Contextual Studies For Retail Fashion History Of Fashion
Victorian Era Fashion during the reign of Queen Victoria was modest and strict. High necklines, long sleeves and small corsets were key to this era. Bustles were also a popular fashion trait during this time and created a distinct look, instantly recognisable of the late 19th century. The fashion of the time emphasised the female figure by bringing in the waist and pushing up the bust.
Embroidered corset, 1880
Cotton dress with lace apron ca. 1890s.
Cotton muslin walking dress.
Princess Alexandra of Wales, 1877.
Silk evening dress, 1884-86
1920s The period after the First World War is often considered the golden age of French fashion. Instead of royalty, haute couture found new clients in celebrity: film actresses, singers and the female relatives of wealthy industrialists. The modesty of the Victorians and austerity of the early 19th century was a thing of the past, and fashion gave way to short, above the knee dresses, loose-fitting clothes and androgynous styling.
Crepe chiffon dress with mixed lace bib, ca. 1920s.
McCall’s magazine for September 1920.
Beauty show, August 1922.
Evening dress, late 1920s.
Scotland, 1926.
Coco Chanel, early 1920s.
Los Angeles, 1925.
1970s Fashion during the ‘70s borrowed heavily from various cultures and different eras, firstly continuing the short skirts of the ‘60s and the androgynous ‘hippie’ style, reminiscent of the themes scene in the 1920s, and later developing into the famous silhouette of fitted at the top and loose on the bottom. Long flowing fabrics, popular with both genders, recall the fashions of the late Victorian era, particularly long, loose sleeves and full-length skirts.
Vogue Australia June/July 1970. Cher, 1970s.
July 1979, menswear worn by both men and women.
August 1971.
Ensemble by Tina Leser, 1978.
Fashion today
fashionworld.co.uk
zara.com
Gucci
fairygothmother.co.uk
Elements from most eras are rife in todays fashion outlets and on the catwalk. Corsets are as popular as ever, particularly in certain subcultures and of course bridal wear. The bold fashion statements made in the 1920s have influenced most decades thereafter, and paved the way for modern fashion: a woman in a tailored suit is no surprise to anyone today. The ‘70s in particular have had a massive influence on the styles seen in S/S 2015. Most mannequins have been seen sporting flared trousers, loose tunic style dresses, and many items of clothing made from suede, leather or a wool knit.
Private White V.C. Wool coat. Private White V.C. nylon bomber jacket
Sophisticated Heritage Sophisticated Heritage brings classic elements of fashion to the modern consumer. Military styles, wartime themes and classic cuts are given a modern twist to create an old-fashioned yet stylish look. One brand in particular pioneering the Sophisticated Heritage theme is Manchester brand Private White V.C., named after WWI hero Private Jack White. Jacamo military shirt
AVI-8 watch Williams & Brown corduroy trousers
Woodland Portrait messenger bag Berman & Co. collection, 1910s
Camel Active Trapper hat
Howick Arlington sleeveless cardigan
Hugo Boss button jumper
Brunello Cucinelli boots
Sophisticated Heritage
Bomber jacket in wool blend
Leather gloves
Suit trousers in wool
This collection from H&M showcases the more classic, sophisticated style associated with the early 20th century. Fabrics such as leather and wool harken to the pieces worn in wartime Britain, and the colours reflect those of the military, with a few modern twists. Tube scarf Leather brogues
Leather belt
Coats in wool blend Herringbone jacket Leather Oxford shoes
Cotton twill slacks
Cotton shirts Braces
Cotton jacket
Fedora in wool Wool blend cable-knit jumper
Wool blend coat
This collection draws on similar themes as that shown by H&M. The clothes are smart, with classic cuts, and the colours are again suitable to the era of wartime Britain. As with the previous range, certain aspects harken to the military history of Britain, such as the double breasted coat, which is reminiscent of old military uniform. Items such as the polo shirt and the sneakers bring a modern feel to the collection whilst keeping in theme with the rest of the range.
Leather shoulder bag
Leather belt Leather moccasins
Lambskin leather jacket Chinos in cotton blend Polo shirt in cotton
High-top leather sneakers
Cardigan in wool
Slim-fit polo neck sweater in wool Slim-fit trousers in wool blend
Cotton blend shorts
Silver jacquard medal shirt
Wool mohair trousers Derby lace up
Poplin harness shirt
Crepe military trousers
Mini lion peacoat Two pocket military coat
Double breasted medal embroidered coat
Black zip lace up boot
This range by Alexander McQueen recalls military uniform more than the previous two ranges, particularly with small details such as the harness and the embroidered medals. The boots and long coats certainly give a military feel, for instance one can picture a high ranking officer wearing something similar, while the shoes and peacoat remind us more of the general era and present a more casual look.
1930s Known as the Great Depression, following the Wall Street crash of 1929, the ‘30s was a time of mass unemployment and poverty, and this effected everyone worldwide. In the fashion world, the fancy-free attitude of the ‘20s soon gave way to a more modest style: longer skirts and higher waistlines. Although some aspects of the ‘20s, such as short hairdos, remained popular for years after.
1930s
One of the most notable fashion trends of the ’30s was the attention to the arm. Shoulders were made to look broader for both men and women, whether through butterfly sleeves or shoulder padding. Higher waistlines and structured tailoring promoted the feminine shape once more.
1936-37 National Bellas Hess “Winter Style Hits” Catalogue 32
Chicago mail order sale catalogue, 1933
Evening dress, Coco Chanel, 1930
1930s Celebrity
Wallis Simpson and Edward VIII
Lucille Ball
Bette Davies
Betty Grable
Greta Garbo
Mona Von Bismark
Katherine Hepburn
Joan Crawford
Clark Gable
1980s Although the ‘80s began with a recession that affected much of the world, the economic revival that took place mid-way through the decade saw consumers grow more decadent. Television and computer games became increasingly popular and advertisements grew evermore common. The growing decadence of the 1980s was reflected in the fashion: expensive clothes and flashy accessories were used to emphasise wealth and success, particularly among women as the gender gap appeared to be closing.
1980s Fashion in the ‘80s was over the top, from the excessive shoulder pads and high volume hair of the power dressers to the feathers and frills of the New Romantics. Bold colours and statement accessories were all the rage, and as the decade progressed the styles became more daring.
Chanel 1988
John Galliano 1985
Knit ensemble by Bodymap
Sketch for Levi Strauss and Co. 1986 Joan Collins in Dynasty
Patrick Kelly dress pattern 1988
1980s Celebrity
Adam Ant
Boy George
Madonna
Diana Spencer
Cyndi Lauper
Jon Bon Jovi
Joan Collins
Corey Haim and Corey Feldman
1950s The ‘50s was an era in which men were the breadwinners and women were the housekeepers. Looking your best was important, and this was made possible every day because of the woman’s role at home: much of her time was spent in the house, and therefore she was able to primp to perfection. Fashion reflected women’s restricted role, with figure enhancing garments such as prom dresses with corseted waists and big petticoats worn on a daily basis.
Marilyn Monroe
Elvis Presley
Christian Dior ca. 1950s
1959 catalogue
1953 catalogue
1950s advert for Schlitz beer
Audrey Hepburn
The ‘30s and the ‘50s After the androgynous theme of 1920s fashion, the ‘30s saw a regression back to figure hugging clothes. This is paralleled in the fashion of the 1950s, with the emphasis on small waistlines and structured tailoring, which enhance the iconic hourglass figure of the classic female. In both decades, women were expected to take care of homely duties while the men went out to work, and therefore were expected to look pristine at all times. Stars of the silver screen were idolised and admired for their appearance, and both men and women aspired to look like their famous male and female counterparts. Vogue 1938
Vogue 1951
Marilyn Monroe 1952
Bette Davies 1934
Givenchy 1956
The ‘30s and the ‘50s While the influences in the fashion world were similar in nature throughout the ‘30s and ‘50s, we can see that style was a little more relaxed in the latter decade. Skirts were a little shorter and necklines were a little lower, but perhaps more striking was that male celebrities dressed considerably more casual than their 1930s counterparts. Impeccably dressed actors such as Clark Gable and Fred Astaire were replaced with denim-clad young men such as James Dean and Elvis Presley, and people worried that rebellion would begin to set in amongst the youth of the time.
Fred Astaire ca. 1930s
Macrame Lace Trimmed Gingham Dress, ca. 1950s
Sylvia Sydney 1934
Florida Fashions 1957
James Dean ca. 1950s
High-street Trends A/W 15
Product Rust Double Breasted Sleeveless Jacket
Era
1970s
New Look £34.99
Bohemia Floral Kimono Maxi Dress M&S £45.00
1960s/70s
How it links to this era The loose silhouette was very popular in the ‘70s, borrowing heavily from the hippie fashion of the ‘60s. Earthy colours and rich tones were the ones to be worn. And the androgynous shape echoes the masculine style that became prevalent as women grew in the work place.
The free-flowing silhouette and the floral pattern clearly harken to the 1960s hippie movement, whereas the deeper colour is more akin to the rich tones of the 70s. As the hippie movement spilled into the ‘70s it is sometimes difficult to draw a clear line between the two.
