Fashion Matters by oliviafew

F A S H I O N M A T T E R S

The Now,

The Then,

The Other By Olivia Few

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Fashion Matters The Now, The Then, The Other Olivia Few N0424096 FCP Model Name: Visual Awareness Model Leader: Lucy Norris Reference: FASH10105

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Content Page Introduction: Page 4

Chanel The Now: Page 5-8 The Then: Page 9-13 The Other: Page 14-17

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Topshop The Now: Page 19-22 The Then: Page 23-26 The Other: Page 27-30

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Concluesion: Page 31 References: Page 32-33 Bibliography: Page 34-36 Image References: Page

Introduction The underlying theme, Fashion Matters, is split in to three main elements: The Now, The Then and The Other and this report looks into two brands, one luxury and one high street, and their influences from outside the fashion vertical. The brands Chanel and Topshop both have different stories on how their brands have become what they are today. This report looks at how Chanel’s advertising campaigns reach out to their audience, how her history has influenced the brand, and how Chanel and film work together. It also looks at how Topshop is advanced with technology, how past eras have inspired Topshop’s collections, and how again film plays apart in Topshop’s brand.

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Chanel The Now

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“Chanel’s fashion is the quintessence of elegance”. A fashion designer with anything but a promising background (Fashionista, 2009). When looking at Chanel’s visual DNA, her background plays a huge part in affecting the brand and how it looks today. The Chanel logo goes back to 1913 when she was encouraged by Arthur Carpel to open a shop in Deauville and due to her shop being on the sunny side of the street; Chanel decided to add a wide white awning on which her name stood out in black for the first time (Chanel, 1974). Since then, when the colours black and white are seen they are related with Chanel. Along with this is the simplicity of the logo and the quilted look that the bags have. The simplicity of the logo comes from the style icon herself, Coco Chanel. Chanel was known for her simple yet sophisticated outfits (Coco Chanel Biography, 2012) and wanted to carry this throughout her brand. The quilted bags wouldn’t need a logo for consumers to know who made them as the quilted effect has been especially made for Chanel and you wouldn’t find it anywhere else. All of this affects the brand in a positive way as it gives the brand a narrative and a story, unlike most brands. It gives Chanel a background that defines who it is and where it has come from.

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Chanel’s 2013 advertising campaign, done by Karl Lagerfeld, channels the iconic French true to the country’s history. Lagerfeld based his campaign around Marie Antoinette and dressed model Carla Delevinge in plenty of ruffles and layers to show the true historic time (The Fashion Section, 2013). Shot in Versailles, a French town, brings back Coco Chanel’s history and place close to home.

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Versailles was the only place that made sense to Lagerfeld when it came to shooting this collection as the floral embroidery accented modernized versions of what French nobles wore to the court of Louis XVI, and many of the looks were paired with pastel-coloured flat forms (Fashionologie, 2012). Lagerfeld commented, “I think modernity and classic beauty can be mixed and matched by Chanel,” describing the collection (Vogue TV, 2012).

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Considering Lagerfeld focuses on the future not the past, working for a company such as Chanel is rather ironic as the company relates to Coco Chanel and her past more so than the future. This advertising campaign is one of the ways Chanel incorporates the media to engage with their consumers.

Another way is their television campaign including Brad Pitt. In 91 years the adverts have been created using female models or actresses but for the first time, Chanel believed it was time to bring a man in to promote their Chanel No5 perfume. Andrea dâ&#x20AC;&#x2122;Avack quoted, â&#x20AC;&#x153;We think very much that the perfume is a seduction between a man, a woman and the perfume. No.5 is our leading fragrance, and we are willing to make the investment to keep it on that levelâ&#x20AC;?(Hollywood Reporter, 2012).This keeps the consumers wanting more as Chanel is moving with the times and are not sticking to the past, more so their past. This defines the brand as a whole as it wants to give their consumers exactly what they want instead of just deciding, meaning that their consumers will want to turn and continue to follow the story of Chanel.

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Chanel The Then

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Chanel’s designs have been around for centuries and her original creations made a comeback when the couture house reopened in 1954. Since then Chanel’s collections have been inspired by her past, her relationships, movies, and eras. Chanel’s pre fall 2013 collection was named ‘Dressed to Kilt,’ as Lagerfeld had no other way to describe this collection after he showed it outside of Edinburgh. The inspiration for the collection came from the time Coco spent there with her lover the Duke of Westminster. However, the venue of the show was at Linlithgow Palace, where Mary, Queen of Scots, was born and her tragic life gave Lagerfeld the perfect chance to gloss Chanel’s easy pragmatism with an element of doomed romance, it was a fantastic combination (Style, 2012). Chanel’s relationship with the Duke of Westminster was close to marriage but she was quoted saying, “There have been several Duchesses of Westminster. There is only one Chanel” (Entrepreneur, 2008).

