one of the most important fashion city for menswear. It was important that the show doesn’t look and feel too much like London but that it embraced the history and the beauty of Florence. The spectacular show was situated in the centre of the city at the beautiful Boboli Garden. Again, considering the grouping that Green has been doing. the collection seem to have 3 or 4 different characters. The first charter was quite ghostly, wearing a pale outfit with red marking that is represented by ropes as well as a wooden structure of a body outline. It could be the medical team or the forensic scientist. The beige and white stripes, the rope and the baggy style of the garments also seems to be resemble prison uniforms. 57
58 58
“Cleaners, surgeons and postmen were Craig Green’s muses when designing his latest collection. Yep, utility isn’t going anywhere as far as this feted designer is concerned. He recasts the ageold gilet into tis style that is in a completely different category to a classic country layer. An acid dye and neat rows of stitching characterise this straight-cut piece, and you’re fully encouraged to layer with even more colour. “ Selfridges
59
60
FW 19
“I was thinking about a man made of glass, and how emotion doesn’t always mean weakness – it can also mean strength.”- Craig Green
61
62
63
The Padded Jacket
ICONIC PRODUCTS
64
65
The Vests
66
The Laced Pants
67
The Workwear Jacket
PRODUCT OFFERING Craig Green is known for his distinguish structural silhouettes, utilitarian themes and textile developments. Therefore the opportunities of products to exploit must resonate with his style philosophy. Practicality and functionality that is beautiful yet creative is at the heart of the brand. One of the best selling products known in the fashion industry are bags and accessories. Bags are not just fashionable but they are very functional. A bag can satisfy not just the utilitarian needs but also the hedonistic needs of consumers. Green’s imaginative mind didn’t just make beautiful collection, but the designer has made it happen in terms of commercial success by realising that he needed to develop a core line ( on the right). The designer knew that his cult following was due to his inventiveness and artistry but it could also prove to be a barrier of entry to mainstream success once all the prize money has been spent. 68
Craig Green is a young brand however so successful, that the designer already launched a Core Collection in 2017 consisting out of his most iconic and fruitful garments. „The core started from the idea of pieces from the runway collection that were either bestsellers or things that we love to wear in the studio every day.” Green explained. So the Core Collection is designed to be worn on a daily basis, being very functional and timeless in terms of style and made for a seasonless use. For the designer it is all about finding your personal signature style and sticking to it.
“The main line felt like a broad kind of research and the clothing comes together towards the end of the process, the core starts off with function from the very beginning.” - Craig Green
ARCHIVE ITEMS
„It’s based on the way I buy clothes, and how lots of men I know buy clothes. Finding something they like, they are creatures of habit – I don’t know why.. “ - CRAIG GREEN
In an interview Green promised to rework his archive styles for this special collection in order to keep his unique aesthetic. The Core Collection is made of carry overs and signature styles and is mostly hold in a monochrome color palette of black, white, navy and camel and made in fabrics coming from Italian mills. Also the typical strings you can see in almost every seasonal collection of the designer are placed on these garments, becoming an equivalent association when thinking of Green. The of work-wear reminding items are Green’s cult quilted jackets, coats, pants, shirts and even hats. On the other side, there are still many other products of Green with the potential to reach cult status. Following the design philosophy of his Core Collection, it’s all about the abiding look and focus on performance.
6969
FALL / WINTER 2017 BAGS 70
As part of the season of Fall / Winter 2017 collection Green presented a functional deconstructed duffle bag in several colorways - from black and white, to mint green, light blue and yellow. Reintroducing this bag and adding it to the Core Collection would lift it to a more iconic status. Except a beanie hat in black and blue there are no accessories contained yet. In many cases accessories are the most bought items from any brand, especially bags hence to it’s functional features and versatile use of occasion. Reviving this bag would turn it into an entry level product due to its lower price point in contrast to the brands outerwear for example it’s more accessible for a wider target and at the same time keeps representing the aesthetic of Craig Green.
FALL / WINTER 2018 WINDBREAKER SPRING / SUMMER 2018 SHIRTS
This windbreaker from Craig Greens Fall / Winter 2018 collection not only convinces in terms of aesthetic, but also when it comes to a versatile use, high performance and functionality. It’s made to make the wearer look cool but be protected from external weather influences at the same time - not being limited to one specific type of weather, timeless and adaptable in use of occasion.