Suede Skirt Zara
1970s
£39.99
Fringed Jacket H&M £59.99
1970s
Suede was a popular fabric in the ‘70s and the colour again is a rich earthy tone that was popularised in the decade. The high waist is also reminiscent of the fashion in the ‘70s.
This fringed jacket is a definite throwback to the ‘70s. Fringing on clothing was hugely popular and could be seen on all kinds of garments from leather jackets to dresses and even handbags.
Khaki Feux Suedette Pinny Dress
1960s/70s
Dorothy Perkins
The suede material and the earthy colour of this dress are very in the ‘60s when short, A‘70s but the pinafore style was popular -line pieces were a big trend.
£25.00
Urban Renewal Vintage Remnants Burgundy Cord A Line Skirt Urban Outfitters £36.00
1970s
Once again we see the high waist which was popular in the ‘70s, and the corduroy fabric from which this skirt is made was hugely popular back in this decade. Again, the colour is rich, keeping in theme with the ‘70s colour palette.
High Neck Ruffled Blouse
1970s/80s
Forever 21 £18.00
Light Beige Knitted Fringed Jumper River Island £40.00
1970s
This loose, baggy style blouse was massively popular in the ‘70s. Both men and women wore shirts with flared sleeves, often with a waistcoat to focus attention on the waist and subsequently make the arms look even bigger. The style is also reminiscent of the New Romantic fashion of the ‘80s. The beige colour and knitted fabric of this piece were both popular in the 1970s, and once again we see here the fringing that was so prevalent in the decade.
F&F Feux Shearling Waterfall Coat
1970s
Tesco £39.00
Monochrome Print Gypsy Top Matalan
£14.00
1970s
This is another piece that fits well into the colour palette of the ‘70s. The feux sheepskin style fabric also harkens to the leather and suede fashions seen throughout the decade, and the loose fit is typical of the easy-going style of the ‘70s.
This top is typical of the fashion worn in the early ‘70s that spilled over from the hippie movement of the ‘60s. The loose, Bohemian style was popular well into the decade and print fabrics became hugely popular, often inspired by Indian and other cultural prints.
Toast Franca Wool Chalis Dress
1970s
John Lewis £159.00
QED London Cream Blanket Weave Poncho TK Maxx £19.99
1960s/70s
This dress screams 1970s: the repetitive print of the fabric is like that which was hugely popular throughout the ‘70s and the loose, free-flowing shape is typical of the dresses worn during this time. Something like this would often be worn with a waist belt to create the tight on top, loose on bottom style of the ‘70s. This is another piece that draws inspiration from the ethnic style prints that were so popular in the ‘70s. The loose-fit style and ethnic feel of the garment would make this typical of a crossover piece from the ‘60s to the ‘70s, while the fringed trim once again harkens to the popular ‘70s fashion.
Rhinestone Etched Fringe Pendant Necklace
1960s/70s
Forever 21 £8.00
Natural Turn Around Boots Schuh £80.00
1970s/80s
This big medallion style pendent is very typical of the ‘70s era, being popularised in the ‘60s the style remained popular throughout the later decade, moving from the hippie style to the disco fad of the late ‘70s. The geometric pattern on this pendant also hints towards the fashion of the 1920s. Snakeskin has been used as a fashion accessory for hundreds of years but was really popularised in the ‘70s by celebrities. The trend for snakeskin carried on into the ‘80s, especially among the ‘hair metal’ rock stars such as Twisted Sister and Guns N’ Roses.
High-street Trends A/W 15 From my market research it is clear to see that the ‘70s has made comeback, with the fashion of the time dominating the high street. While elements of other eras of fashion can be seen here and there, there is a definite theme among all the major high street and online chains of 1970s style. Fringing, flared sleeves and pants, rich earthy colours, fabrics such as suede and corduroy: all can be seen in most retailers and can be combined to create a truly vintage look.
Fashion from other eras is of course still noticeable on the high street, whether through an obvious design or simply a pattern or embellishment on something else. Geometric patterns and jewelled embellishments are still popular on today’s high street and instantly remind us of 1920s popular fashion, while the bold, bright colours of the ‘80s also still hold sway over many high street stores.
Leather
Suede
Fringing
Shearling
Flares
Catwalk Trends A/W 15
Fendi Christian Dior
Alexandre Vauthier
Ulyana Sergeenko
Dolce & Gabbana
Hollywood Glamour
Catwalk Trends A/W 15
Giorgio Armani
Giambattista Valli
Dice Kayek
Alexandre Vauthier
Bouchra Jarrar
“Eighties Remix”
Catwalk Trends A/W 15 Two trends that stand out on the catwalk this year are that of the 1980s and of Hollywood Glamour. Big luxurious coats or “Dream coats” (vogue.co.uk) are more glamourous than practical for Winter, with delicate shades and soft fabrics such as fur and wool. These big statement coats are akin to the styles worn by Hollywood starlets of the ‘40s and ‘50s and scream femininity. This trend is also aided by the resurgence of the waist clincher, helping to create the classic hourglass figure often associated with Hollywood icons such as Marilyn Monroe. Attention is drawn to the waist not only with clinchers but also big waistbands, bows and belts. The ‘80s is making a big comeback this season with broad shoulders popular on the catwalk, as well as frilly prom dresses, ra-ra skirts and bold colourful patterns. Jackets with puffed-up or padded shoulders are worn with high-waist pants to create a modern power dressing feel, while vibrant colours are paired with darker hues to make them really stand out.
Highstreet Trends A/W 15 Boohoo.com
H&M
Select
Topshop
River Island New Look
Zara
Forever 21
Highstreet Trends A/W 15
Topshop
Zara
H&M
Missguided.co.uk
Miss Selfridge
High-street Trends A/W 15 Two trends that are all over the high streets this season are flares or wide-fit trousers and A-line skirts, particularly with button or zip up detail down the front. These are both trends for which we have the ‘70s to thank. Flares or wide-fit pants help to create the classic ‘70s silhouette (wide at the bottom and narrow at the top), and when cut with a high waist can really accentuate an hourglass figure. Back in their heyday they came in all sorts of designs with a wide range of fabrics and patterns to choose from, and this is no different today. They can be worn smart or casual, and are an incredibly versatile addition to anyone’s wardrobe. A-line skirts in particular are at the forefront of this season’s trends. Another vintage favourite, Aline skirts are also available in a wide variety of fabrics and designs. They sit high on the waist to showcase the figure, and can be long or short. Details such as buttons or zips are a popular addition to the A-line skirt this season, whether functional or simply decorative, and fabrics such as suede or corduroy really deliver the ‘70s vibe that is so popular this season.
Catwalk, High-street and Mass Market Fashion The styles seen on the catwalk are what set the trends for high-street and mass market retailers. They are one-off pieces, made usually as part of a collection, that showcase the themes that the designer has decided he or she is using as a basis. For this reason, they are usually extravagant, often impractical, garments; in many cases more like a work of art. The themes shown by designers on the catwalk are then toned down for retail sale. High-street brands such as Ted Baker offer customers more affordable, yet still high quality, items. Garments available from high-street stores often cost more than most consumers can afford, but they tend to be well made and therefore worth the cost. A lot of thought goes into the design of the garments, and care is taken when choosing fabric and style, in order that it meets the customers requirements. Mass market fashion is made to be affordable. It is quickly produced using the trends set by the big design houses, and made in bulk in order to be sold to the public at cheaper prices. In order to produce so many garments quickly enough for the styles to still be on trend, and in order to make them affordable, cheaper fabrics are used, production techniques are simpler, and quality checks may not be as thorough. This means that mass market fashion is not as good as high-street fashion in terms of quality, it does however meet the needs of the general public and allows even those of lower means to stay on trend.
Luminosity Embellishment
Light Lace
Warmth
Luminosity
I chose this Tiffany lamp as the artefact around which to create my mood board. The sophisticated design prompted me to create an evening wear collection. The deep Autumnal colours combined with the glow of the lamp conjure a sense of occasion, and I have tried to reflect this sense of occasion in the garments and accessories on my mood board by choosing smart clothes rather than casual. In particular I have tried to include detail such as lace and embellishment to mirror the intricacy of the stained glass pattern. Metallic fabrics and embellishment such as beads and sequins also mirror the effect of the lampshade by reflecting light; literally giving off a glow, as if illuminating the room. Tiffany lamps are considered very typical of the Art Nouveau movement, popular from around 1890 to 1910, and I wanted to reflect this era in the collection, which I feel the lace, embellishment and high necklines do. The collection is given a modern twist however with items such as tailored blazers and open-toe heels.
