Fashion Matters
The Now.The Then.The Other
Tara Francis-Smith Fig 1
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Fashion Matters The Now. The Then. The Other Tara Francis-Smith N0440566 Fashion Communication and Promotion Visual Awareness Lucy Norris FASH10105
Contents 'Fashion Matters... NOW' 1 Introduction of brands Prada film Yang Fudong Men's Spring/Summer 2010 3 Zara advertising strategies 4 Visual Merchandising 5 Prada epicenter New York Technology
'Fashion Mattered ... THEN' 7 Prada past influences Brand visual DNA Josephine Baker 9 Spring/Summer 2012 advertising campaign 1950's post war 12 Minimalism and The Bauhaus Zara September lookbook
'Fashion and the ... OTHER' 14 David Bowie Ziggy Stardust Miu Miu 2012/2013 Autumn/Winter collection Advertising campaign Chloe Sevigny 17 Prada 24h museum Francesco Vezzoli/AMO Zara store architecture
'Fashion Matters... NOW'
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n a fundamentally competitive industry it is important that brands develop and increase their creative credibility in order to engage consumers and maintain a strong brand status. Fashion houses benefit largely from the associated loyalty that comes from having this strong consumer brand relationship. Luxury brand Prada and high street retailer Zara both adopt an adverse range of strategies to try and achieve a level of brand awareness that will enhance growth and sales, but also speak to consumers about the heritage and values of the company. Reflecting on iconic past influences in design, advertising and merchandise, both brands aim to successfully communicate their visual DNA to a global audience. In terms of their accumulation of brand awareness and engagement, Prada has placed exceptional importance on media and technology. Using film within fashion can potentially be more influential than a static image and this media phenomenon has inspired Miuccia Prada in her Men’s 2010 Spring/Summer campaign. Prada commissioned a 9-minute film where we explore the cinematic talents of Chinese video artist, Yang Fudong and acts as a centrepiece to the spring men’s line. ‘First Spring’ moves explicitly towards the art side of filmmaking and encompasses this idea of merging creative mediums together. With its enigmatic narrative and conceptualised vision of the spring line, the campaign is appealing to consumers who appreciate the art and history of fashion; pushing emotional and intellectual buttons.
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aving already collaborated with
leading architects Rem Koolhaas and
Herzog de Meuron to design their flagship stores, it is clear that Miuccia Prada is looking beyond traditional fashion media to communicate with consumers and is harnessing new opportunities in innovative and exciting ways. Patrizia Arienti (2012) argues that Miuccia Prada and Patrizio Bertelli’s flair and extraordinary charisma attract talents from all over the world who want to work with them, which “results in formidable teams in all aspects of the creative process: from design to architecture, photography and interior design”. As a luxury retailer, Prada places high emphasis on the use of digital media spending vast amounts of money and time on their advertising campaigns. This allows them to engage with a global audience, sharing their visions and creating brand awareness, a strategy that high Street retailer Zara has chosen not to adopt. Zara is a brand that focusses on fast fashion and instant ‘runway’ trends made accessible to a mass market. Controlling their supply chain enables quick product development and distribution at affordable prices, allowing them to keep up with rapidly emerging trends. Zara want consumers to form opinions of the brand from their in-store experience and “personal journey and satisfaction from shopping at Zara” (Kwan 2011), rather than the pre conceived suggestions stimulated by advertising.
"THE address to every Zara store is CRUCIAL in driving customers in"”
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ara relies on different assets when promoting the brand, the most important being location, visual merchandising and customer service. They research heavily into locations and strategically open stores in high-end, iconic retail spaces to help drive sales and build the brand. Jesus Echevarria, the chief communications officer of Zara, states that their store locations and window displays are their biggest form of advertising and “the address to every Zara store is crucial in driving customers in” (See Kwan 2011). All of their window displays are conceptualised and unique to each store taking in to account the culture in that particular location. They order new stock twice a week whioh forces consumers to visit the store more frequently and avoids everyone dressing the same, something that is of high priority to a fashion concious nation. The notion that stock doesn’t last long creates an air of exclusivity around the merchandise and the “high frequency of arrivals generates a viral marketing hype around the label” (Georges 2011). This has allowed Zara to generate over 75 per cent of the Inditex group’s total retail sales (Leeman 2010: p.16), in comparison to other high street retailers who are struggling due to the economic downturn. This intellectual approach gives Zara an edge over other high street retailer’s as consumers are aware stock is limited and never repeated, creating the perception that they are receiving a unique and special product.