Craig Greens Spring / Summer 2018 collection consisted out of either black or colorful patterns transformed into skillful deconstructed and draped garments. Part of it were rather simplistic shirts with small details in form of contrast-colored stitching and circular cutouts in the front. Reintroducing these shirts would make sense, since they are “easier” in terms of production and also in terms of occasion of use, which widens the target market for this item. The cut-outs are symbolic for Greens avant-garde touch without sacrificing the functionality or performance - a staple product, which also works as an entry level product and could reach iconic status.
71
72
COMPETITORS
Craig Green‘s brand is conceptual with strong own aesthetics. We can notice clear similarities with brands and designers such as Henrik Vibskov, Walter van Beirendonck, Alyx Studios, A-Cold-Wall, GR-Uniforma, Kiko Kostadinov, Charles Jeffrey Loverboy. They all have their strong own vision of uniformity and community. All these brands are able to create interesting collections by combining different and unexpected elements together. Uniformity and utility wear done with innovative and unexpected materials makes these brands what they are. Here we compare these brands and set them to positioning map. Drivers we are using are Uniformity-Diversity and Statement-Reticence. Walter van Beirendonck is closest to „Statement“. At the same time, A-Cold-Wall vision is closest to „Reticence“. Craig Green is closest to „Uniformity“ and Charles Jeffrey Loverboy is closest to „Diversity“. In a market segment like this, it can be somehow misleading to think that one of these brands is something more than others, as all these brands lean on heavily to similar inspirations, community, and strong self-expression
73
HENRIK VIBSKOV 74
Henrik Vibskov is a Danish designer from Central Saint Martins (2001). Henrik Vibskov is one of the most recognizable faces of the New Nordic Movement. When talking about Henrik Vibskov it is not fair to say he is just a fashion designer, he is multitalented creative. Alongside fashion, he works also as an interior designer and is an active musician. This is shown in his collections as the collections are always his reflecting his own imagination.
KIKO KOSTADINOV Kiko Kostadinov is a Central Saint Martins graduate from Bulgarian, based in London. He is best known from his work with streetwear label StĂźssy, as creative director of Mackintosh and his namesake label KIKO KOSTADINOV. He is known from his ability to create unique looks by combining minimal workwear with young and bright color pallet. Asymmetric shapes, the evolution of design and contemporary society reflects Kiko Kostadinovs style. 75
KIKO KOSTADINOV. Spring / Summer 2019
76
WALTER VAN BEIRENDONCK
Walter Van Beirendonck is a Belgian fashion designer. He is best known as being part of Antwerp Six, but in addition to this, he is also known from his unique, experimental and wild aesthetics. It is easy and justified to say that Craig Green‘s style has been shaped during those times working with Walter Van Beirendonck. There are similarities in the way how they both connects fashion and art together. They both share the same vision of creating collections that can be at the same time conceptually challenging, graphically strong, and technically innovative.
77
ALYX STUDIOS 78
Alyx Studios is shaping the luxury streetwear industry, by combining street culture aesthetics with practical garments. Alyx Studios is showing its new perspective and vision of utility garments. Founder and creative director Matthew Williams built Alyx on the concept of subversive culture, urban elements, and high quality. During the years, Alyx has collaborated with major brands such as Nike and Vans.
79
A-COLD-WALL 80
A-COLD-WALL is a brand created by British born Samuel Ross in 2015. Ross has a strong background in product design and this is shown in collections. A-COLD-WALL is reflecting Samuel Ross‘ personal vision of the British class system, architecture, and environment. Referencing to A-COLD-WALL website: A-COLD-WALL is driven first from the standpoint of concept and ideation leading to innovation for garment design. That concept is
CHARLES JEFFREY LOVERBOY Charles Jeffrey is one of the most talked-about and interesting designers in the fashion industry at the moment. LVMH nomination, British Emerging Talent prize in 2017 and also a solo exhibition at NOW Gallery in London, just to name few achievements of this young talent from Central Saint Martins. Jeffreys collection shows his past and future. There is always references to his childhood and bullying while growing up as gay. The way Jeffrey develops his anger to something good, is one of his trademark moves. Collections are playful but made with thought behind everything. The way Jeffrey mixes typical gender generalizations and the way he reflects the world Ě s state to his collections is something special. 81
LOVERBOY. Spring / Summer 2017 82
Love Me some LOVERBOY. 2017 by Thurstan Redding 83
GR UNIFORMA
The latest brand of multitalented Gosha Rubchinskiy is all about uniforms, community, architecture order and people from your world. GR-Uniforma is an edgy take on traditional uniforms combined with music. An interesting concept that is different from Gosha Rubchinskiy‘s namesake label, but is still easily identified as Gosha Rubchinskiy‘s brand. In addition to clothes, GR-Uniforma launched a band representing the GR-Uniforma brand. It made its first collaboration with Diesel in spring 2019. Even though your community might be outsiders, you are still part of something.