Harajuku, Japan
Hair clips
Necklaces Bracelets
Playful
Hats
Bright
Accessories
Badges
Excessive
Bags
Colours
Varied
Gloves Tights
Harajuku, Japan
Skirts Layering
Childlike Clash of styles
Lolita
Animation Toys Cartoons
Goth
Manga Punk
Hair dye
Cult of kawaii
Video games
Harajuku Fashion The small district of Harajuku in Tokyo is the centre for street fashion in Japan. Growing in popularity with young people in the last 50 years, Harajuku is now not only a place, but also a concept: “Harajuku stood for energy, change, newness” (Duits, 2015). There is no social message in Harajuku fashion, it is merely about fun, and because of this there are many trends (Lolita, Cyber-punk etc.) that borrow from one another. These trends come and go quickly in Harajuku and are often mixed and mingled with each other, so much so that the fashion is “not a case of shops… dictating what people wear, but teenagers dictating what the shops will start selling” (Knight, 2014). These days Harajuku is not just the centre of fashion for Japanese youths, but it is also counted as one of the centres of fashion for the world. One street in Harajuku, Omotesando, has been “compared to Paris’s ChampsElysees, with Louis Vuitton, Chanel and Prada recently setting up shop” (Strickland, 2015). This type of over-the-top, playful fashion has been popularised in recent years by celebrities such as Gwen Stefani and Nicki Minaj. Gwen Stefani, for example, had backup dancers dressed in the Harajuku fashion and also “named her 2005 world tour and her clothing line” after the subculture (Murek, 2010). The fashion continues to be popular today among young people, with shops like Claire’s Accessories and Culture Vulture providing a wide range of accessories with which teenagers can aspire to follow the trend. Clothing stockists like attitudeclothing.co.uk and Pulp also sell garments that fit within the theme of kawaii (bright designs centred around cartoons, junk food, advertising etc.), popular among the Harajuku subculture.
India
Heavy jewellery
Jungle
Decoration
Nature
Slums
Henna
Wildlife
Dyes
Noisy
India Big population
Busy
Religion
Islam
Hinduism
Rich colours
Multicultural
Architecture
Festivals
Temples Palaces
Sikhism
Buddhism
Dance
Indian Fashion Clothing in India ranges from elaborate outfits worn for occasions and ceremonies to run-of-the-mill Western clothing like jeans and t-shirts. It is these elaborate outfits, rich in colour and decoration, that we think of when thinking about Indian clothing. A wide variety of dyes and fabrics are available, and embroidery is a common motif in Indian fashion. Embellishment, too, is popular in Indian dress. Perhaps one of the most commonly recognised ensembles from India is the Lehanga Choli. Both easy to wear and elegant looking, this ensemble is made up of a long pleated skirt (a lehenga or ghagra), a short fitted blouse (the choli), and often a scarf-like piece of fabric, 2.5 metres in length, known as a dupatta (Indianmirror.com, 2015). This outfit is very popular with younger people, particularly for parties, with it being a popular choice for weddings, both for the bride and the female guests. Common decorative techniques such as embroidery, beading, and the use of mirrors have been adopted within Western culture to a great extent, whether adorning more Western style garments or being used to give garments a more ethnic feel. Specialist shops selling ethnic style clothing, such as Shared Earth and The Hippy Hole, are also popping up more and more these days, and in these you can find a wide range of clothing and accessories that use the popular fabrics and decorative techniques of India, made to be sold to Western consumers. Often these types of stores buy their stock from India and it’s surrounding countries, and work in conjunction with stockists in the East to ensure that the manufacturers over there are paid well and cared for.
Rock & Metal
Devil horns
Drums Guitar
Festivals
Denim
Community
Music Bass
Leather
Biker fashion
Band T-shirts
Badges/ Patches
Parties
Rock & Metal
Horror/ Macabre
Studs Accessories Wristbands Body modification
Hair
Piercings
Beards Coloured dyes Dreadlocks
Tattoos
Rock & Metal Fashion There is no set way to dress for fans of rock and metal music, but certainly there is a theme. Dark colours are usually prevalent, band merchandise is often worn, and body modification such as tattoos and piercings are particularly popular with many metal fans. Music is at the heart of everything for fans of the genre, and as such their clothing often depicts this. Band t-shirts are popular within all genres of music, but they are particularly rife among rock and metal fans. Other merchandise with band logos on such as badges and woven patches are also popular, and these allow fans to adorn any item of clothing with all their favourite musicians. Sometimes band merchandise will feature depictions of horror or the grotesque, often reflecting the themes touched upon in their music. Another popular theme among the fashion of rock and metal fans is leather and studs or spikes. In many ways this fashion was inspired by that of the biker subculture, and was made popular by bands such as Judas Priest. Rob Halford, the band’s vocalist, is credited with revolutionising this particular look, often coming onstage wearing a long leather coat adorned from head to toe with studs and spikes (Weinstein, 2000).
Nowadays most towns have at least one shop that specialises in rock and metal clothing, such as Grin or Soho’s, but many high street and online stores also stock items that are influenced by the fashion. Leather and denim jackets adorned with studs have been increasing in popularity over the last couple of years, even shoes have been decorated with spikes in recent years. Fabrics printed with skulls, bats and other horror-like motifs are also popular in many stores. More notably though is the emergence of band t-shirts in high street stores. In H&M, for example, one can buy Alice Cooper or Danzig t-shirts. This is a clear example of how the fashion of a particular subculture has gained popularity in the mainstream. However, when fans buy band merchandise on the high street, rather than through an official merchandise store, no proceeds go to the band itself, which then has a negative impact on that side of the music industry. This is because revenue from things like t-shirt sales help pay for albums to be produced and concerts to be put on.
How Culture Influences The Fashion Industry There are three mains aspects of culture that influence fashion: high culture, pop culture and low culture, more commonly known as subculture (Murek, 2010). High culture refers to elite interests and activities such as visual art, music and architecture. These forms of art are inspired by issues in the world today, and are often produced with an underlying statement. In turn, designers can be inspired by these artistic endeavours to create a new collection with a similar statement in mind. Pop culture refers to what is popular in the mainstream, and is influenced by celebrities and advertisements. The influence of celebrity on the fashion world is great, and it is filtered down into the mainstream and mass-produced to allow consumers to dress like their favourite celebrities and to keep up with the latest trends. Subculture fashion, on the other hand, is influenced by people “outside the mainstream” (Murek, 2010). Over the years many subcultures have inspired designers and infiltrated mainstream fashion, such as the hippie movement of the late ‘60s, to hip-hop and graffiti street styles and the Harajuku style discussed previously. The observation of all these different aspects of culture is important with regards to trend forecasting, as they all have the power to influence the fashion industry in such a massive way. Another great influence on the fashion industry is the rise of globalisation, which has grown to such a great extent that we now take it for granted. Thanks to globalisation, the “styles, designs and materials” of different cultures are now widely available to designers all over the world (Vam.ac.uk, 2015). Because of this, fashion trends now emerge quicker than ever. Fashion is influenced by cultural events locally, and in turn influences the wider fashion world, so that one small movement in the far east might soon affect how people are dressing in the west. It is “a reflection of social, economic, political and cultural changes” (Zegheanu, 2014). However, for the vast majority, the ever-changing face of the fashion industry and the speed at which trends come and go now mean that big name brands now cater more for themselves than for the consumer, endeavouring to make money rather than to provide customers with quality clothing. With the emergence of “information and communication technologies, and through their efficient, flexible production and distribution systems, fast fashion brands are able to respond to changing trends quicker than ever before. This quick turnover of trends puts money in the brand’s pocket, but doesn’t benefit the consumer… paying a low price for low quality products, produced at a price ten times lower than the actual selling price” (Zegheanu, 2014).
How Culture Influences The Fashion Industry Fast fashion brands are not only responsible for feeding consumers’ overconsumption habits, but they are also responsible for massive environmental and ethical issues facing the industry today. “The fashion industry is today... number one in terms of the exploitation of people and the second most polluting industry after oil” (Cipriani, 2015). In countries such as Bangladesh, factory workers on extremely low wages are “expected to be thankful for work that is characterised by some NGOs as empowering, rather than exploitative” (Maher, 2015). This is accepted because the government is seen to be ensuring work for some of its most marginalised people, while fashion brands and factory owners make huge profits and the factory workers make barely enough to live on. Since the collapse of the Rana Plaza factory in 2013, however, there is been rising demand for the industry to end its exploitative methods of production. The Rana Plaza case “illustrates the complexity of supply chains in fashion. Walmart commissioned their production to a tier 1 intermediary, Success Apparel, that in turn hired another company, Simco (tier 2)… [Simco] then hired yet another company, the Tuba Group (tier 3)… Tuba Group also subcontracted part of the production to… Tazreen (tier 4)” (Cipriani, 2015). It was this tier 4 company that operated in Rana Plaza, and did so unbeknownst to Walmart. Because of this system, buyers all over the world find themselves completely separate from the factories working for them. This business model is not exclusive to fast fashion either. “Luxury brands have learned… and restructured their supply chains according to mainstream fashion models” (Cipriani, 2015). Thanks to the media coverage of the infamous Rana Plaza case, as well as “popular social media campaigns such as Fashion Revolution’s #whomademyclothes, consumers are calling for better production practices” (Suyasa, 2015). This has led to a growing trend known as slow fashion, in which the emphasis is on sustainability. “An increasing number of young designers have been establishing small labels and producing fashion pieces from regional textiles”, which makes them able to “ensure quality and sustainable production, and opportunities are high in the area of handmade textiles, where small brands are able to work hands-on with their production lines” (Suyasa, 2015). These slow fashion brands do not come cheap, but then that is exactly the point. They are set up in defiance of fast fashion, it “promotes high quality versus fast production, durability versus design for obsolescence, and mindful consumption versus overconsumption” (Gonzalez, 2015).