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ara do not believe they need to heavily advertise to maintain their market position and in fact, research by Fortune magazine found that “the average High Street shopper in London visits a store four times a year, whereas the average Zara shopper drops in 17 times annually� (see Kwan 2011). Zara’s marketing strategy says a lot about how mainstream advertising is lacking in some areas, other retailers maybe need to focus more on visual merchandising and location before they spend a large budget on commercial media. However given that Prada has been one of the few luxury brands to flourish rather than simply survive through the recession, reporting an impressive 30% year on year jump in net income in the third quarter of 2012 (Steger 2012), it would appear that brands using new media to push their creativity are likely to gain further success and maintain brand status in the future.
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t is important for luxury brands to strengthen their reputation and remain trendsetters in such a competitive industry, especially with so many brands becoming more technologically aware. Highend brands are known for their ability to create beautiful and truly memorable instore experiences and the Prada epicenter store in Soho New York does exactly that. Designed by celebrated architect Rem Koolhaas/OMA, the epicenter store is a strong example of how brands are exploring fashion codes and messages in innovative and exciting ways. New and advanced architecture enhances this 21st century shopping experience, where among many features, the ‘wave’ curving floor swoops from street level to basement and is an eminent piece of architectural design. A translucent polycarbonate wall covers the existing brick of the building creating a form of dialogue between the old and new. (Curtis 2004: p.21). The changing rooms are a triumph to modern technology, with a ‘magic mirror’ consisting of 17 features, plasma screens where the customer can see themselves at a 360 degree angle and an electronic ‘handbag lift’ that allows the consumer to browse merchandise whilst being elevated to different floors. Luxury customers expect the brands they frequently buy from to be able to recognise their taste and buying habits, something that the store’s digital media makes possible, allowing staff to keep records of consumer purchase history. This form of customer service builds a relationship between the brand and customer and is how luxury brands like Prada create loyal relationships with their followers.
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lthough Zara doesn’t have technology integrated into their store aesthetics like the Prada epicenter, they do rely on sophisticated information technology in the form of personal digital assistants ‘PDAs’, with wireless transmission capabilities to gather customer input and monitor changes in consumer trends. The PDAs link to the store’s point-of-sale systems and these are vital when recording sales and showing how garments rank. Zara like to produce products where there’s evidence of demand, which is why their customers are so valued. All the staff engage with consumers and find out what looks on the catwalk appealed to them and “which celebrity’s get-up are they coveting” (Kwan 2011). This defines their label as one that cares about its consumers; people feel a sense of loyalty to this company, a brand that rapidly delivers the hottest new trends and catwalk inspired pieces at affordable prices.
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he Zara stores regularly investigate what consumers think of the current products and what they would like to see in store. When clothes have been tried on but not bought, Zara try’s to focus on finding out why; are there any disappointments in fabric, size or colour? This heavy research into consumer patterns and trends allows them to gather valuable data to help deliver pieces that they know will sell, they don’t rely on guesswork and hunches. “It is a common misconception in fashion that designers and retailers dictate what the fashion will be and force it on the consumer … however in reality it is the consumer that decides what the fashion will be by accepting or rejecting the styles offered” (Stone 1999: p.4). This could be the secret to Zara’s success as they understand this relationship with the consumer and only stock according to demand. This advanced level of communication is vital in promoting Zara’s brand.
"the place where the tectonic plates of merchandising and architecture collide"”
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'Fashion Mattered ... THEN'
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ashion intellectual, Miuccia Prada has created a visual identity for the Prada brand ever since her first ready to wear collection in 1989. This has evolved from her individual persona and love for fashionable, functional minimalism. Miuccia creates a visual language through her collections, a dominant one being her 2012 Fall Line where she employs elements of industrialism with the pivotal items of a male wardrobe. Tuxedos, tailcoats and military jackets have been deconstructed in a more contemporary and feminine way, reflecting her desire to make “men more sensitive and women stronger” (Stanfill 2012). Profound changes began to occur during the First World War and more dramatically since the mid 1960’s; women’s demands for equal rights brought about changes that have affected not only fashion, but the entire field of marketing (Stone 1999: p.36). The collection consists of defined silhouettes with high, emphasized waistlines representing a strong female figure with a powerful presence, much like Miuccia herself. Her visual DNA is an extremely important factor in the brand as it allows a global audience to share her visions for a more confident, intellectual, and affluent working woman and displays her resistance to conform to the masses, something that has won her working women fans since the 90s. Both labels have a strong brand heritage, which appeals to consumers as it creates an aura of meaning and purpose around the products, as well as the company they are investing in.