84
The latest brand of multitalented Gosha Rubchinskiy is all about uniforms, community, architecture order and people from your world. GR-Uniforma is an edgy take on traditional uniforms combined with music. An interesting concept that is different from Gosha Rubchinskiy‘s namesake label, but is still easily identified as Gosha Rubchinskiy‘s brand. In addition to clothes, GRUniforma launched a band representing the GR-Uniforma brand. It made its first collaboration with Diesel in spring 2019.
85
86
A-COLD-WALL
UNIFORMIT
GR-UNIFORMA
ALYX STUDIOS HENRIK VIBSKOV
KIKO KOSTADINOV
STATEMENT
IVERSITY
RETICENCE
CRAIG GREEN
WALTER VAN BEIRENDONCK
CHARLES JEFFREY LOVERBOY
87
BRAND VALUES Craig Green‘s inspiration rises from his interest in combining uniforms, communal ways to dress and his new approach to masculinity. Craig Green is known from his ability to connect two different concepts together. In his Spring Summer 2015 collection, Craig Green combined together religious clothing and workwear. This „Zen“ inspired collection drew comparisons to samurais and gurus and barefoot penitents. Harsh fabrics and interesting material choices such as wood and geometric lines reflects Green‘s vision and style. His design inspiration is visible in every aspect of his brand and the inspiration behind the brand. Craig Green is able to connect brand values to every collection. The idea of grouping people together is always present in his products, collections, and brand.
„The whole idea of the brand from the beginning has been based around ideas of uniform and communal ways of dress“ - Craig Green As a brand, Craig Green is always on top of the latest situation in the world. Craig Green is influenced by what is going on in the world or in politics, but those issues are never the starting point of his design or in the center of his brand. Proving his point, he stated that “...it is almost impossible to make things that are not reactionary in some way to what is happening in the world or around you.” Equality and community in its every dimension is something that Craig Green wants to highlight. We can say that it those two are main values of the brand. „I think it‘s beautiful, that idea of a grouping of people and a uniform that makes everyone an equal“, said Green in CNN interview in 2018. 88
UNIFORMITY Uniformity: as defined by Oxford University it means “The quality or state of being in uniform and an attempt to impose administrative and cultural uniformity”. The concept of uniformity is as old as the history of our society. Already worn by the Egyptians, Romans throughout the history up until today. The most general association people have when thinking of uniforms is the military. But in fact you will find it in all societal classes, from doctors to nurses, artisans, cardinals or even school uniforms. Meant to eliminate the status set of people in order to avoid conflicts between social classes, uniforms have additionally to that diverse functions. Next to hiding the status of the wearer they also work as a symbol of legitimacy and power and even suppresses individuality, for example uniforms of prisoners. On an emblematic level they reveal nothing about the personality of wearer itself, but everything about his belonging and origins. Within military circles uniformity stands also for power, masculinity and authority. As the 20th century proceeded, uniforms became a new role, when they started to become used as a concept within fashion. They weren’t solely functional for certain working classes anymore - designers started to use them as a tool of self-definition and self-representation. The original principle of uniformity got blurred and its purpose altered. People became more free throughout the years and were finally able to choose their uniforms, instead of being dictated which clothing to wear according to the ideas of society. Countless designers used traditional uniforms as part of their concepts and inspirations, morphing them and add their personal take on it.