Slow fashion is designed to bring the industry out of its power-hungry, exploitative position, and slowly but surely it seems to be working. “Some major retailers and brands – prompted by outraged consumers, workers’ advocacy groups and by the general public – engage in CSR schemes to improve their supply chains” (Cipriani, 2015), and one of the world’s largest fast fashion companies, H&M, have recently launched its Conscious Collection, made with “recycled fibres and organic cotton… H&M hasn’t gone “slow”, but taking these steps is promising” (Gonzalaz, 2015). The steps some big companies are taking to become more ethically sound serves as a prime example of how culture affects the fashion industry. Whereas once the big name brands dictated what people should wear, there now seems to be a backlash among consumers which sees the brands bowing down to the demands of the general public. This is, of course, still in the very early stages, and fast fashion is still one of the biggest businesses worldwide, but steps are clearly being taken in the right direction. We have seen then that the fashion industry is influence by a great many things, from a local to a global basis. Fashion trends can be influenced by the pursuits of the rich and famous, the interests of the elite, the hobbies of the lesser known public, the traditions of small communities, the concerns of the media; the list goes on. And we have seen how these trends are filtered up and down among the industry so that they affect people of all strata. For example, how the outrage of the general public can lead to a rise in popularity of slow, sustainable fashion pieces, and thus the retail giants move to make this trend available to the masses. The fashion industry is ever-changing and ever-growing, and the fast-paced, varied and multicultural face of the world is a huge part of this.
Bibliography •
Cipriani, S. (2015). (Sustainable) Fashion's Real Problem. [online] The Huffington Post. Available at: http://www.huffingtonpost.com/simone-cipriani/sustainable-fashions-realproblem_b_8174504.html [Accessed 2 Oct. 2015].
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Duits, J. (2015). FASHION JAPAN: Harajuku Fashion. [online] Japanesestreets.com. Available at: http://www.japanesestreets.com/harajuku-fashion/ [Accessed 1 Oct. 2015].
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Gonzalez, N. (2015). Why is Slow Fashion So Slow to Catch On?. [online] Triple Pundit: People, Planet, Profit. Available at: http://www.triplepundit.com/special/sustainablefashion-2014/slow-fashion-slow-catch/ [Accessed 2 Oct. 2015].
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Indianmirror.com, (2015). Indian Clothes -Indian Lehanga Cholis, Traditional Lehanga Choli, Kinds of Ghagra choli. [online] Available at: http://www.indianmirror.com/culture/clothing/lehanga-choli.html [Accessed 1 Oct. 2015].
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Knight, M. (2014). History of Harajuku Fashion. [online] Mookychick. Available at: http://www.mookychick.co.uk/indie-fashion/japanese/harajuku_girls.php [Accessed 1 Oct. 2015].
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Maher, S. (2015). Rana Plaza: Two years after the tragedy, why has so little changed? | Sam Maher. [online] the Guardian. Available at: http://www.theguardian.com/globaldevelopment/2015/apr/23/rana-plaza-bangladesh-factory-tragedy-little-changed [Accessed 2 Oct. 2015].
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Murek, D. M. (2010). INTO THE FASHION: Cultural Influences On Trend Forecasting. [online] Available at: http://www.intothefashion.com/2010/01/cultural-influences-ontrend.html [Accessed 1 Oct. 2015].
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Singer, M. (2015). The Clothing Insurrection: It’s Time to Take On the Fashion Supply Chain. [online] Vogue. Available at: http://www.vogue.com/13268385/fashion-supply-chainenvironmental-impact/ [Accessed 2 Oct. 2015].
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Strickland, M. (2015). Harajuku Culture and Trends : Japan : TravelChannel.com. [online] Travel Channel. Available at: http://www.travelchannel.com/destinations/japan/articles/harajuku-culture-and-trends [Accessed 1 Oct. 2015].
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Suyasa, S. (2015). Weaving Lessons of the Past: Why Emerging Designers Are Taking to Traditional Textiles for a Sustainable Future. [online] The Huffington Post UK. Available at: http://www.huffingtonpost.co.uk/saerah-suyasa/why-emerging-designers-are-taking-to-traditional-textiles-for-a-sustainable-future_b_8180946.html [Accessed 2 Oct. 2015].
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Vam.ac.uk, (2015). Introduction to 20th-Century Fashion - Victoria and Albert Museum. [online] Available at: http://www.vam.ac.uk/content/articles/i/introduction-to-20thcentury-fashion/ [Accessed 2 Oct. 2015].
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Weinstein, D. (2000). Heavy metal. [New York]: Da Capo Press.
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Zegheanu, L. (2014). Fashion Trends' Inpact On Society. [online] Notjustalabel.com. Available at: https://www.notjustalabel.com/editorial/fashion-trends%E2%80%99-impactsociety [Accessed 2 Oct. 2015].
The hippie movement began in the late 1960s in rebellion to an increasingly conformist society. They opposed middle class values, nuclear weapons, the Vietnam War, and established institutions, dubbing them “The Man”. They believed that society was corrupt and focussed their time and effort on freedom and nature.
Civil disobedience Riots ensued where protesters clashed with government officials, such as The People’s Park on the University of California campus, where in 1969 Reagan ordered the park, which had essentially been occupied by the hippie movement, to be destroyed.
The Vietnam War, sexual freedom, women’s rights, race relations and experimentation with mind-altering substances were all things that the hippie movement concerned themselves with, much to the dismay of the American government.
“The impact, good and bad, of the 1960’s hippie movement cannot be denied. The movement influenced popular music, television, film, literature, and the arts… In subsequent years, unmarried couples no longer felt persecuted for living together. Frankness regarding sexual matters was common. Religious and cultural diversity gained greater acceptance. Even fashion was impacted as the popularity of the necktie and other business apparel declined and was replaced by more casual dress standards. Some changes were not as positive though. Some argue that the movement ushered in more liberal press… which has led to a degradation of our cultural values and ethics. Youth fashions became more and more bizarre, and sexual, in an attempt to rebel against the mainstream values. Some argue that the embrace of spontaneity and worship of the “primitive” have turned us towards mindlessness and violence.” (Mortal Journey, 2015)
“Hippie dress, which they believed was part of the statement of who you were, included brightly coloured, ragged clothes, tie-dyed t-shirts, beads, sandals (or barefoot), and jewellery, all of which served to differentiate them from the “straight” or “square” mainstream segments of society. Their aversion to commercialism also influenced their style of dress. Much of their clothing was often purchased at flea markets or second hand shops. Hippie men wore their hair long and typically wore beards and moustaches while the women wore little or no makeup and often went braless (occasionally shirtless).” (Mortal Journey, 2015)
“The whimsical independence of hippie style threatened the fashion establishment. Men grew their hair long. Women could no longer be told what to wear. Social position no longer dictated how a person dressed.” (Monet, 2015)
“While this was not the first time in fashion history that a youth movement affected the clothing industry, it did have the strongest impact. Designers found themselves very much taking their cues from the young people, and never again would the majority of American women be dictated to by the fashion industry. Trends continue to come and go, but women who found their own style and individuality in the 1960s have never let it go and passed much of it on to their daughters.� (Schwanke, 2015)
“Fashion is about self-expression, where saying who you are and what you stand for – and wearing the clothes that back that up – is not only acceptable, it is encouraged.” (Cochrane, 2015)
“MISSION STATEMENT: The NOH8 Campaign is a charitable organization whose mission is to promote marriage, gender and human equality through education, advocacy, social media, and visual protest.” (Noh8campaign.com, 2015)
Marlene Dietrich was a popular fashion icon of the 1920s and 30s. She was also bisexual, and defied conventional gender roles not only with her fashion choices but also by attending a boxing club in Berlin.
“Levi’s releases its second Pride collection this month, timed to reach stores before the march in the US. The collaboration with the Stonewall Community Foundation, which will receive a portion of the sales, includes rainbow-flagged T-shirts reading “Stonewall Levi’s”, and a timeline of gay rights printed on the back of vests. The rainbow motif – hardly subtle, but certainly recognisable – continues on short shorts, caps and denim jackets with patches. The clothing line reflects the kind of clothes activists would have worn on demonstrations in 1969 – a clever move when the late 60s/early 70s aesthetic is having a bit of a moment.” (Cochrane, 2015)
The gay community, whether covertly or overtly, have always been influential in the fashion industry, with some of the world’s leading designers being gay. Nowadays as gay pride is encouraged throughout much of the world, aspects from this social circle are ever more pervasive in the fashion industry, whether it be mainstream drag acts or heterosexual men pampering, visiting salons and carrying handbags.
Oscar Wilde was a huge fashion icon in his time, stating “One’s style is one’s signature.” He was imprisoned in 1925 for gross indecency as a result of his relationship with Lord Alfred Douglas.