“"... I had to be the first
one to have an idea. The same obsession still drives me in my work..." - Miuccia Prada
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he high level of intelligence and innovation in Miuccia Prada’s designs and advertising has given the fashion house “one of the most prestigious and widely recognised brands in the fashion and luxury goods industry”. (Prada Group 2013). A huge part of Prada’s appeal is the idea that we never know what to expect from her. The ‘minimal baroque’ spring 2011 collection consisted of exuberantly cartoonish prints that “looked like something lifted from a poster for a Josephine Baker performance at the Folies Bergère in the twenties”. (Blanks 2010). Miuccia describes her spring 2011 collection as “brave, bold and obvious” (See Tulej 2010) and we immediately see the inspiration from the 1920’s ‘jazz age superwoman’ Josephine Baker in the models’ sleek finger-waved hair and elegant silhouettes. Josephine Baker’s hairstyle was a crucial component within her aesthetic and was viewed as controversial by many during her Paris debut at the Théâtre des Champs-Elysées, where Harper’s Bazaar’s Diana Vreeland recalled “Her hairstyle had been done like a Greek boy’s” (Arogundade, Anon) A social change had occurred in the 1920s with the birth of androgyny and the modern woman. Certain aspects of the collection are a return to her clean lined pieces that first won working woman followers in the 90s, but interestingly the elegant pencil skirts and curved shoulder jackets are in vivid orange, green and electric blue rather than the minimalistic colours she is usually admired for.
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"Bathed in sunlight ... Fueled by optimism"
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rada’s ‘vintage’ spring summer 2012 advertising campaign is clearly motivated by the 1950s with the American pop culture theme in the clothing and backdrops. Miuccia talks about the campaign in a press release describing how the “50s hot rods and muscle cars with spiky fins emblazoned with flames” reflect the design motifs in the collection. (Valenti 2012). The iconic 50’s working woman’s wardrobe consisted of fragile sloping shoulder lines and tailoring that accentuated the bust, rib cage and pelvis, (Baker 1991: p.29) an esteemed look Miuccia is revisiting in this campaign. The 1950s post war was an iconic and remembered time as many Americans feared that the end of the World War 2 would bring back the hard times of the Great Depression, but the build-up of consumer demand resulted in strong economic growth. When asked about the campaign Prada talks about the “post-modern crossroads of new horizons and economic fulfilment” (Milligan 2011) which links to the idea that society during the post war period was positive and hopeful, everyone was more optimistic for the future. Miuccia is appreciating and celebrating this time by creating a “stage set where fashion, fantasy and the promise of new discoveries collide” (Milligan 2011).
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“"The collection was very femme fatale" -Miuccia Prada
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iuccia Prada is constantly referring back to the idea of simplistic shapely designs and stylish minimalism in her work. In 1984, ‘the bag that matched everything’ was created, a simple black nylon backpack which showcased her passion for industrial things and products that challenge the perception of what beauty is seen as. “If a product fulfils its purpose beauty comes in as a sort of by-product” (Greenhalgh 1990: p.124). This idea of essentialism in design and construction is associated with modernism and dates right back to the Bauhaus movement which was arguably one of the most influential currents in modernist architecture in the 20th century (Borteh). Like many other designers, Phoebe Philo and Martin Margiela, Miuccia Prada takes a lot of inspiration from the Bauhaus, the idea of restricted colour palettes and geometric shapes and grids, ideals we see in Miuccia’s first ever ready to wear collection. Launched in 1989, it was admired for its clean lines and elegant minimalism. A strong feature in the collection being dropped waists and narrow belts, a style we are reunited with in her Autumn/Winter 2008 collection where Miuccia has drawn heavily upon her subversive menswear line.
