Fashion Matters: The Now, The Then and The Other. by Rachel Eades

FFASH iON MATTERS R

THE NOW THE THEN & THE OTHER

RACHEL EADES

RACHEL EADES S T U D E N T N U M B E R : N0418597 FASHION COMMUNICATION AND PROMOTION YEAR1 MODULE:VISUAL AWARENESS MODULE LEADER:LUCY NORRIS FASH10105

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THE NOW MARC JACOBS & ZARA

rom being sacked for his 1992 “grunge” collection from Perry Ellis, to creating adverts with models

seemingly deranged; it could be argued that Marc Jacobs is one of the most innovative and witty designers in the fashion design game today. Besides his work as Creative Director at the French fashion house Louis Vuitton, he continues to build on his own personal brand, Marc Jacobs. The brand includes Marc by Marc Jacobs, a diffusion line, and Little Marc, a children’s line. Jacobs uses non fashion-related projects to introduce his company to new audiences, for example he has opened a number of book shops in New York and London entitled ‘Bookmarc’, and runs a skin cancer awareness campaign, “Protect the Skin You’re in”.

In recent years, the global luxury industry has found new and exciting ways to persuade and reach consumers through new technology (Marketing Week, 2012: Online). In September 2012, Jacobs requested his fans upload amusing “old school” photos to Instagram, along with Jacobs’ page tagged in the caption; the most amusing photo’s sender would then receive a prize. The contest was a cost-effective way of attracting and interacting with potential consumers, aside from using the app to showcase the Marc Jacobs brand. Additionally, followers who have posted family photos with the hashtag #marcfam have had their images featured on the brand’s official website; thus encouraging more people to view the site and, as a consequence, increasing its web traffic.

Frequently, when a consumer purchases an item from a

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luxury brand, they are not solely buying the product, they are also buying an identity (Hines, 2001). As head designer, Jacobs aspires to generate his customers’ desires into needs; reaping media exposure, particularly through advertising, is crucial for him to achieve his aim. For over a decade Jacobs has collaborated with photographer Jeurgen Teller. Teller’s extremely distinctive and raw visual style is reminiscent of Corinne Day’s photographs from the 90s (The Guardian, 2010: Online), with its vulnerable quality adding to the authenticity of the Marc Jacobs brand. Both photographers inject personality and humor into their images, thereby creating a more personal connection with the viewer. Teller tends to capture the models, clothes and textures in an offcolour and dramatic shot, projecting the product forward as well as focusing on body language. When it comes to marketing a fashion product, one thing’s for sure: celebrity sells (Craik, 2009). Teller’s models have included Sofia Coppola, Rufus Wainwright and Victoria Beckham. Celebrity endorsement contributes to sustaining the brand’s aura and creates fig 2

global awareness, providing the chosen celebrity will compliment the brand. Advertisements are an indication of a direct connection between the brand, its products and the celebrity; It is clear that Marc Jacobs understands his audience will covet the items of clothing their idols are seen wearing, as the products provide the customer with a glimpse of the larger lifestyle they desire. The use of celebrity also comes through within Jacobs’ collections: for example the S/S 2011 collection is extremely reminiscent of Patricia Field’s styling for Sex and the City (Tungate, 2009). This show convinced designers and image makers alike that the public relate more to the perceived authenticity, which is simultaneously mirrored in the vulnerable quality of Marc Jacobs’ advertisements.

ZARA S

ince Zaraâ&#x20AC;&#x2122;s launch in 1975, it has become one of the m most sought after high-street stores to date. Unlike similar brands such as H&M and Topshop, Zara focuses on the clothing designs and in-store experience as the principal appeal to consumers, spending only 0.3% of sales on advertising per year compared to its competitors, who on average will spend around 3.5% (Tungate, 2009). When you think of a Zara store, minimalism always springs to mind. The stores present an evident

â&#x20AC;&#x153;visual languageâ&#x20AC;?, in which the elements include plain white walls, scenic lighting and visual merchandising featuring mannequins against neutral backdrops (Erco, 2012: Online); all contributing to the consistency of the brand as a whole. Additionally, Intidex ensures the stores are always in prime locations, emphasizing their desire to be considered a more upmarket and exclusive brand.