Celebrities are so influential in the fashion industry today because their images saturate the media. They appear in magazines and on television every day, often showcasing the latest trends at red carpet events such as the Grammy’s. Occasions such as these can be huge endorsements for designers if a celebrity wears their products, but the clothes they wear every day can also impact the fashion industry as images of celebrities in their casual gear appear just as frequently as those of celebrities dressed to the nines.
“Celebrity fads come and go so fast, so they’re easy to fall behind on. Fads as absurd as “how thick or thin your eyebrows should be” transform month to month. Thin eyebrows used to be popular, and now thick eyebrows are back in style. Young girls are filling in their eyebrows with eyebrow pencils to make them appear thicker because that is what almost every celebrity is doing now.” (Roytman, 2015)
Kanye West’s plastic glasses became a huge trend and were available in a wide variety of bright colours.
Miley Cyrus’s short, undercut hairdo became hugely popular with women all over the world when the popstar broke away from her iconic Disney childstar persona.
Marilyn Monroe’s iconic birthmark has inspired women ever since to don a similar look, either through placement of a fake mark or even a lip piercing dubbed a “Monroe”.
Bibliography •
Alexander, P. (2014). Why Do Celebrities Influence Fashion Trends?. [online] Style Flair Fashion. Available at: http://www.styleflair.com/why-do-celebrities-influence-fashiontrends/ [Accessed 7 Oct. 2015].
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Cochrane, L. (2015). Levi's and Stonewall: how fashion embraced gay rights. [online] the Guardian. Available at: http://www.theguardian.com/fashion/2015/may/28/levisstonewall-how-fashion-embraced-gay-rights [Accessed 7 Oct. 2015].
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Krutovsky, A. (2013). 300 years of queer history of fashion: From the closet to the catwalk. [online] Examiner.com. Available at: http://www.examiner.com/review/300-yearsof-queer-history-of-fashion-from-the-closet-to-the-catwalk [Accessed 7 Oct. 2015].
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McGuire, C. (2014). Half of women trust celebrities more on fashion than friends and mums. [online] Mail Online. Available at: http://www.dailymail.co.uk/femail/article2836639/Mum-doesn-t-know-best-Kim-Kardashian-does-Women-shun-fashion-advice-mothers-friends-mainly-influenced-stars-like-Cara-Delevingne.html [Accessed 7 Oct. 2015].
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Monet, D. (2015). Fashions of the 1960's - Mods, Hippies, and the Youth Culture. [online] HubPages. Available at: http://hubpages.com/hub/Fashionsofthe1960sModsHippiesandYouthCulture [Accessed 7 Oct. 2015].
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Mortal Journey, (2015). The Hippie Counter Culture Movement (1960’s). [online] Available at: http://www.mortaljourney.com/2011/03/1960-trends/hippie-counter-culturemovement [Accessed 7 Oct. 2015].
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Nakiska, T. (2013). A queer history of fashion. [online] Dazed. Available at: http://www.dazeddigital.com/fashion/article/17191/1/a-queer-history-of-fashion [Accessed 7 Oct. 2015].
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Noh8campaign.com, (2015). About | NOH8 Campaign. [online] Available at: http://www.noh8campaign.com/article/about [Accessed 7 Oct. 2015].
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Roytman, N. (2015). How Celebrities Inspire Fashion Of The Youth. [online] Uloop. Available at: http://uiowa.uloop.com/news/view.php/112012/how-celebrities-inspirefashion-of-the-youth [Accessed 7 Oct. 2015].
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Schwanke, C. (2015). 1960s Hippie Fashion. [online] LoveToKnow. Available at: http://womens-fashion.lovetoknow.com/1960s_Hippie_Fashion [Accessed 7 Oct. 2015].
Fashion Products & Branding What is the message to the consumer? The message to the consumer is that the products, i.e. the clothes, not only look good, but that anything less than good looking just won’t do. The young model and the new paint on the car stand in stark contrast to the rest of the photo, particularly the decrepit back half of the car. The picture is supposed to show that the brand is new, modern, revitalising, and most importantly that it makes its wearers look good. The words in the top right corner reinforce this point, as if to say that the designer couldn’t possibly create something that wasn’t beautiful. Does it work? I don’t think this advert is particularly on point. It isn’t clear at first whether it is an advertisement for clothes or for cars. The writing also comes across as very arrogant, as if the designer doesn’t have the time for anyone who looks less than perfect. It is a bold statement that may well offend quite a few people, but the way it is scrawled across the photo gives the impression that the designer doesn’t care about offending anyone.
Customer Profile The customer here is a young male professional, most likely working in an office, who wants to look stylish and on-trend, but also feel comfortable. He also wants his clothes to be practical, and may have young children, therefore clothes need to be affordable. He will shop in places such as Burtons and H&M.
What would you change? The first thing I would change is the writing. It is not necessary, as we get the message of a young and fresh product from the contrasting image of the old car in the background and the new car in the foreground. It seems its only purpose there is to be controversial. I would also make the model stand out a bit more, perhaps by putting him further in the foreground, as it is not clear whether we should be focussing on him or on the car. Is the product clear? No. As I have said, it is not clear whether this is an advert for a clothing brand or for a car manufacturer. More effort needs to be made to make the model the centrepiece for this advertisement as the eye is not immediately drawn to him.
What is the message to the consumer? The message in this photo is one of leading rather than following. The writing is almost arrogant in a way, but it is such a well-established brand that it seems like a perfectly fair statement in this case. It also suggests to the consumer that by wearing this brand, they will be among those setting the trends rather than following them, so it really speaks to fashion forward consumers. Does it work? I think this advert does work quite well. It advertises the overall brand more than the clothing as the clothing is not shown too clearly in this photo, but it is a clear statement about the prowess of the brand and the connotations it comes with – that wearers of the brand are trendsetters. What would you change? The design and cut of the dress is not clear to see and perhaps more could be done to show the actual product itself. The message is still there however and is perhaps more important than the actual garment in this case. The pattern on the dress is also clearly visible so it is not as if there is no indication at all of the types of garments available. Is the product clear? Yes. The subtle colour of the background and the furniture, as well as the model’s minimalist makeup, stand in contrast to the bright colours on the dress, so that the eye is drawn to the product. The brand is also clear thanks to the writing at the bottom right.
Customer Profile The customer here is female, ranging from about 25-50. She follows trends and is willing to pay more for style and quality. She will have a full-time job and want clothes both for work and for evenings and weekends. She will shop in places like John Lewis, Hugo Boss and Harvey Nichol’s.
What is the message to the consumer? The message to the consumer here is that this brand’s products will make you look so good it doesn’t matter whether you win or lose. As it is advertising menswear, the woman in the picture serves only to reinforce this message, suggesting that women will be drawn to men who wear these products. Furthermore, the male model is looking towards the camera, and therefore engaging the consumer, whereas the female model is looking only at the man, presumably because he looks so good in this brand’s products. Does it work? Yes and no. The advert is made to look very dated, which may excuse the somewhat sexist tone of the whole image. It is amusing, and therefore a good advert in many ways as the consumer will be privy to the joke being made. However, the sense of humour surrounding the whole picture may serve to detract from the serious message – that is, the quality and look of their products – that the brand wants to convey.
Customer Profile The customer here is an older man, approximately 35-50, who stays in shape and has an active lifestyle. He is willing to pay a little more for quality products, and cares about his appearance. He would likely shop in places like Marks & Spencer, Debenhams and John Lewis.
What would you change? I would not change this advert. The only immediate problem I see with it is how dated it looks, but if the image were made to look more present, the sexism is conveys would seem suddenly less acceptable and the whole theme of the advert would have to be rethought. The image as it is conveys a sense of humour about the brand and will most likely speak to its target market. Is the product clear? The product is certainly clear. The text at the top right tells us what is on offer and from whom, and the male model is positioned to clearly show off the garments.
What is the message to the consumer? The message to the consumer is one of youth and modernity. This is a product clearly aimed at young adults, with the text style writing and the ‘play’ symbol within the word “play”. The suggestion is that the brand is suitable to a number of different scenes in which the consumers might find themselves, and the models are used here to really sell the idea of attraction to people wearing the brand. Does it work? It certainly works with regards to speaking to its chosen audience. It is just the sort of imagery that will stand out to young adults, and the urban backdrop reinforces the theme of modernity. What would you change? I would not change this image. The image the brand want to portray has been captured perfectly here and the footwear at the heart of the brand is very clearly the focal point of the image.
Customer Profile This customer is a young male, 18-25, outgoing and confident. He takes pride in his appearance and likes to stay on trend. He may be in employment or in education, and he likely shops in places like Blue Inc, Footlocker and JD Sports.
Is the product clear? Mainly. The shoes on both models are very clear to see, but the rest of the clothing is mainly obscured or not there at all. This makes it appear to only be advertising footwear, however the brand also do a selection of menswear. As the main focus of the brand is footwear however I am not convinced this is such a problem.