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“The collection was very femme fatale”,(Barnett 2008) Prada revealed in a post-show interview. Using a simple surface allowed Miuccia to incorporate lace and play with the original connotations the material is associated with, ‘christenings, weddings, church’. Fitted knee length dresses with strict necklines and plain fronts formed the basis of the collection and “evoked a forties film noir silhouette”. (Long 2008). The geometric, minimalist shapes are parallel to the works of Martin Margiela; 7th member of the Antwerp 6. The Belgium designer strongly believes in Banalism and taking fashion design into the realm of art, something fashion house Prada is becoming increasingly interested by. Like Margiela’s Spring/Summer 2009 collection which was all about shapes and nude body suits, Miuccia has confused the boundaries between flesh and fabric, displaying lace skirts with nothing underneath and cropped tops revealing tight nude coloured panels. Miuccia has focussed on simple volumes and new configurations of form. The more subversive elements in the collection like the cropped tops worn over shirts were “directly related to pieces in Prada’s Autumn/Winter menswear show” (Long 2008) forming the juxtaposition between feminine elegance and powerful minimalism.
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eing a ‘fast fashion’ retailer, Zara doesn’t seem to show much evidence of past influences in their visual merchandising and designs, however their women’s September look book particularly highlights influences from their menswear line, forming the association with androgyny and minimalism seen during the social change in the 1920s. The collection appears to have drawn inspiration from Martin Margiela, much like Miuccia Prada’s Autumn Winter 2008 collection where she presents architectural shapes and a restricted colour pallet. All of these characteristics link back to the Bauhaus movement and modernism in the 20th century, an iconic time in society for art, fashion and other design mediums.
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oth Prada and Zara infuse other elements of design in their work in an attempt to engage consumers through the mediums of art, music and architecture. These neighbouring cultural verticals generate a certain set of values that brands can associate themselves with and benefit from. Working with architects, filmmakers and musicians instantaneously makes the brand more creatively credible as they are exploring outside of fashion and appealing to a wider artistic audience. Associating themselves with artists gives the brand a significance that isn’t exclusively commercial; they are adopting the values and heritage of the artist and increasing their cultural value.
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'Fashion and the ... OTHER'
"There’s nothing fashion loves more than girls who are boys who like boys to be girls"” -Alex Fury
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iuccia Prada has taken inspiration from 70’s rock and roll musician David Bowie, formerly known as Ziggy Stardust, in her Autumn/Winter 2012/13 collection for Miu Miu and even more recognisably in the Miu Miu Autumn/Winter advertising campaign. An array of masculine suits in rich blues, deep magenta and mustard yellow display a colour palette that is symptomatically Miuccia Prada (Josephine 2012). The bold clashing patterns teamed with statement platform heels create a 70’s inspired androgynous look which is quintessentially Bowie. The juxtaposition of cape shouldered tailored jackets and art noveau florals only enhances the exorbitant make up that formed the basis of the collection, mirroring the style of the glam rock singer in music video ‘Life on Mars’ in 1971. Similarly the Autumn/Winter advertising campaign for Miu Miu portrays actress Chloe Sevigny characterising Bowie’s trademark hair on his Diamond Dogs tour in 1974, and illustrious sky blue eye shadow in ‘Life on Mars’. Shot by Mert Alas and Marcus Piggott, Sevigny is the perfect fit for the campaign with her androgynous side flicked hairstyle and retro aesthetic. The styling is successfully portraying the ‘psychedelic hedonism’ (Josephine 2012) theme with lean asexual tailoring and eminent colour block makeup, a look revolutionised by ‘Ziggy Stardust’. As Alex Fury quotes (2011) “There’s nothing fashion loves more than girls who are boys who like boys to be girls”
"... it's time to reach for the orange eyeliner, spike up your mullet and throw some shapes, because David Bowie is back" -Bethan Holt
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iggy Stardust has also been endorsed by a number of top fashion magazines and designers which makes his character more appealing to luxury fashion house Prada. The status that is associated with these top industry workers is one that a brand would want to implement; referencing him can increase brand equity and awareness. There are clear references to Ziggy Stardust in I-D magazine 2011, with the iconic make up and androgynous trim tailoring Bowie was celebrated for. We see this again in British Vogue, May 2003 where renowned photographer Nick Knight has captured the true essence of Ziggy Stardust through Kate Moss. By engaging with Bowie, Miuccia is also engaging with an exclusive set of people and is appealing to high network consumers who have a different spending power. There are certain forms of elitism in fashion and luxury brands play part to this, referencing an iconic musician in fashion forms an air of exclusivity around the brand; it becomes somewhat inaccessible as the Bowie brand is so reputable. Craig Robins argues Designers are essentially long-term brand building and also adding a new dimension to the creative world when they collaborate with other artists (See Swengley 2011).