The brandâ&#x20AC;&#x2122;s extremely impressive turnaround time, quick response policy and just-in-time manufacture aim to popularize fashion by taking the most recent trends off the runway and generating them into affordable items in their stores; Zara thrives off the idea that their clothing is affordable, yet appears to be the same quality as a luxury brand (Thompson, 2012: Online). Customer-orientation is a large part of the Zara concept, an extremely efficient logistics system enables store managers to quickly communicate with designers and request specific garments that are on high demand, and thus each store is tailored to its own customer base.

Zara brings the power of advertising into

Justin Cooke as their new Chief Marketing

question. Their lack of communication within

Officer to assist plans to turn itself into a global

the media proves that a brand is able to lead

brand (Marketing Magazine, 2012: Online).

without drastically using advertisements to

Having previously been vice-president of public

persuade consumers to buy their products; as

relations at Burberry for 7 years, this could

opposed to Marc Jacobs and other fashion brands

suggest that Topshop may increase its use of

that rely on the media to continue their global

public relations as a central promotional tool,

success (Tungate, 2009). Although Zara largely

instead of print and digital advertisements .

avoids promoting itself, the brand has gained

Zara is therefore at the forefront of progression

enormous media coverage from online bloggers,

within the fashion industry, as they already

celebrity fans, and online magazines, which all

disregard advertising as a key instrument of

contribute to its widespread recognition and

their brand strategy.

enable its products to remain highly desirable (The Atlantic, 2012: Online). For Zara to become

The success of Zara’s distribution strategy is

fully established as a global brand, however,

also triggering other high-street brands, such as

Zara may need to alter some of their promotional

H&M and Gap, to follow in its “fast fashion”

aspects so consumers are more exposed to their

footsteps (Lopez, 2009: Online). Furthermore,

products and brand identity.

luxury brands now have around 4-6 collections per year, suggesting the importance of rapid

It appears that with the growth of social media,

progression within a fashion brand to be

consumers are trusting advertising less and are

credible within today’s society, an aspect of a

more influenced by online word-of-mouth and

brand strategy that Zara most certainly do not

customer recommendation. Due to this recent phenomenon, many companies are looking at other ways to promote their brand, for example in 2012 Topshop recruited

need to be concerned about. (Tungate, 2009).

THE THEN GIVENCHY & AMERICAN APARREL

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GIVENCHY

there’s one designer that is able to

use of androgyny; bringing a sense of

echo themes and concepts of the

consistency to the brand as a whole.

past, yet still incorporate a modern sense of progression within their work,

Tisci has stated on the link between

it is Riccardo Tisci. Since being handed

his childhood and design aesthetic "I

the reigns of the Givenchy fashion house

try to destroy taboo in fashion—which

in 2006, Tisci has infused the brand with

is something I learned as a kid. I come

his precision and imagination, whilst

from the street, and you have to be a

still remaining true to the elegance and

survivor" (Elle, 2012: Online). His

femininity of the work of the original

upbringing has influenced a lot of his

founder, Hubert de Givenchy.

work, for example the S/S 2012 menswear collection features surfer-like clothing.

In Givenchy’s recent S/S 13 collection

According to Tim Blanks, Tisci dreamed

“Back to the roots”, Tisci fiercely

of becoming a surfer, and so the

reinvents a combination of his own

menswear collection represents the

Italian Catholic heritage and Parisian

regeneration of his childhood fantasy

couture of the 1950s and 60s. The fabrics

(Style.com, 2011: Online). This dream is

and textures arcanely echo elements of

likely to have begun in his hometown of

Hubert de Givenchy’s creations, for

Taranto, Italy. Mythically, Taranto is

example the iconic 1950s ‘Bettina Blouse’

connected with mermaids and marine

is mirrored in the minimalistic ruffles

life, which have also been reflected in a

featured in the dresses, describe by

number of Tisci’s collections.