What is the message to the consumer? The message to the consumer is that this is an ultra-modern brand. It is futuristic, suggesting it is at the very frontier of the fashion industry and therefore an important brand to follow. The gold colour also suggests luxury and opulence, which singles out those consumers looking for something more than run-of-the-mill high street fashion. It also suggests a certain level of wealth, both inviting a specific target market to view the brand and also giving the wearer a feeling of high status. Does it work? The message of luxury and wealth certainly comes across in this image, and the text along the bottom clearly states the brand for all to see. What would you change? I would change the composition in this picture as it feels somewhat disjointed. The man on the right is looking straight into the camera, but from the background, whereas the men on the left are more in the foreground but looking in another direction. There is no clear focal point in the picture and therefore the eye is not drawn to any particular product. Is the product clear? Although there is no clear focal point in this image the product is still clear. The brand name along the bottom tells us clearly who the designer is, the fact that it is a photo of four men tells us that it is an advertisement for menswear, and the gold colour that they are all wearing shows a uniform theme across that menswear collection.
Customer Profile This customer is a young male professional, 25-35, and likes to dress smart both in and out of work. He likely works full-time and takes pride in his appearance. He wishes to look classy and sophisticated, but also likes to add a flash of wealth to his outfits. He will shop in places such as Hugo Boss, Armani Exchange and Lacoste.
What is the message to the consumer? The message to the consumer is one of opulence in it’s purest form, suggesting that the consumer needs absolutely nothing else other than the product. Does it work? Yes. Indeed this is a very famous advertisement and nowadays it is not even necessary to show the product for consumers to understand what it is advertising. What would you change? I would not change anything about this advert. Is the product clear? Yes, the image on the right clearly shows the product and the company, and I have included the image on the left to reinforce my point that it is such a successful advert that the product name is no longer necessary.
What is the message to the consumer? I’m not sure what the message is here. It seems to be one of male domination over women, although I’m inclined to believe that was not the point of the image. Does it work? No. This image does not make me want to shop from this company. What would you change? Almost everything. I would not have the models in such a violent looking composition, and I would also have them showing their clothes more clearly to the camera. Is the product clear? No, I am not sure whether the product being advertised is menswear, womenswear, or a fragrance of some sort, only what the company is.
What is the message to the consumer? This image suggests to the consumer a certain level of class and sophistication, but at the same time a certain level of playfulness. The image of the mouth in front of the model’s face is an image of the model’ own mouth and is a humorous nod to the criticism she has come under for her appearance, and this suggests to me that she has risen above it. Does it work? Yes, this image suggests that the brand is classy, but doesn’t take itself too seriously, and I think this will resonate with consumers.
What would you change? I would do more to show off the shoes as this is a footwear brand, which is not incredibly obvious from this image. The shoes do stand out however as they are the only flash of colour other than the image of the mouth at the top. Is the product clear? The product is clear to see but it is not clear that this is a footwear brand. It looks very much as if this could be an advertisement for womenswear in general. The brand however is very clear. What is the message to the consumer? The message here seems to be that partying and partaking in illegal activity is cool, and that this is a brand for people that act in this way. Does it work? No. Lots of brands present a party hard image of themselves, but usually in a more positive light. This image here is not attractive and looks more concerning than inviting. What would you change? I would not have the models appearing to do anything illegal. I would also have them looking more confident or happier, rather than bedraggled and incapacitated. Is the product clear? Not really. We can see that the image is advertising womenswear; this is made obvious by the presence of the garment on the table. We cannot see, however, what the models are wearing clearly.
What is the message to the consumer? The message here is one of female empowerment and confidence, and suggests that this is how all women will feel when they wear this brand. Does it work? Yes, this is a simple composition but it speaks volumes, while not being overtly sexualised at the same time. What would you change? The only thing I would change here is the black background that appears to be closing in around the model, as it looks a bit macabre. Is the product clear? The product is very clear yes. The model is shown at the centre of the image wearing a number of products available from the brand, of which the name is clearly shown on the right of the picture.
What is the message to the consumer? The message appears to be playful, but other than that I am not really sure what the message is here. Does it work? If the brand is simply trying to advertise itself as a playful and humorous company then yes. If they are trying to hint at something else than I’m afraid it is lost on me.
What would you change? I am not sure what I would change. I see nothing immediately wrong with the image, however I am left a little perplexed by it. Perhaps I would show more shoes in the image or the shoes being worn by models. Is the product clear? Yes, the brand is clearly names along the bottom of the image and this image is clearly an advertisement for the brand’s footwear range.
What is the message to the consumer? The message here is one of confidence and youth. The brand is clearly aimed at young people who want to look good, and this image suggests to the young consumer that wearing this brand will help them achieve that goal.
Does it work? Yes, the message of confidence here is clear to the viewer, at least amongst the women. What would you change? I would have the male models looking into the camera as well. Their disinterest in the camera may appear to reflect a disinterest of men in general within the brand, whereas I think the male models should be looking into the camera to engage the male consumer. Then again, this may be a subtle nod to the thousands of men that get dragged around shops by their partners, and may serve to amuse the viewer. Is the product clear? The product is very clear here. A wide range of products are available to see and the brand is clearly shown in the bottom right. What is the message to the consumer? The message here is very unclear. Perhaps the strange position of the model and her gaze into something unknown by the viewer Is supposed to suggest an air of mystery. Does it work? Not really. This image just seems to conjure up more questions than anything else.
What would you change? I would not have the model in this position, as it looks as if she’s just fallen out of bed. There Is no feeling of confidence or allure in this image, which could perhaps be remedied with the model engaging with the camera. Or perhaps the image could show something else happening, so that we might understand why the model is looking towards something else. Is the product clear? Yes. Although it is a strange image, the brand is clearly shown on the bottom left, and it is clearly advertising womenswear.
What is the message to the consumer? The message to the consumer is that this is a brand for women of all ages, and that age really is just a number when it comes to looking and feeling good. Does it work? Absolutely. The age range of the models, as well as the different levels of fame among them, really drive home the point that anyone can enjoy this brand. What would you change? I don’t think I would change anything about this image. Perhaps the composition could be rearranged to show off the clothes a little more, but that is all, and I am not sure even that is necessary. Is the product clear? Not immediately, but M&S are so well known for these kind of adverts that it is not totally unclear. Although, one might mistake it for a Boots or Debenhams advert. What is the message to the consumer? I’m not sure what the message is here. The model looks a bit worse for wear and the atmosphere is gloomy. It is unclear to me what the point is in this image. Does it work? Not at all, as I just can’t comprehend what the brand are trying to suggest here.
What would you change? With such a gloomy background I would have the model more illuminated, so that it looked like she, and thus the brand, were almost glowing against the dark backdrop. Is the product clear? This is obviously an advertisement for Prada, evident from the text at the bottom left. However it is not clear whether it is advertising womenswear,
Diablo Rose
Diablo Rose
Topshop Customer Profile Topshop is typically popular with women aged between 18-30, with an income ranging from £10,000-£40,000. It is aimed at women who are fashion conscious but are on a budget, and it has a number of lines designed for varying budgets. Its main competitors are Zara, H&M, French Connection and River Island.
This is Sarah, aged 24. She lives and works full time in York, earning just under £15,000 p/a. She has a moderate social life, usually going out with friends every other week. Her social activities include going to pubs and clubs, going to the cinema and going to festivals. In her own time she likes to stay active, usually through swimming or cycling, and she also likes to spend time reading. Her favourite type of food is Italian and her favourite band is Maroon 5, although she enjoys a wide range of music genres from industrial metal to pop. She takes care of her skin but does not spend a lot of time on it every day, usually just washing with Body Shop products and moisturising every day. On a daily basis she just wears mascara, usually Rimmel or Collection 2000, but if going out on an evening she likes to wear products by Mac, Clinique and No7. She washes her hair every day but just lets it air dry. If she’s going somewhere special she might spend up to an hour styling it. She likes to wear any style that suits her but is a particular fan of vintage inspired fashion. She will typically spend about £30 on an everyday outfit but for occasions she will usually spend £50-£70 on an outfit. She usually goes clothes shopping once a month and her favourite shops are Topshop, H&M and New Look.
Diablo Rose Customer Profile Diablo Rose is a popular pinup and vintage style model and hair dresser. She has a huge online following and runs two popular vintage salons as well as a vintage inspired cosmetic line.
This is Amber, aged 23. She lives and works full time in Edinburgh, earning £12,000 p/a. She has a busy social life, going out with friends every week, as well as volunteering at two youth sports clubs. She likes to go to the cinema and enjoys eating out. She also likes visiting vintage and crafts fairs. In her own time she likes to read literature and she also follows a number of fashion blogs. Her favourite type of food is BBQ and her favourite type of music is bluegrass, but she also enjoys listening to pop and indie rock. She has a daily skincare routine comprising of exfoliating, cleansing and toning. She wears full make up every day but wears darker eye make up when going out on a night. She washes her hair every other day and styles it every morning, which usually takes about 10 minutes. She is a huge fan of vintage fashion and loves the 50s rockabilly style. She will typically spend about £40 on an everyday outfit but for occasions she will usually spend £80-90 on an evening outfit. She goes window shopping almost every week and usually purchases clothes every month. Her favourite shops are New Look, Cath Kidston and Lindy Bop online.