„It can be seen as a negative thing because it’s antiexpression, maybe, but then it can be seen as a protective thing emotionally, as well. “ -
CRAIG GREEN ON UNIFORMITY
89
“Everything always starts with that idea of uniform, protection and functionality. I always love garments that have a function or used to have a function. When it’s about uniform it’s always about the people that do the work, not about uniforms of stature. That romantic idea of uniforms and how things are becoming more and more mechanized. The need for skilled people is less and less so you don’t really see a group of mechanics in mechanic uniforms like how you used to. All of those things you’d use to protect you while you work almost don’t have a use anymore.” - Craig Green
90
Craig Green belongs to those designers. Altering the conventional perception and symbolism of uniforms is part of his very unique Storytelling technique. Even more than being inspired by military uniformity, he takes his inputs from his own story - uniforms in form of workwear. “My dad was plumber and my mother was a nurse - they were working people who wore uniforms. The whole brand is based around ideas of communal dress, and romanticizing things that might not really be so obviously romantic. That idea is something that carries all the way through in every single collection.” Thus, Greens personal interpretation of workwear is about something romantic, often also coming from the religious uniforms. He wants to transmit these feelings to his customers and through his clothes give them the ownership over their aesthetic - he wants to go away from the mainstream trends, the very flashy garments you find on bloggers all over Instagram and enable his customers to build their own personal sartorial identity and make them stay true to it. For him, wearing this kind of uniform equals protection: “People are drawn to that idea of being protected. But I guess that’s also the same as having a uniform. It kind of feels like you belong to something and that’s protective in that way, too. It’s that comfort of knowing that if something happens, you would feel (protected) which is kind of a weird human mental thing.” It conceals the origin and maybe even your inner feelings - it gives you the power to decide on your own when exactly and to whom you want to show your inner self. Craig Green values these parts of uniforms, also next to their very functional features, which are always present throughout his collections. Not only on the runway you can find Greens strong bond to workwear. He was also in charge of designing the costumes of actors in Alien: Covenant uniforms of course.
“I remember at school when you had a non-uniform day, the poorer kids would feel really selfconscious because they’d have to wear normal clothes all of a sudden, compared to the rich kids who had flashy Nike trainers. I remember my mom saying it gets rid of that idea of what you have or how much money you have and it makes you as one. It can be seen as a negative thing because it’s anti-expression, maybe, but then it can be seen as a protective thing emotionally, as well.” - Craig Green
91
SIGNATURE DESIGN Padding Lacing Sculptural structures Slash & open Prints Innovative materials Straps Pockets „I find a lot of newness can come through fabrication — that’s usually where we start. “ - CRAIG GREEN
92
93
MINIMALIST
94
UTILITY
95
PLAYFUL
USE OF OCCASION
ID_CLIENT 96
TECHNOLOGY
ABSTRACT UTILITY
TRIPLE THREAT
LUCID DREAMING
VISION
REIMAGINING INDIVIDUALITY THROUGH A COMMUNITY
MISSION
CREATING A CULT FOR IMAGINATIVE WORKWEAR
VALUES
UNIFORMITY COMMUNITY INVENTIVENESS & ARTISTRY
97
THE TRIPLE THREAT 98
The archetypical client of Craig Green is a fashion-conscious and confident person, who wants to stay true to their dreams. He found his own aesthetic and doesn’t follow the seasonal mainstream fashion trends that are usually found on the runways. Having established his own idea of the ideal look, he aims to continuously build his wardrobe following his free spirit, almost as if he already found his very personal idea of uniformity. This idea of uniformity is based on a rather masculine and utilitarian awareness, where high quality and well-executed and cut pieces are more important than the label of the designer, which makes him additionally willing to invest more in his purchases. The client has a grown up and mature mind and almost sees himself as the contemporary reinvention of the old male archetypes we have in our society. He appreciates traditional things and values them. He rather goes against the mainstream of the fast and digital pace we have nowadays, where quality and honesty seem to get lost but he doesn’t neglect innovation through technology at all. These values are not only important to him regarding fashion, but throughout any cultural and daily issues.
THE MINIMALIST spends money on quality doesn’t follow the seasonal mainstream fashion trends established his own idea of the ideal look likes to dress in his own “uniform” are not concerned with other’s opinions monochromatic cool look and neutral colours
9999
THE PLAYFUL spends money on fashion and design adventurous wants to have fun with fashion sincerely cares about fashion,art, design more layers and colours
100
THE UTILITARIAN
following trends and hypes: street style interested in contemporary art and music, especially hip-hop outgoing and confident
101
doesn’t sell runway pieces
the core collection is almost the same price as the runway most of the styles are not very accessible to purchase
STRENGTHS
becoming too commercial use of occasion: not reduced to certain activities and occasions community: strong internal and external relationship not mainstream: sophisticated niche: high customer loyalty very well received collaborations strong visual impact and signature style distributed in top notch department stores and concept stores strong artistic influence
102
low market presence
WEAKNESSES
distribution channels: no direct e-commerce and retail
OPPORTUNITIES
unique aesthetic getting copied by many emerging designers develop retail stores and e-commerce
oversaturation of the utility style
THREATS
Brexit
create a real community provide mentorship/opportunities for young designers create work that is unique than what is expected to do in fashion
103 103
104
105
106