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Chanel’s spring 2011 ready to wear collection was already a thought in Karl Lagerfeld’s mind; for once he hadn’t got his inspiration from a dream. Last Year at Marienbad, the 1960’s film was his choice for this collection. Despite the fact the story has a reputation for the most boring movie made, Lagerfeld and Chanel believed it inspired a ‘breathtakingly surreal setting: a monochrome ornamental garden, complete with fountains, which mirrored one of the film’s most famous scenes’ (Style, 2010).

The film was made in 1961 and took place in a Chateau where an ambiguous story of a man and a women who may or may not have met at Marienbad (IMDb, 2011). When making the film, Chanel was asked to design clothes for the main actress, Delphine Seyrig and due to this the show then echoed them in a final passage of black lace dresses tufted with a coq features (Style, 2010).

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Another collection that relates to Chanel’s past is the brands pre-fall 2009 collection, ‘Pairs Mascou’. This collection was again inspired by her exotic history with men but in this case the Grand Duke Dmitri Pavlovich.

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Triggered by their relationship, the Russian inspired, the Ballets Russes, Constructivism, Byzantine jewellery, and Slavic folklore and the theme gave French embroiders, milliners and goldsmiths the chance to show off their skills (Style,2008). France will a large part of Chanelâ&#x20AC;&#x2122;s life, not only was she born there and grew up there but because that was where the first Chanel shop was opened and where Coco feel in love.

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Launching over 90 years ago, Chanel No5 advertising campaigns have become almost as famous as the fragrance itself (Stylist, 2010). 1921 was a good year for Coco Chanel as after a relationship with Dmitri came to an end, she recovered a degree of serenity that helped her complete one of the most important undertakings of her life, the invention of a perfume that would guarantee freedom.

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The birth of Chanel No5 (Chanel, page 201/2). The models used within the campaigns are all influenced from the women herself. Whether itâ&#x20AC;&#x2122;s from her iconic look or her over the shoulder poses, models Nicole Kidman, Audrey Tatou, Catherine Deneuve and Carole Bouquet all portray Chanel in a different light.

The past has a huge influence on what Chanel does now and by looking at all their collections and perfumes, consumers can build a story, give Chanel a narrative and make it exclusive compared to other brands.

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Chanel The Other

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Fashion within film is an area that Chanel invests highly. A Tail of a Fairy is a 30 minute fashion film that Karl Lagerfeld made for Chanel. The video is showcasing Chanel’s collection, Cruise. Lagerfeld describes the film as, ‘a movie about an ill-advised use of money which begins with violence and ends with feeling’ (Trendland, 2011). Model Freja Beha Erichson takes the role of the fairy in the title and turns real life into a fantasy by the clap of her hands. She tells Kristen McMenamy, the women with money troubles, ‘I am nobody, I can change it all’ (Tail of a fairy, 2012), and within a moment everything is black and white, Chanel’s associated colours. This shows the emotional connection the film has with the brand and its elegance as everything worn is with elite style. The film shows the power behind Chanel and how the collection can be styled with the right accessories, as well as the fantasy world which is created showing their untouchable beauty. Tale of a Fairy gives the Cruise collection a story and a narrative that people of a different demographic may watch to get a better understand of the brand and this specific collection. By being online, it gives Chanel the opportunity to widen their target market as more people have access to the internet as only a select few get to see the runway.

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Chanel was also amongst the 1994 film Pulp Fiction. However, this was not for the clothing or the story but for a nail polish. The colour Rouge Noir is seen throughout the well-known movie and any Chanel viewer wouldn’t even need a look at the bottle before they knew what it was. The polish was not one of the best, it was not very practical but everyone seemed to want it, even to the point that there was a waiting list. Chanel rep Judy Biasalli was quoted, “If I had a penny for everyone that wanted Vamp, I’d be rich. It’s literally flying out of the store.

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In my 11 years with Chanel, I’ve never seen anything like this” (Polish Police, 2012). Chanel is known for creating mini films to show off some of their latest and most inspired pieces. For instance, the little black jacket. Marianna Rothen directed a two and a half minute long film for Chanel called ‘Little Chanel Jacket,’ where viewers see Natalie Joos modelling Chanel get-ups in a variety of hues.