Available with either embellishment on the toe.
This range is aimed at women between the ages of 20-30, and is mainly constructed of cotton, in order to create structured pieces that are also breathable for the summer weather, as well as being durable. Some of the more expensive garments will be made with satin. The range is designed to allow the consumer to mix and match, and some items will be available in a range of colours. Some items, such as the blouse, will also be available in printed fabrics. The materials will be sustainably sourced and constructed in Britain, and the range will cost between £20-£60, the cheapest item being the cotton jersey cropped tops, and the most expensive item being the college style jacket and shoes.
S/S Range £60
£20 £50 £30
£40
£60
£25
£55
£50
£30
£60
£30
£40
£50
£45
£30
50s glamour, wherever, whenever! “Our mission is to bring you that timeless vintage style at an affordable price, so you can be the epitome of rock & roll glamour wherever you are.”
DR
Diablo Rose
50s glamour, wherever, whenever! Shop online or in store www.topshop.com
Diablo Rose 50s glamour, wherever, whenever! “Our mission is to bring you that timeless vintage style at an affordable price, so you can be the epitome of rock & roll glamour wherever you are.”
DR
Competitors Zara
H&M
£49.99
River Island
£39.99
£40
£39.99
£12.99
£35
£59.99
£49.99
£65
Lindy Bop
£44.99
£19.99
£129.99
Collectif
£50
£32.50
£55
50s Glamour Wherever
Wherever
Whenever
DR
Whenever DR
Visual Merchandising These three mannequins will be placed at the front of the store so that all customers will see them when they enter Topshop. They will be dressed in a selection of garments that showcase both the casual and the more dressy ensembles that can be achieved with the collection. During the promotion of this new collection, and for the next few weeks following, classic rock & roll will be played throughout the store, such as Bill Haley & the Comets and Elvis Presley. This will give the customer a feel for the age and the classic rockabilly vibe, and drive sales towards this collection.
Branding Analysis For my branding project I chose to do a collaboration between Topshop and pin up model Diablo Rose. I came colours and prints. I also wrote a small paragraph alongside my range plan explaining at whom the range is to this decision because while the 50s style fashion sported by Diablo Rose has grown increasingly popular in aimed, the price range it will encompass, and how the range will be ethically sound. I also created a table recent years, few high street stores really cater to this market. Most followers of this fashion have to look to showing similar items from other shops, in order to compare and contrast the prices of these items, and small independent retailers for their clothing or to online retailers, which not only presents the problem of not ensure that the cost of my range fits well within the context of my competitors. being able to try before you buy, but it also means that their customers are limited to people already seeking out this style. With the introduction of this collection to Topshop however, millions of consumers will be In terms of branding for the range I created designs for business cards and flyers, as well as an advertisement introduced to a classic and flattering collection that they may have not previously considered. It also means that would appear in a magazine. This meant that I had to come up with a slogan, as well as a mission that people already following this trend will be able to browse and try on these styles while out shopping with statement for the collection. As this is a collection for Topshop, I felt it important that my mission statement friends on a regular basis. It is also open to wide age range. While the collection is geared towards Topshop’s reflect that of Topshop in general. On the Topshop website it states: “We’re on a mission to bring style to you, usual target market of 18-30 year old women, and is suitably fresh and playful, the classic cuts and tailored wherever you are.” I chose then to elaborate on this quote for my mission statement, and tailor it to the pieces are not unbecoming of older women, and may therefore draw in a few older customers as well. As specific range. The slogan for the range is also along similar lines. I wanted to keep it short and sweet, but still Topshop are highly involved in London Fashion Week, they are at the very forefront of high street fashion, encompass that original mission statement. The word “wherever” is key in both my mission statement and meaning that millions of women look to Topshop for the latest trends. As part of my research I discovered that slogan. This is because the range is aimed to be suitable both for casual wear and evening wear, depending Topshop has a range of lines all geared towards women with different levels of income. This means that they how it is worn. In either instance, the wearer should feel glamourous, as the range aims to comfortably attract a wide range of fashion savvy consumers, from students to women in full time work earning up to enhance the feminine silhouette, as the fashion did in the 1950s. I included a photo of Diablo rose on my flyer £40,000 per annum. The customer surveys I carried out supported the fact that Topshop attracts a varied range as she is the figurehead for the collection, I also did a concept board for the advertisement portion of the of customers with various hobbies and interests, and the customer profile I chose to present portrays the project, which features a number of suitably 50s styled models against a backdrop of various American style typical mid-range Topshop customer, both in age and income. I also chose to present a customer profile for the diners. I was then ready to establish an actual advert, and I chose to make two that would be featured in the typical Diablo Rose fan, as it is important that my range appeals to both types of consumer if it is to be same magazine. The first one features the entire slogan for the range, and the second one, which would successful. appear later in the magazine, simply features the “Wherever, whenever” part of the slogan. I have done this so that the reader will see the second advertisement and also remember the first one. Both adverts feature pin I am relatively pleased with my work for this project. My mood board shows the themes associated with Diablo up style models sitting in a diner with a milkshake, and this theme would be recurring throughout the entire ad Rose, such as the Sailor Jerry style tattoo, the classic rock & roll backdrop of 50s youth, and the bright lights of campaign, as it captures absolutely perfectly the 50s America theme of the range. I also created a slide Las Vegas. The only thing I really dislike about my mood board is the cloud in the centre with the title and logo showing how I would show off the range in store, and how I would encourage the customers to buy products in the middle. I think it looks quite unprofessional, and this is simply due to my inexperience with the software from this range. I am a bit disappointed in this slide however. I would have liked it to look considerably more I was using. I hope that over the next unit I will learn to use Photoshop effectively and sloppy presentation will creative, however once again I was hindered by my lack of experience using the software. not be an issue again. All aspects of my mood board scream 50s America, and this was the basis for the collection. For my concept board I used the motif of the American diner, as this is a staple of 50s America. I feel One thing that really helped me in fine-tuning this project was comparing and contrasting my work with that of that my concept board shows clearly the theme I am going for and works well with the colour palette I have my peers. Not only did hearing criticisms from my classmates help me to better understand what did and did chosen for it, but that it could be more creative. I think I concentrated too much on the garments for this slide not work in my project, but seeing the work others had done gave me great food for though. For example, one rather than the concept itself, whereas I should’ve saved this more for my range plan. student chose to present different garments with different background images to reinforce the colour scheme of her range, whereas another student not only did an in-depth written customer profile, but also a visual After completing my customer profiles I was ready to build a range for the collection. I am very pleased with customer profile. The peer assessment aspect of this project has been massively beneficial, and I can certainly my final range, especially as I had some issues with it in the beginning. I initially included more garments and say that my project would be of a lower standard if I had not been able to compare my own work with that of had them spread over two slides, but a peer review helped me to see that the range appeared to be a bit my classmates. I have learnt how important visuals are in this work, and while in-depth writing is necessary, a mismatched, and that really it ought to all be presented on one slide, so that the viewer can clearly see how wide range of visuals can really enhance the quality of work. However, overuse of visuals can have the effect of everything will look together. I took this advice on board and produced what I feel to be a much better range making the work look too cluttered, and something I have really noticed when looking at the work of others is plan. I also had an issue with showing what fabrics I would be using, at first attempting to show what fabrics I that minimalist presentations are very effective. They look very professional, while at the same time clearly would use for every single garment. This looked messy however, and after discussing this with my peers and showing what the creator is aiming for. This is the level I hope to achieve in the next unit, whereas at the my tutor I understood better that I simply needed to show a sample of the kind of fabrics that would be used. I moment I feel I need to include a lot of slides and visuals before I can get a clear idea of just what exactly I then chose to show just a small selection of fabric samples in cotton, jersey and satin, in both plain pastel need to be doing.
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The artefact chosen on the previous slide is a cube, and it links very well with the collection the student has presented. The shapes of the garments are quite box-like, and do not really accentuate the waist at all. Some of the garments are also decorated with geometric and box-like shapes, such as the orange panel that stretches across the chest and shoulders on the white top, which creates are very square shape as it changes direction at the shoulders. The use of straight lines across the range also reinforces this cube-like theme. Straight lines do not often occur in nature, so it automatically looks quite artificial or manufactured, and therefore the shape stands out in our minds. The student has also chosen to use a Rubik’s cube as his or her inspiration, which allows for a bright and colourful collection. The colours clearly match those visible on the cube, and the way the colours are presented in blocks on the garments instantly makes them appear more box-like. Orange and blue are also complementary colours, and this uniformity fits well with the cubist theme.
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The concept comes across very strongly. The name Sports Luxe tells us already that there is a sporty theme, but that the collection is made up of dressier pieces. The pieces do at first glance look very sports like, but on closer inspection, these are not the sorts of things you would wear for participating in sport. The bright colours not only fit well with the cube theme but they also work well with the sports theme, as they are the strong vibrant colours typical or sports attire.
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From looking at the concept board I can easily visualise the collection, the only problem with it I think is the lack of any pants in the collection, especially given the athletic theme. The addition of a couple more bottom garments would mean that there are more ways to mix and match the range, and this would help us visualise even more. Some accessories would also go a long way with this theme. Given the 1980s vibe that the bright colours, bold shapes and, of course, the Rubik’s cube are presenting, accessories would be a suitable addition to this range, as they were an integral part of 1980s fashion.
