Visual Report - Vivienne Westwood x Print & Motif x Event (First Year Summative)

SUMMATIVE PROJECT VIVIENNE WESTWOOD PRINT AND MOTIF EVENT

1

Summative Visual Report

Megan Rodger N0782201 Fashion Communication & Promotion FASH10105

2

CONTENTS 4.

Trend Stroy: Print & Motif

8.

Brand: Vivienne Westwood

14.

Outcome: Event

18.

Ideas

20.

Concepts

22.

Outcomes

24.

References

3

Trend Story: Print and Motif Prints and motifs can be seen dating back as early as the 1850’s in the UK, with checkered patterns, floral motifs and stripes being used amongst elaborate and exquisite dress designs for women. Although, in recent reinterpretations of this trend, checks as well as stripes have been deemed as commonplace and this style has been subverted and ‘elevated to statement-making prints that transform summer basics into directional, must-have pieces for spring’ (WGSN, 2018).

Fig 1.

Summative Visual Report

Fig 2.

4

Another current reinterpretation of this trend story is the use of tie-dye prints, tropical motifs and primary blocking patterns.

It can be noted that an obvious inspiration for this update is the trend from the eighties. This emphasises that ‘visuals go in waves but even though many exist, one just becomes more dominant than the other’ (Lindsay, Wolfflin, 1999) and become the Zeitgeist of that era.

One influential for the design of prints and motifs is nature, seen through the use of animal prints such as snake, leopard and zebra which, when worn, could connote feistiness, boldness and wild behaviours. Juxtaposing this, landscapes and floral motifs are often used in fashion and these create a soft, delicate tone when seen in fashion with a more uplifting mood created.

Similarly, it’s clear that fine art has an influence on motifs as well as architecture, which can be seen in certain brand collections.

Fig 3.

Fig 4.

Fig 5.

Fig 6.

5

“Prints are not a recent trend for me, they have been a distinctive characteristic of my collection from the beginning�

Summative Visual Report

(Consuelo Castiglionli, Marni)

6

Fig 7.

Fig 8.

7

Westwood eventually became a fashion designer in her own right and started producing pieces for catwalk shows and to sell in stores. At this point it was clear that Westwood’s design and styling had gone off in a slightly different direction but the initial unorthodox and rebellious standpoint she had can still be seen today.

Fig. 9.

In the beginning of Westwood’s career, she showed favouritism to the punk period in the late 1970s and, after studying street fashion in this time of youth rebellion, reflected this attitude by making clothes from leather, rubber and bondage to heighten the use of a rebellious trend story. In this time, Westwood was working alongside Malcom McLaren and it was noted that “McLaren and Westwood… were part of a movement” (Peter York, Kanopy, 1990). This became apparent after producing these rebel pieces and selling them in store, communicating the concept of ‘Punk Rock’ which was popularised and escalated further alongside the production of punk rock music.

Summative Visual Report

Brand: Vivienne Westwood

“overnight went from dressing like a child to a woman” - Vivienne Westwood Fig 10.

8

Fig 11.

“When I was absolutely mad about fashion was the period from about 14 when, almost overnight, instead of being dressed like a child, I became dressed like a women�

- Vivienne Westwood (1990) 9

One purpose clear from Westwood’s designs and her brand image is that she wanted consumers to feel confident and for ‘“people to use their bodies and be proud in their clothes”’ (Valerie Mendes, Kanopy, 1990). (Westwood, V. and Krell, G., 1997) also said that Vivienne Westwood customers feel ‘completely transformed: proud, noble, beautiful and confident’ when they’re wearing clothing from her brand. Alongside this body positivity, Westwood has also ‘“spent an increasing amount of time championing the political issues that have come to define her work”’ Fig 13. Climate Revolution

Fig 12. Vivienne Westwood SS 19 Collection

(YouTube, i-D, 2016) using her influential authority to try and make positive changes as Westwood has claimed that she’s ‘“the only fashion designer who really cares so much to analyse what they do in broader cultural terms”’ (Westwood, Kanopy, 1990).

Summative Visual Report

Fig 14. Climate Revolution March

10

Fig 15.

Fig 16.

VIVIENNE WESTWOOD X BURBERRY

Fig 17.

Fig 18.

11

Summative Visual Report

CONSUMER

PR O F I L E

12

13

Summative Visual Report

14

Fig 19.