Nicole Phelps for Style.com as “angel’s wings”, however the collection is not a replica of the past. Instead, Tisci has revitalized the idea of “elegance”, often associated with Hubert’s muse Audrey Hepburn, in a contemporary approach to “the roots of the house”, and thus appropriately reflecting current trends whilst tapping into the brand’a heritage. Tisci’s religious upbringing and consequent obsession with gothic touches is addressed through priest-like collars and bishop sleeves, demonstrative of church vestments (Style.com, 2012: Online). Whereas the monastic use of black and white recollects Hubert’s classic and simple designs of the 1950s and 60s, such as the iconic Little Black Dress worn by Audrey Hepburn in “Breakfast at Tiffany’s”. In addition to this, elements of Tisci’s Catholic upbringing and Gothic interest can be traced through all of his collections to date. The designer is able to mirror elements of the brand with Gothic concepts, for example transgressing boundaries through the

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Givenchy’s F/W 2012 collection defines sportswear with a frivolous twist. The collection strongly references horse riding and equestrian outfits of the past, particularly from the 1800s, and thus feeding off the idea of reinvention within fashion. Guiding the design of the structured leather dresses and coats is evidently women’s redingotes; a type of coat worn for riding in the nineteenth century. The use of leather brings across a dramatic edge, and the collection as a whole conveys the personality of an innocent, yet strong and dominant female, a view which the audience may adopt towards the brand’s individual style. It should be noted that as the runway show continued, less flesh was shown, supporting the idea that fashion is a creative process of representation of identity. It could also illustrate how women’s attitudes have changed, since feminist views are much more prominent in society today, compared to the nineteenth century when the original redingotes were worn. The collection also draws on the frivolity of French Photographer Guy Bourdin’s aesthetics. Bourdin’s visual storytelling often lures the viewer with scenarios surrounding violence and illicit sex (Ginberas 2006). Tisci thrives off elegance and classicism, yet he employs more erotic messages in order to sustain a modernity and audacity within the collections. Sensuality has featured in Givenchy’s collections since Alexander McQueen stamped his mark on the brand in 2001 (Understanding Fashion, 2012: Online), signifying a sense of progression since the Original Hubert de Givenchy had control.

The models wear satin ribbons tied around their necks, bringing a direct link to the eroticism featured in Bourdin’s photographs, for example many of his adverts for Charles Jourdan portray women’s bodies simultaneously as a sexual objects. The hinting towards violence and women being objectified as “possessions” lends a somewhat religious ecstasy to Givenchy’s collection. Tisci transgresses boundaries in that he counteracts the predominance of Catholic motifs, for example the use of a medieval organ in a runway show, with anti-catholic concepts of sexuality and violence.

AMERICAN APPAREL The simplicity, angularity and abstraction of the Bauhaus movement is vividly echoed in American Apparel’s fresh mentality as a brand; through the shared judgement that form always follows function (Lupton, 1993). American Apparel understands that with simplicity comes speed, bringing the brand to focus on the product, stripped down to the bare essentials and with a basic but captivating message behind the product to draw in a customer. The Bauhaus “turned art and design into philosophy and social action”(Ridgway, E, 2012: Online), American Apparel mirrors this concept through projects that work towards freedom and quality, such as Legalize Gay.

uxtaposing the functional and modern mentality behind the

brand; American Apparel clearly draws on the 1980s, one of the most notorious decades in terms of creativity. Fashion was going through a revelation, with people searching for their own individual style in order to express their individuality (Harpers Bazaar, 1990: Online). It was the birth of candy bright pastels, fluorescent leg warmers, shiny hot pants, oversized tops and

pretty much anything that was bold and excessive; all of which has a strong visual echo in the shape and design of American Apparel clothing.

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side from fashion, Pop-Culture was a phenomenon increasingly growing in popularity in the 1980s, in particular Patrick Nagel’s illustrations. His distinctive signature is so iconic that it continues to contribute to the creative industries today; and the American Apparel adverts are somewhat a reinvention of his work. Not only do the clothes typically worn by the “Nagel Woman” (Anon, Patrick Nagel Website) strongly resemble American Apparel clothing , but the minimalist and sensual attitude amplified by the illustration can be visually linked to the brand’s advertisements. The focal point of both the illustrations and advertisements appears to be on the beauty of the human form, with American Apparel advertisements constantly radiating sex appeal. Nagel’s work has a geometric simplicity that removes details until left with the essentials, adopting a minimalism that is appreciated by American Apparel; a brand that thrives off the idea that we live in a society that ultimately desires less.