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hen a brand emphasizes the importance of associating with other design mediums, it shows consumers they are harnessing creativity in all its forms and supporting the artistic world outside of fashion. According to Duncan Quinn, it is a way for luxury brands to “stay current, project a message and engage an audience” (See Swengley 2011). It gives the brand a form of relevance that isn’t solely commercial allowing them the freedom to innovate and experiment with artists and establish new relationships with consumers. By Miuccia Prada using David Bowie as a muse in her Miu Miu collection and advertising campaign, she is reinstating his brand as a rebellious, sexual extremist. The disobedient, non-conformist characteristics in Ziggy Stardust’s personality potentially tap into the spirit of youth and begin to stimulate intrigue within a younger audience. Prada will benefit from the associated stardom of Bowie gaining credit for the introduction of a 70’s dystopian legend and the revival of a past iconic style. Establishing a dialogue with the younger generation early on is beneficial to the Prada brand as they will potentially be future consumers. Designers, artists and celebrities all draw inspiration from the many famous characters David Bowie has created, his edgy glam rock style still remains a highly sought after look today.
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igh street retailers are also becoming more aware of the other artistic mediums in which they can showcase their creative visions through. Fashion has rediscovered architecture as an investment to give depth to the brand, it is more apparent that fashion houses are inviting signature architects to add value to the built environment within which they are housed. Miuccia Prada has worked with a number of renowned architects when creating flagship stores and the launch of the ‘24 hour museum’. Designed by Milan-based artist Francesco Vezzoli and Rem Koolhaas’ think tank AMO, the installation is a project of visual and linguistic experimentation which displays how “the interests of fashion and architecture have started to converge” (Curtis 2004: p.4). Prada is celebrating the visionary talents of Vezzoli and showing consumers the importance of cultural value in a brand.
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imilarly Zara is presenting the importance of architecture by restoring beautiful “landmark buildings into retail spaces that reflect the local flavour and heritage of the city”. (Benson 2013). Bringing in architects to create these conceptualised spaces allows Zara to experiment with the balance of contemporary modernism and traditional architecture; they are embracing the heritage of these landmarks and creating stores that hold artistic meaning. Their store in Salamanca, Spain is “arguably Zara’s greatest restoration project” (Benson 2013) and is located in an 18th century convent. The Baroque style structure still encapsulates its original ornamentation but Zara has modernized the space and added a minimalistic steel and glass structure, creating an additional three floors. The beautiful blend of neoclassical architecture and contemporary design creates an in-store experience for their consumers and sets them apart from competitors.
“Prada has shown how fashion can sit next to art, design, cinema, and architecture as a full partner� -Interview Magazine
In an ever-growing consumer market, both luxury brand Prada and high street retailer Zara have embraced the changing media, art and fashion landscape whilst maintaining their brand integrity and long standing heritage. Both brands have a strong visual DNA placing high value on the roots of the company. Cultural, social and global issues have affected the way both retailers communicate and promote their brand creating recognisable influences from the past and other elements of design. Miuccia Prada has embraced technological advancements within media and fashion design and creates fascinating links to past iconic decades to visually communicate a message in her work today. Although there are disparities between Prada and Zara, high street brands are becoming increasingly apart of new media platforms and experiential retail. Zara have an esteemed vision for all of their stores and rely heavily on their consumer interaction and ability to respond rapidly to change, making them, like Prada, a highly valued and recognised brand today.