O U T C O M E V E N T

Events put on to market brands are typically one-off but extravagant and memorable experiences relevant to the brand image, often to endorse a new collection, store or just reinvent the brand. Some examples include pop up shops, interactive experiences and fashion shows but they ‘can tend to be more conceptual and focused on a higher level idea’ (He Spoke Style, 2016) than just selling the product.

These benefit brands as they create interaction and engagement with their consumer. If the event is a success, it should promote the brands desired image and attitudes, as well as provide the consumer with a positive experience that they can then associate with the brand. ‘Statistics show that event marketing is one of the most efficient strategies to increase consumer loyalty’ (Corsini Events, 2017) If a consumer hasn’t been able to attend an event themselves, it’s likely that it will be publicised further for others to understand what happened. This has been made even easier with social media, as people can take photographs, film and write about what they have experienced first hand.

This is often the case for celebrities and influencers when they attend events, if they’re given the responsibility to promote and publicise what they’re experiencing from the brand to their audience.

Again, this is typically through a social media platform, increasing the breadth of reach the event can have. Although, this could cause limitations as the events may feel exclusive of ‘normal’ consumers, with only a select group of people being invited to the event.

15

Fig 22.

Summative Visual Report

Fig 21.

Fig 20.

Fig 23.

16

Fig 24.

Fig 25.

Fig 26.

17

Fig 27. Sketchbook,

Fig 28. Sketchbook,

Summative Visual Report

IDEAS

18

Fig 29.

19

Summative Visual Report

Fig 30.

Fig 31.

20

S/S19: Time To Change. An Interactive Event To Highlight Current Social Issues & Create Sustainable Fashion.

21

Fig 32.

Summative Visual Report

CONCEPTS

Fig 33.

22

Fig 34.

- Shows consumers the effects the fashion industry has on the environment (something Vivienne Westwood is aware of within her brand) - An attempt to do something about this issue by creating a collection that is more sustainable and eco-friendly with 3D printing - Interactive and sensory event which should make it more engaging and memorable for each guest (‘ball pit’ area full of leaves and waterfall corridor to represent how much water/many trees are used within fashion - Displays and sells the S/S Print & Motif Collection at the end of the event ‘journey’ with a shop containing the collection - Can move from city to city, as it’s like a pop up event, meaning it can have a global reach - Own customisation area where guests can use 3D printers to design, create and take home their own scarf

23

My outcome is an interactive event where Vivienne Westwood customers and celebrities/influencers are invited to take a journey to understand the damaging effects of fast fashion consumption and to see how the brand is making a start to resolve this. I wanted an interactive event as I felt this hadn’t been attempted by the brand before and it will create a personal engagement with consumers.

Summative Visual Report

The ‘journey’ begins with each guest having a virtual reality headset, placing them into the vision of destruction caused by the fashion industry. This is later represented by three sensory rooms: one full of leaves to show the scale of trees cut down each year for our clothing (120 million trees = 120,000 leaves), another with waterfalls displaying the 2720 litres of water used to make one t-shirt (stating how long it takes for this much water to fall) and a quilted wall of recycled fabrics to represent the amount of clothes we throw away. Guests then use tablets to customise the colour and motifs of their own Vivienne Westwood scarf, printed in front of them with 3D printers, that they can keep.

In addition, there will be a shop which holds the Vivienne Westwood S/S 19 collection, designed with the current print and motif trend in mind.

This collection is also made with 3D printers to reduce fabric waste, consumption of commodities and environmental harm but still allows consumers to keep up with trends by launching and promoting this alongside the event.

OUTCOMES 24

25

References Corsini.Events. (2017). Fashion and Luxury: Events Are Key to Enhance Brand Identity - Corsini.

Events. [online] Available at: https://corsinievents.com/en/dreamseriously/news/fashion-luxury-events-brand-identity/ [Accessed 4 Jan. 2019].

He Spoke Style. (2016). What Is The Purpose Of A Fashion Show? - He Spoke Style. [online] Available at: http://hespokestyle.com/mens-style-advice/fashion-show-purpose/ [Accessed 3 Jan. 2019].

Kanopy, Musik, A. (1999). Vivienne Westwood. [online]Available at: https://ntuuk.kanopy.com/video/ vivienne-westwood [Accessed 15 Dec. 2018].

Lindsay, J. (1999). Review: Heinrich Wölfflin’s Principles of Art History. [online] OOCities. Available at: http://www.oocities.org/athens/acropolis/1348/Wolfflin.pdf [Accessed 14 Dec. 2018].

Westwood, V. and Krell, G. (1997). Vivienne Westwood: Fashion Memoir. London: Thames and Hudson.