RETAIL E

XPERIEN

THE OTHER RODARTE & UNITED COLORS OF BENETTON

RODARTE

ince they first appeared on the fashion scene in 2005, the Mulleavy sisters have made their love of film and cinematography clearly shine through many of Rodarte’s breathtaking collections. Tending to steer clear of the archetypal classic films that designers continue to return to, the designers have drawn from various genres of film, including Walt Disney’s Sleeping Beauty, Baz Luhrman’s Australia and the work of Japanese

Rodarte’s Fall 2011 collection clearly cited one of the most influential films of the 20th Century, Terrence Malick’s “Days of Heaven”. Malick distinctly wanted the placid images of nature to drive the emotion behind the narrative(Schager, 2007: Online); much like the Mulleavy sisters do through the collection’s visual aesthetic: the texture, color and shape of the designs enable the audience to create their own visual story. On the whole, the collection focuses on simplicity, with a muted colour palette and geometric patterns complimenting the silk chiffon gowns and clean lines. The use of brown, cream, grey and blue form a direct link to the natural landscape of the American Plains within ” Days of Heaven” (Style.com, 2011: Online), the collection could almost be a set of costumes for the film. A small part of the collection, however, references The Wizard of Oz, with jackets, skirts and shoes featuring crimson sequins, the dramatic change in design suggesting a twist in the narrative behind the collection.

Having admitted to spending an entire year watching horror films in search of design inspiration, the Mulleavys’ fascination with the genre has filtered through a number of their collections. The designers’ evident understanding of the dark undercurrents of beauty was acknowledged in their Spring and Fall 2008 collections, predominantly drawing on Kabuki theatre and the work of various Japanese directors. Fall 2008 directly references JiWoon’s A Tale of Two Sisters; with black and white “slasher” dresses featuring splatters of red, making a distinct comparison to the film’s cover image. By visually tapping into certain elements of Japanese horror through the use of texture and colour, the story behind the collection becomes associated with similar themes. For example the Fall 2008 designs hint towards aspects of eroticism and precognition, both of which predominantly feature within the films that inspired the collection. Aside from Japanese horror, the sisters have also cited James Whale’s Bride of Frankenstein and Tim Burton’s Edward Scissorhands within their collections.

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Aside from film being a source of inspiration for fashion collections; in recent years fashion has become a medium for film itself. With the internet being easily accessible, fashion within film can receive widespread media attention through blogs and social media websites; its viral potential is a costeffective way of connecting with the brand’s target market. This is demonstrative of Rodarte’s Spring 2011 short film ‘The Curve of Forgotten Things’, starring Elle Fanning. Creating the atmosphere of 1970s Northern California, the use of celebrity also enables the brand to communicate with those who the brand is not targeting, thereby contributing to the public’s familiarity with the brand (Doran, 2012). Additionally, in 2011, the design duo were provided with the opportunity to design a number of costumes for Darren Aronofsky’s horror-tinged thriller Black Swan. This project enabled them to translate the dark, gothic elements of their own collections into a series of fairytale, ballet-inspired outfits (The Telegraph, 2010: Online). The box office success of Black Swan increased fig 7

Rodarte’s global recognition, signifying the importance of film as a key promotional tool in modern society.

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UNITED COLORS OF

BENETTON It

cannot be denied that United Colors of Benetton has e

The shock tactics behind the advertising strategy

endured much criticism over their scandalous

associate the brand’s products with a certain philosophy;

advertising campaigns over the past three decades. From

consumers do not solely purchase an item of clothing, they

his first collaboration in 1982 until his resignation in 2000,

tap into a perspective on social, political and

photographer Oliviero Toscani’s exploration of

environmental issues, such as racial integration, death,

sociopolitical issues within the brand’s marketing

child labour and war (Ganesan, 2002: Online). Benetton has

strategy clearly placed the Benetton group on the fashion

often adopted extreme realism into their campaigns to

map. Since Toscani’s departure, the brand’s decision to

emphasize that the brand is relevant to current society,

largely avoid such tension-filled issues within their

symbolizing a sense of progression that parallels the

campaigns in favor of more stereotypical, product-based

progression of issues arising in Politics and Society.

advertisements has failed to generate a significant sales

Particularly in the 1990s, bold risks were taken through

increase. This suggests it is almost a requirement to

the portrayal of insensitive images such as a terrorist car

create controversy in order to maintain publicity and

bombing, the bloody clothing of a soldier and a suffering

global recognition.