References
ARIENTI, Patrizia. 2011. Prada S.P.A 2011 Interim report [online PDF] Registry of companies of Milan: Patrizia Arienti. Available at: www.pradagroup.com/documents/.../E-Interim-Report.pdf [Accessed 9 December 2012]. AROGUNDADE. Unknown Author. The Facts About Josephine Baker's Ethnicity, Hairstyle And Career [online] Available at: http://www.arogundade.com/josephine-baker-biography-facts-about-her-ethnicity-hairstyle-career.html BAKER, Patricia. 1991. Fashions of a decade: The 1950's. Illustrated, reprint. Facts on File 1991. BARNETT, Leisa. 2008. Vogue Fashion Shows: Autumn Winter 2008 Ready-To-Wear PRADA [online] Leisa Barnett. Available at: http://www.vogue.co.uk/fashion/autumn-winter-2008/ready-to-wear/prada BENSON, Beth Rodgers. 2013. Curbed: The magnificent architectural restorations of retailer Zara. [online] Available at: http://curbed.com/archives/2013/01/10/the-magnificent-architectural-restorations-of-retailer-zara.php BLANKS, Tim. 2010. Spring 2011 Ready-To-Wear Prada. [online] CondĂŠ Nast. Available at: http://www.style.com/fashionshows/review/S2011RTW-PRADA BORTEH, Larissa. Date unknown. The Bauhaus. [online] The Art Story Foundation. Available at http://www.theartstory. org/movement-bauhaus.htm CURTIS, Eleanor. 2004. Fashion Retail. Great Britain: Wiley Academy, a division of John Wiley and Sons Ltd. FRINGIS, Gini Stephens. 1996. Fashion: From concept to consume. Prentice Hall College Division. FURY, Alex. 2011. Show Studio, The home of fashion film. Behind the Seams: Fashion Heroes. [online] Available at: http:// showstudio.com/project/behind_the_seams/fashion_heroes GREENHALGH, Paul. 1990. Modernism in design. Midford Place, Tottenham Court Road: Reaktion Books Ltd JOSEPHINE, 2008. Moments Musicaux Blog: Bowie and Miu Miu's A/W 2012 campaign. [online] Cheshire/Warwickshire. Available at: http://www.blogger.com/profile/04487779360119002659
KWAN, Belle. 2011. Spanish Domination-Zara brand profile Marketing magazine [online]Belle Kwan Assistant editor marketing magazine. Available at: http://www.marketingmag.com.au/blogs/spanish-domination-6575/ LONG, Carola. 2008. Prada stands out by turning to elegance, lace and minimalism. The Independent. [online] Milan. Available at: http://www.independent.co.uk/life-style/fashion/news/prada-stands-out-by-turning-to-elegance-lace-andminimalism-784562.html MILLIGAN, Lauren. 2011. Vogue News: Beauty and Experience. [online] Available at: http://www.vogue.co.uk/ news/2011/12/20/prada-campaign---natasha-poly--elise-crombez PRADA GROUP, 2013. Available at: http://www.pradagroup.com/en/brands/prada PRADA, Miuccia. RENTERGHEM, Marion. 2012. Miuccia Prada: an intellectual with dress sense. [online] The Guardian. Available at: http://www.guardian.co.uk/fashion/2020/oct/30/miuccia-prada-fashion-politics-architecture STANFILL, Sonnet. 2012. Fashion: Miuccia Prada[online]. Sonnet Stanhill Interview Magazine. Available at: http://www. interviewmagazine.com/fashion/miuccia-prada/#/_ STEGER, Isabella. 2012. Prada Bucks Luxury Trends [online] The Wall Street Journal. Available at: http://online.wsj.com/ article/SB10001424127887324640104578164602099476788.html STONE, Elaine. 1999. The Dynamics of Fashion. 3 Illustrated. Fairchild Books, 2008. SWENGLEY, Nicole. 2011. Quote by Duncan Quinn. The Art Newspaper: Artists add luster to luxury brand. [online] The Art Newspaper. Available at: http://www.theartnewspaper.com/articles/Artists-add-lustre-to-luxury-brands/25263 TULEJ, Joanna. 2010. Pot of bold: Prada displays a brave streak. [online] LS:N SEED. Available at: https://www.lsnglobal. com/seed/view/2638 VALENTI, Lauren. 2012. Prada's Spring 2012 'Femme Fatale' Film & Soundtrack [online] The Vogue Vibes, Where fashion and music meet. Available at: http://www.thevoguevibes.com/2012/02/pradas-spring-2012-femme-fatale-filmsoundtrack/
Illustrations