WGSN.com. (2018). Key Prints & Patterns S/S 19. [online] Available at: https://www.wgsn.com/content/board_viewer/#/80003/page/1 [Accessed 17 Dec. 2018].

Summative Visual Report

YouTube. (2016). i-Cons: Vivienne Westwood. [online] Available at: https://www.youtube.com/ watch?v=ECZJE16uyPw [Accessed 27 Dec. 2018].

26

Illustrations Front & Back Cover. Avaliable at Fig 1. Unknown by Anon (Date Unknown). Avaliable at http://www.victoriana.com/library/Timeline/1850s. htm [Acsessed 8 January 2019] Fig 2. Fogg, M. (2006). Print in Fashion, London. p.85. [Accessed 13 December 2018] Fig 3. Gingham Print (Edited) Avaliable at https://www.etsy.com/uk/listing/474462855/cherry-red-large-gingham-print-cardstock [Accessed 5 January 2019] Fig 4. Geometric Print (Edited) Avaliable at https://www.bobbinsnbuttons.co.uk/shop/geometric-print-cotton-lawn-woven-fabric/ [Accessed 5 January 2019] Fig 5. Floral Print (Edited) Avaliable at https://closet.gwynniebee.com/collections/dresses/products/gilli-shortsleeve-fit-and-flare-dress-in-blue-floral-print[Accessed 5 January 2019] Fig 6. Leopard Print (Edited) Avaliable at https://www.theodysseyonline.com/what-every-leopard-leopardprint-lover-needs-to-know [Accessed 5 January 2019] Fig 7, 8. Print and Motif Research, Own Work and Photography. Avaliable in Sketchbook Fig 9, 10. Vivienne Westwood Research, Own Work and Photography. Avaliable in Sketchbook Fig 11. Vivienne Westwood. Avaliable at https://www.yahoo.com/news/vivienne-westwood-documentary-being-released-191005113.html [Accessed 28 December 2018] Fig 12. Vivienne Westwood, Vogue (2018). Avaliable at https://www.vogue.co.uk/shows/spring-summer-2019ready-to-wear/vivienne-westwood/collection [Accessed 10 January 2019] Fig 13. Vivienne Westwood X Lush, Climate Revolution (2013). Avaliable at http://kenderasia.com/vivienne-westwood-climate-revolution-lush/ [Accessed 10 January 2019] Fig 14. Vivienne Westwood Climate Revoltion Protest (2015). Avaliable at https://remake.world/stories/news/ vivienne-westwood-denounces-her-new-documentary-for-not-telling-her-activist-story-but-do-her-actionsspeak-as-loud-as-her-words/ [Accessed 4 January 2019] Fig 15, 16, 17, 18. Vivienne Westwood X Burberry Collection (2018) Avaliable at https://www.vogue.co.uk/ gallery/burberry-vivienne-westwood-collaboration [Accessed 28 December 2018] Fig 19. Victoria’s Secret Fashion Show (2018) Avaliable at https://meaww.com/victorias-secret-fashion-showholiday-special-2018-everything-you-need-to-know [Accessed 2 January 2019] Fig 20. Moschino McDonalds Inspired Collection (2014). Available at https://www.vogue.com/fashion-shows/ fall-2014-ready-to-wear/moschino [Accessed 3 January 2019] Fig 21. McDonalds Logo. Avaliable at https://www.freepnglogos.com/logos/mcdonalds-png-logo [Accessed 3 January 2019] Fig 22. Moschino Logo. Avaliable at https://www.esaboutique.net/en/brands/moschino/ [Accessed 3 January 2019] Fig 23. Moschino McDonalds Inspired Collection (2014). Available at https://www.vogue.com/fashion-shows/ fall-2014-ready-to-wear/moschino [Accessed at 3 January 2019] Fig 24. Nike Pop Up Shop (2017) Avaliable at https://virtulabs.com/portfolio/nike/ [Accessed 10 January 2019] Fig 25. Clarins Pop Up Experience (2016) Avaliable at http://jameskar.co.uk/the-clarins-urban-oasis/ [Accessed 10 Januay 2019] Fig 26. Rockart Interactive Product Launch- (2017) Avaliable at https://rockartdesign.com/gallery/events/interactive-product-launch-2017/ [Accessed 10 January 2019] Fig 27, 28. Ideas Research, Own Work. Avaliable in Sketchbook Fig 29. Green Peace Campaign (2017) Avaliable at https://www.independent.co.uk/life-style/fashion/environment-costs-fast-fashion-pollution-waste-sustainability-a8139386.html Fig 30, 31, 32, 33, 34. Mindmaps and Concepts Moodboards, Own Work. Avaliable in Sketchbook Fig 35.