AIDS patient (Craik, 2009).

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The slogan “United Colors of Benetton” originated from the phrase “Tutti i colori del mondo”, which featured in Toscani’s initial collaboration with the brand. The slogan is fitting to the colorful clothing as well as their brand identity, which thrives off equality and cultural diversity, often featuring people of different cultures within their campaigns. One of Toscani’s earliest campaigns for Benetton featured two young girls, one white and one black, embracing each-other. The white girl appears angelic, with rosy cheeks and well-done hair, yet the black girl’s hair appears spiked up, resembling the horns of a devil. The image aims to create a “uniting” effect, however the initial message is easily mislead due to the separation of colours into good and evil (Ganesan, 2002). Although Benetton should be commended for challenging racist attitudes, certain images cast doubt on the suitability of employing delicate socio-political issues to promote their clothing; although controversial photography raises the profile of the company, it appears less effective in driving customers and increasing sales.

Toscani’s final campaign for fig 10

Benetton displayed images of American criminals on death row. This triggered a number of

protests in the USA and the state of Missouri filed a lawsuit against the brand for making “false claims to state officials in gaining access to the prison”. As a result the brand donated $50,000 to the Missouri Crime Victims Compensation Fund and removed the images from their website. Toscani spoke of his regret about the campaign “we should have been setting an example that may have stopped capital punishment. But profit became more important than human rights. That is a shame. One day there will not be a death penalty and Benetton could have led the way”(CNN 2010: Online). Although the campaign emphasized the powerful message that capital punishment is wrong, the backlash proved that exploration of highly delicate issues within a brand’s marketing strategy has the ability to instantly terminate a customer’s trust in the brand as a whole. The mass controversy surrounding the images prompted Benetton to return to more traditional advertising methods following Toscani’s departure from the company. Benetton’s sales have risen less than 2 percent since 2000, whilst competitor H&M’s sales have almost quadrupled (Business Week, 2011: Online).

In an attempt to boost sales, in 2011 Benetton set up the UNHATE foundation and returned to more fig 11

controversial advertisements. The first set of images for the UNHATE foundation featured world leaders, such as Barack Obama and The Pope, kissing. The powerful images asked the public to “combat the culture of hatred”. As with many campaigns from the 80s and 90s, it caused a lot of controversy and The Vatican took legal action against the company. In 2012, the UNHATE foundation released another campaign entitled “Employee of the year”; aimed at the 100 million unemployed people worldwide. According to Alessandro Benetton, the company desired to “set an example”, however this is hard to digest seeing as at the time the campaign was released, Benetton were not offering many jobs (The

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Guardian, 2011: Online).

This return to controversial advertising could be seen as the Benettonʼs attempt to regain their reputation as one of the most popular high street brands. However, the return to using powerful socio-political issues within their marketing strategy may raise global awareness, but it appears the only real sense of power the brand has is channeling their brand identity into these messages, ultimately failing to generate a direct connection between the consumer and product. Socio-political issues are a useful way of attaining publicity, but the brand must be careful not to detract from their ultimate goal of increasing sales and building on the reputation of their company as a whole.

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Fig 6 - http://www.empireonline.com/images/uploaded/days-of-heaven-house.jpg Fig 7 - http://raids.jp/mag/wp-content/uploads/2011/05/Rodarte-black-swan.jpeg Fig 8 - http://2.bp.blogspot.com/_L6pDyjqqsvY/Rv2zhd9Z7HI/A A A A A A A AHxA/4WbLXq4vA1c/s1600/benetton.JPG Fig 9 - http://amberhunnicutt.files.wordpress.com/2012/01/benetton-devil-and-angel-ad.jpg Fig 10 - http://3.bp.blogspot.com/_mXISw6oVCRg/TSUfR7_8nsI/A A A A A A A A AEc/SN_8EEMpw4w/s320/toscanigr2.jpg Fig 11 - http://www.digitaljournal.com/img/8/9/9/i/1/0/0/p-large/UnhatePope.jpg Fig 12 - http://theinspirationroom.com/daily/print/2012/9/unemployee_of_the_year_1.jpg Word Count - 3284 words