Fig 1 Hatti Sim Illustration (digital) Hatti Sim Tumblr, online (2012) Available at: http://hattisim.tumblr.com/ post/40129806069/life-drawing Fig 2 Hatti Sim Illustration (digital) Hatti Sim Tumblr, online (2012) Available at: http://hattisim.tumblr.com/ post/40129806069/life-drawing Fig 3 ‘First Spring’ Short film: Yang Fudong. Boy Moments blog online (2010) Available at: http://boymoments.blogspot. co.uk/2010/01/first-spring-short-film-prada-by-yang.html Fig 4 Zara Visual Merchandising: Woody. (digital photograph) online (2008) Available at: http://www.flickr.com/ photos/22299005@N05/2999802586/in/photostream/ Fig 5 Zara Visual Merchandising: Woody. (digital photograph) online (2008) Available at: http://www.flickr.com/ photos/22299005@N05/2998958323/in/set-72157608569722673/ Fig 6 Prada Epicenter New York, Soho. January 2013 [own photography] Fig 7 Prada Epicenter New York, Soho. January 2013 [own photography] Fig 8 Curled blog (digital). Thoughts on Prada online (2012). Available at: http://gabrielayosefina.blogspot.co.uk/ Fig 9 The Fashionistic Lover blog (digital). Striped (2011). Available at: http://thefashionisticlover.com/tag/springsummer-2011/ Fig 10 Prada S/S Campaign image (digital photograph) Prada, online (2012) Available at: http://www.prada.com/en/ advertising-campaign-ss12 Fig 11 Prada S/S Campaign image (digital photograph) Prada, online (2012) Available at: http://www.prada.com/en/ advertising-campaign-ss12 Fig 12 Prada S/S Campaign image (digital photograph) Prada, online (2012) Available at: http://www.prada.com/en/ advertising-campaign-ss12 Fig 13 My Bauhaus is better than yours. (digital photograph) ITSNICETODOCUMENT blog. Online (2012) Available at: http:// itsnicetodocument.wordpress.com/2012/06/12/633/ Fig 14 Prada Lookbook Fall/Winter 2008 (digital photograph) Trendland blog online. (2008) Available at: http://trendland. com/cool-lookbook/ Fig 15 Ziggy Stardust (digital photograph) Fish bowl NY online (2006) Available at: http://www.mediabistro.com/ fishbowlny/ziggy-stardust-under-the-high-line_b2182 Fig 16/17 Inspiration David Bowie 1971: Miu Miu FW 2012/2013 (digital photograph) INTO THE FASHION: Trends and Inspirations online. (2012) Available at: http://www.intothefashion.com/2012/07/inspiration-david-bowie-1971-miu-miu. html Fig 18 Prada 24 hour museum (digital photograph) Thefashionvision blog (2012) Available at: http:// newsfromthefashionvision.blogspot.co.uk/2012/01/invitation-prada-24h-museum-look.html
Bibliography
ARIENTI, Patrizia. 2011. Prada S.P.A 2011 Interim report [online PDF] Registry of companies of Milan: Patrizia Arienti. Available at: www.pradagroup.com/documents/.../E-Interim-Report.pdf [Accessed 9 December 2012]. AROGUNDADE. Unknown Author. The Facts About Josephine Baker’s Ethnicity, Hairstyle And Career [online] Available at: http://www.arogundade.com/josephine-baker-biography-facts-about-her-ethnicity-hairstyle-career.html BAKER, Patricia. 1991. Fashions of a decade: The 1950’s. Illustrated, reprint. Facts on File 1991. BARNETT, Leisa. 2008. Vogue Fashion Shows: Autumn Winter 2008 Ready-To-Wear PRADA [online] Leisa Barnett. Available at: http://www.vogue.co.uk/fashion/autumn-winter-2008/ready-to-wear/prada BELTING, Hans. 2003. Art History after Modernism. The University of Chicago, USA. BENSON, Beth Rodgers. 2013. Curbed: The magnificent architectural restorations of retailer Zara. [online] Available at: http://curbed.com/archives/2013/01/10/the-magnificent-architectural-restorations-of-retailer-zara.php BLANKS, Tim. 2010. Spring 2011 Ready-To-Wear Prada. [online] Condé Nast. Available at: http://www.style.com/ fashionshows/review/S2011RTW-PRADA BORTEH, Larissa. Date unknown. The Bauhaus. [online] The Art Story Foundation. Available at http://www.theartstory. org/movement-bauhaus.htm COSTANTINO, Mario. 2007. Fashions of a decade: the 1930’s. Chelsea House New York. Infobase Publishing. Edited by Kathy Elgin. MEADOWS, Celia Stall. 2011. Fashion Now: A global Perspective. Pearson Education Ltd. USA CURTIS, Eleanor. 2004. Fashion Retail. Great Britain: Wiley Academy, a division of John Wiley and Sons Ltd. DIEDERICHSEN, Diedrich, and GOLDSTEIN, Ann. 2004. A minimal Future? Art as object 1958-1968. Museum of contemporary art, USA. FRINGIS, Gini Stephens. 1996. Fashion: From concept to consume. Prentice Hall College Division. FURY, Alex. 2011. Show Studio, The home of fashion film. Behind the Seams: Fashion Heroes. [online] Available at: http:// showstudio.com/project/behind_the_seams/fashion_heroes
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