27

Bibliography Corsini.Events. (2017). Fashion and Luxury: Events Are Key to Enhance Brand Identity - Corsini.

Events. [online] Available at: https://corsinievents.com/en/dreamseriously/news/fashion-luxury-events-brand-identity/ [Accessed 4 Jan. 2019].

Dazed. (2018). Kate Moss fronts the new Vivienne Westwood & Burberry campaign. [online] Available at: https://www.dazeddigital.com/fashion/article/42502/1/kate-moss-vivienne-westwood-burberry-riccardo-tisci-collection-david-sims [Accessed 2 Jan. 2019].

Eventbrite UK Blog. (2019). 12 Examples of Brand Promotion to Build Your Brand - Eventbrite. [online] Available at: https://www.eventbrite.co.uk/blog/promotional-events-to-build-your-brand-ds00/ [Accessed 5 Jan. 2019].

Fabrikbrands.com. (2019). Quintessentially British Brands: Vivienne Westwood, From Punk To Style To Symbol. [online] Available at: http://fabrikbrands.com/quintessentially-british-brands-vivienne-westwood-brand/ [Accessed 21 Dec. 2018].

Fogg, M. (2006). Print in Fashion. London: B T Batsford.

Gwyneth, M. (2012). NTU Single sign-on - CAS – Central Authentication Service. [online] Ebookcentral.proquest.com. Available at: https://ebookcentral.proquest.com/lib/ntuuk/reader.action?docID=4948133 [Accessed 17 Dec. 2018].

He Spoke Style. (2016). What Is The Purpose Of A Fashion Show? - He Spoke Style. [online] Available at: http://hespokestyle.com/mens-style-advice/fashion-show-purpose/ [Accessed 3 Jan. 2019].

Issett, R. (2007). Print, Pattern and Colour. London: Batsford.

Lindsay, J. (1999). Review: Heinrich Wölfflin’s Principles of Art History. [online] OOCities. Available at: http://www.oocities.org/athens/acropolis/1348/Wolfflin.pdf [Accessed 14 Dec. 2018].

Mulvagh, J. (1998). Vivienne Westwood. Suffolk: Harper Collins Publishers.

Kanopy, Musik, A. (1999). Vivienne Westwood. [online]Available at: https://ntuuk.kanopy.com/video/ vivienne-westwood [Accessed 15 Dec. 2018].

Newbold, A. (2018). Buy Less, Dress Up – Vivienne Westwood Decodes Her SS19 Collection. [online] Vogue.co.uk. Available at: https://www.vogue.co.uk/gallery/vivienne-westwood-spring-summer-2019 [Accessed 7 Dec. 2018]. now.ntu.ac.uk. (2018). [online] Available at: https://now.ntu.ac.uk/d2l/le/content/553955/Home [Accessed 15 Dec. 2018].

Teller, J. and Westwood, V. (2008). Vivienne Westwood - Spring Summer 2008. Göttingen: Steidl.

Vogue. (2014). Moschino Fall 2014 Ready-to-Wear Fashion Show. [online] Available at: https://www. vogue.com/fashion-shows/fall-2014-ready-to-wear/moschino [Accessed 16 Dec. 2018].

Westwood, V. and Krell, G. (1997). Vivienne Westwood: Fashion Memoir. London: Thames and Hudson.

WGSN.com. (2018). Key Prints & Patterns S/S 19. [online] Available at: https://www.wgsn.com/content/board_viewer/#/80003/page/1 [Accessed 17 Dec. 2018].

Summative Visual Report

WGSN.com. (2018). Imaginary Spaces. [online] Available at: https://www.wgsn.com/content/board_ viewer/#/81669/page/1 [Accessed 4 Jan. 2019].

Word-of-Mouth and Referral Marketing Blog. (2019). Fashion Marketing Examples: 25 Successful Strategies From The Fashion Industry - Word-of-Mouth and Referral Marketing Blog. [online] Available at: https://www.referralcandy.com/blog/fashion-marketing-examples/ [Accessed 3 Jan. 2019].

YouTube. (2018). BUY LESS, DRESS UP | Vivienne Westwood SS19 Film. [online] Available at: https://youtu.be/Cm4KN0QmYdY [Accessed 28 Dec. 2018].

28

29

30

Summative Visual Report