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Joos portrays several Chanel looks from the ‘Little Black Jacket’ exhibit including quick changes a blonde pixie pushing a stroller in a daisy yellow look to a pastel-clad Jackie Kennedy lookalike, and a sunbather pairing a white blazer with a swimsuit and heart-shaped sunglasses (Fashion etc, 2012).

Collaborating with film gives Chanel the opportunity to use an actor/actress or model to blur the lines, build leverages between the medium of music, video and fashion film. It influences Chanel buyers as it gives more to the brand than just the stand catwalk images.

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Topshop The Now

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Topshop has been named the number one retailer for the use of social media including sites Facebook and Twitter. Market researchers conducted a new study to deem which brand was the best at using these sites and due to being marked on the volume of followers and active interaction between the brand and consumer, Topshop came out on top with rival River Island just behind (Retail Gazette, 2010). Topshop currently has 505,154 followers whereas River Island only has 110,556 meaning that there is a mass difference of 394,598 followers showing that Topshop is more advanced in the technology world.

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Topshop is also giving their consumers the most advanced and engaging fashion experience to date. From September 2012, Topshop launched “Customise the Catwalk” which allows viewers of their Unique Spring/ Summer 13 collection the chance to change the colour of key looks and accessories and share them with friends via Facebook moments after they have hit the runway. This experience is all about viewers being able to share their personalised moments with friends instantly via the social networking site.

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Topshop.com are selling everything from the music of the show to the clothes and beauty and sharing them across all platforms. They haven’t just interacted with facebook on this; Twitter has also had a look in with their new “Tweet off ”. This asks people to tweet a review of the collection in just 140 characters and the winning tweet will be given VIP tickets to the next Topshop show (Reveal, 2012).

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This shows that Topshop are trying their hardest to interact with their consumers and give them the best possible involvement they can. This then reflects well on the brand as it will make consumers want to be a part of the Topshop experience and spend more time keeping up to date with their newest looks and information.

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To add to the consumerâ&#x20AC;&#x2122;s experience, Topshop has launched their new location based student campaign with the digital pioneer Scvngr. Consumers have the chance to download the Topshop app and compete in challenges within a 500m radius of any Topshop store. This allows them to earn rewards and gain exclusive offers which will appeal to the majority of Topshop consumers as their target market is 15-30 year olds.

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However, for those consumers who are not students, this app does not really appeal to them as you need a valid student ID number to be able to retrieve the rewards. Also a down side to Topshop having the Scvngr app is the fact it is only compatible with Android smartphones and iPhones currently (Palatinate, 2012). None the less, Topshop still launched this in the hope it will still be popular among those who can access it.

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Topshop has been working with Britain’s leading up and coming designer J.W Anderson on an Ivy Style collection. J.W Anderson has been on the fashion scene since studying menswear at the London College of Fashion, graduating in 2005. His label J.W Anderson launched in 2008 and it was in 2010 that his first men collection was launched (J.W Anderson, 2012). The collection for Topshop was launched in September 2012 and is heavy on the tartans, paisleys, and Breton shirts, as well as Ivy Style standards like varsity jackets, cloth oxfords and kilts (Bullett, 2012). The collection is inspired by youth, pop and subcultures and Topshop have said that they are ‘head over loafers’ playing on the style of the J.W Anderson collection (Topshop, 2012).

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Topshop The Then

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Topshopâ&#x20AC;&#x2122;s Unique collections has only been around since 2005 and has come a long way. 2009s Unique spring collection was inspired by a girl trio called Bananarama. The group were known for their spikey hairdos tied up with big old rags and for dancing around in high waisted jeans. Topshop brought these back to the runway, in spirit at least, with giant bow tied head wraps, the stonewashed demin and all the kitschy fifties influences that fuelled that particular point in the pop history of London music and fashion (Style, 2008).

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Another Topshop collection that has been inspired by the past is their Limited Edition Dresses. This collection is all about the 1920’s fashion and the old school glamour style making the collection luxurious (Topshop 2012). 1920’s fashion was the era of the flapper dresses, the short, flared dresses that rested just below the knee. They were designed to be simple and show a lady of elegance, therefore they would hang loose and quite straight (Glamour Daze, 2010).

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Topshop have captured this look with their elegant maxi style dresses in shades of bronze and peace, as well as their sparkle-covered mini dresses. Topshop’s The Debutante collection is inspired by 1950’s silhouettes. The collection is ladylike but not as Topshop’s consumers know, it is advocating sharply cut co-ords and collars in fabrics fit for a princess.

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The collection is covered in vivid new floral prints and embraces the romance of the 50’s (Topshop, 2012).50’s silhouettes first debuted just before the 50’s in 1947 when Christian Dior launched a collection known as the ‘New Look’ and it showcased full skirts, tiny waists and rounded shoulders, leading women back to femininity again.

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Dior’s designs were more intricate and detailed that the concept behind them was Dior’s believe that women were fed up of the military style uniforms that were adopted in the war years. According Beth Duncuff Charleston from The Metropolitan Museum of Art, “After years of military and civilian uniforms, sartorial restrictions and shortages, Dior offered not merely a new look, but a new outlook.”

The style disappeared for a while but now has returned bouncing back and being accepted by open arms (Fashion Dissection, 2012). Topshop has captured the dainty era of the 50’s and brought back the femininity that Dior intended for this style. This show’s that Topshop likes to re-invite fashion and follow trends making them more accessible for their consumers.

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This then gives the brand a positive effect as giving the consumers what they want will make them want to come back the next season. The brand is giving off a narrative that will inspire consumers to learn about the history of fashion and where Topshop’s collection has come from.

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Topshop The Other

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Topshop uses film to inspire their collections. Factory girl was realised in 2006 and is about the rise and fall of socialite Edie Sedgwick, concentrating on her relationship with Andy Warhol and being a folk singer. It is set in 1965 and this is where Topshop are taking their inspiration for their autumn/winter collection 2012 from. The collection embraces the beehive style hair to fit in with the swinging new season of the 60â&#x20AC;&#x2122;s. The movie has inspired the clothes to include oversized buttons, preppy satchels and traditional dogtooth prints paying attention to detail, being able to set off the classic boyish crombies and roll neck sweaters (Topshop, 2012). The influence of collaborating with this movie adds power to the collection as it allows Topshop to widen their audience to people who like to dress in the 60â&#x20AC;&#x2122;s style.

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Topshop have produced a stunning fashion film in the aid of celebrating 10 years of working with NEWGEN and collaborating with emerging British talent. NEWGEN/TEN is from the British Fashion Councilâ&#x20AC;&#x2122;s NEWGEN theme that Topshop sponsor. The film stars model, Karlie Kloss who wears past designers who have collaborated for Topshop including, David Koma, Richard Nicoll, Meadham Kirchhoff, Christopher Kane, Marios Schwab, Mary Katrantzou and Ashish and is directed by SHOWstudio founder Nick Knight (British Fashion Council, 2012).

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The film brings together the very best of ten years of talent, showcasing garments from the one-off collections created for Topshop and styled by Topshop Creative Director Kate Phelan (Show studio, 2012). The film is also been shown at Somerset house throughout fashion week, oxford circus flagship and selected London undergrounds. This gives a connection between Topshop and their consumers as they are allowing the film to been shown in multiple areas that their consumers can access.

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For the current Christmas period, Topshop realised its first ever short film for their Christmas campaign. Kate Bosworth is the face and voice for the film, in which she sings the festive song Winter Wonderland, directed by her fiancĂŠ Michael Polish. Michael was inspired by a performance from Michelle Pfeiffer and her famous piano scene in the film The Fabulous Baker Boys. This lead Bosworth to be seen standing on top of a grand piano, where she is seen wearing a custom made red shimmering dress that she created alongside the Topshop design team (Vogue, 2012). With Topshop borrowing from a neighbouring cultural vertical helps the brand expand its retail platform and shows that they can use different forms of technology to get their brand out to the consumers.

Conclusion Overall, both brands have been influenced by the past hugely and this has effected how their run. Chanelâ&#x20AC;&#x2122;s main influence is from Coco Chanelâ&#x20AC;&#x2122;s past, whereas Topshopâ&#x20AC;&#x2122;s is influenced from different eras. Chanel uses the past to create their advertising campaigns as well as their designs showing just how influential Coco Chanel was. Topshop uses different eras to design their collections and then uses this to make their campaigns. Topshop are very advanced when it comes too technically and are keeping up to date with what will make their consumers want more. Film is becoming big in the fashion industry and many brands are collaborating with film to help improve and show their collections off. Both brands will head forward to the future with the same concept that they have now and will continue to use the past to better their brands.

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Harvard Referencing

Chanel

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Topshop

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