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Key pieces for this collection would be loose fitting dresses and garments with bold colour blocks and straight edges. As I have also said, big accessories would not go amiss, especially as this is a more dressy collection. Accessories such as big earrings and chunky bracelets would suit the sporty colours while reinforcing the point that it is not actually a sportswear collection. I feel that the CADS you can see to the right would be suitable additions to the Sports Luxe range, especially given the resurgence of ‘80s glamour.
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The season is not specifically stated for this collection but based on the cut and colours of the garments I would say it is a Spring/Summer collection. The colours work very well with the S/S theme, as the orange and blue hues can be likened to the sun and the sky. The heavy use of white on the garments and the concept board also suggests a freshness that one would associate with S/S. The fabrics also look lightweight and cool, which is of course suited to the season.
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The target market for this range is 18-25 year olds I would say. The customer would be someone who is regularly active, and wants this to show even when they are not doing sports; someone who is fashion forward and daring enough to go out wearing bold shapes that draw attention from onlookers. The bold colours, transparent panels and graphic blocks are befitting of a younger consumer and may look a little garish on someone more mature.
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The concept board is really strong and the theme is very obvious just from a glance. I really like that the layout itself reflects the cubist theme, and also that the student has used a mix of fashion images and random objects, as this really reinforces the theme itself.
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I think there is very little that does not work with this concept board, but a few more CADS that show more of the range would be useful. It could also feature some images of people taking part in sport, as it currently only features images of models, and I think it detracts a little from the sporty theme seeing only people posing or walking down a catwalk.
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The slogan I would use for this collection is “Work hard, play hard” as the Sports Luxe theme obviously translates from athletics and sports training to evening wear. It is a phrase that also resonates with young adults, and it is memorable because it is already commonly used.
Evaluation Over the course of this unit my understanding of the fashion industry and its relation to the retail sector has developed significantly. I started out with little knowledge of how fashion is continually influenced by various factors and how this translates to retail, and have ended the unit with a much better understanding and an awareness of the many different aspects affecting the industry.
For the first task I researched the fashions of three different eras in order to better understand the changing face of fashion, and what factors might have affected the way people dressed during these times. I chose to research the Victorian era, the 1920s and the 1970s because I felt that this gave me a broad spectrum of themes. There were obvious differences between all three eras, but I was also surprised to find that similarities could be drawn between them as well, such as the long, flowing fabrics of the Victorian era and the ‘70s, and the androgynous style of the ‘20s and ‘70s. I was also interested to find that the style icons changed over the years from aristocrats to celebrities, although one could argue now that this is now taking a turn again with the popularity of Kate Middleton and the apparent obsession with her wardrobe. What was most interesting about this task was seeing how much today’s fashion is influenced by all these different eras. One can hardly fail to notice elements of all sorts of fashion styles in today’s shops and on the catwalks. What is notable though is that there often seems to be one specific era particularly fashionable at any given time, such as this year’s fascination with all things ‘70s. Next I looked at the Sophisticated Heritage style, which is a fine example of how a specific era has influenced the fashion industry. I learnt how a particular brand is pioneering the style, and what influences they have used and I created a mood board to showcase the themes and designs that this style incorporates. I picked up on the importance of mixing both fashion and non-fashion related images to really get the theme across to the viewer, and learn that a mood board should focus more on clearly showing a theme rather than the designs or garments themselves. After gaining a clear understanding of what the Sophisticated Heritage fashion entails, I was able to pick out three companies using this theme in their designs, and was able to see that the same theme is used by high-end designers, high street retailers and fast-fashion retailers alike. This is a clear example of how certain themes permeate the different levels of the fashion industry. I then worked with a partner to do a more in-depth analysis on the fashion of different eras. I chose to research the 1930s and the 1980s, while my partner researched the 1950s and the 1960s. We then compared and contrasted our findings, with my partner choosing to pair the ‘60s and ‘80s and myself pairing the ‘30s and ‘50s. During my research I learnt more about how both local and global issues affected the fashion industry, and whom people considered to be the style icons of the time. When comparing the eras, one thing that really stuck out to me was just how much the state of the economy affects the fashion industry. When times are hard fashion seems to reflect this with more modest clothing, whereas in times of prosperity fashion becomes more about showing off to one another. Another thing that struck me was that the status of women also seems to massively affect the fashion industry. For example, fashions that focused on the waist seem to coincide with periods in which women did not have many rights, whereas when women become more powerful the fashions of the time take a more androgynous approach. I am quite pleased with how I went about this task. I started
out looking at notable events of the decades, then at the fashions pervasive in said decades, and then at the people considered to be fashionable in those decades. I chose to present it in this way because I felt that it was important to show what was going on at the time, both locally and internationally, then how these issues translated to the fashion world, and then how these factors were filtered into the public eye through the popularity of celebrities showcasing said latest fashions. This task also gave me my first valuable insight into the importance of celebrity influence on fashion. One thing in particular that really stuck out to me during this task, was when I read that Marilyn Monroe considered Bette Davies a huge inspiration on her own fashion: a distinct example of one decade influencing another.
Then I took a look at current trends found on the high street, and made a mood board to show the various I then did a project on how culture influences fashion, for which I chose three very different cultures to trends out there today. Initially I got a bit muddled up on this task, and included items on my mood board that research. I made a mood board and a mind map for each culture that shows the wide array of different aspects really had no place there. After discussing this with my tutor I had a much better understanding of what is popularly associated with them, and wrote a few paragraphs explaining how each culture or subculture has meant by the term trend and was able to create a much better mood board. Being able to identify specific influenced the fashion industry. This was also the first time I included my own primary research, in the form of trends has proved especially useful throughout this unit, and it is an integral part of buying and range planning photos in the Rock & Metal portion of the task. I did not include as much primary research as I would have in the retail sector, so I am especially pleased that I was able to see where I had gone wrong and quickly liked in this unit, and I will make a much bigger effort to do so in the next one. I then wrote a detailed report of overcome this obstacle. As part of this task I looked at a number of different garments available on today’s how culture influences fashion, in which I discussed various topics such as the different types of culture, the high street, identifying the eras from which they had clearly taken inspiration, and what elements of these eras rapidly changing face of the fashion world, and how the fashion industry affects society. This was a really had been used. This research supported the trends I had shown on my mood board, and I was able to write a interesting topic to research and I read many articles that highlighted factors within the fashion industry that I short conclusion about what trends were clearly dominating the high street. What I found interesting was that would never have even considered, such as its effect on the environment. I was pleasantly surprised when despite the fact that one decade in particular is dominating the high street, it is still easy to find items that conducting this research to find that there is a growing effort within the fashion industry to make it more have elements of other eras, and that different eras are often combined in today’s fashion. sustainable and ethically sound, and that like everything in the fashion world, this trend is filtering down to the fast fashion retailers. When I began this task it was a bit daunting, as it has been a few years since I have conducted and written up any research, and even more so because I have never conducted research on this Next I did some research on current catwalk trends, and as a transition from the previous task to this one I chose to show the high street trends I had discussed being shown on the catwalk. I did this to show how high topic before. However once I got into the swing of it I found myself chancing upon ever more interesting articles, and felt really as if I had gained a great deal of new information by the end of it. street fashion is influenced by what appears on the catwalk, and I think this worked well to bridge the gap between the different trends currently on the high street and on the catwalk. The two trends I picked out from the catwalk were Hollywood glamour and Eighties Remix, and I think the images I used for this task show these Next, I looked into how three social factors have influenced fashion. I was surprised when conducting my trends well. In my conclusion for this task I was able to point out exactly what elements were being used to research to see just how varied the social factors are that affect the fashion industry, and the varied scale of create these trends and the types of clothing that they encompassed. I then looked in more detail at this the effect such things can have. The research I did on social factors was only brief, and I would be interested to season’s high street trends, picking out two specifically, as I did for the catwalk. In my conclusion for this task I research further into these factors in future, as every article I read seemed to open further lines of enquiry. discuss how these trends can be seen in both casual and evening wear, which I feel makes these trends even more prevalent. I have also included the retailers for the images I used on my high street trends mood boards to show that the trends really are all over the high street, although on review I think I could have done with including more upper high street retailers such as John Lewis and Ted Baker, in order to show the wider spectrum that these trends have permeated. After this, I wrote about how trends filter down from the catwalk to mass market fashion. It is a brief description but I feel it shows a good understanding of how trends are translated from the top to the bottom of the retail industry, and certainly it has helped me understand better why there are such big discrepancies in cost and quality between various retailers. For the next task I had to choose as artefact - in this case I chose a lamp - from which to create a concept board for a fashion range. I chose to use a tiffany lamp, as I thought I could clearly link this to a specific type of range. I started by making a mood board that showed the various themes and motifs that the lamp brought to mind, and then made a concept board that showed the sorts of garments I would pick for the range. I think my skills in producing mood boards have really picked up in this task. You can clearly see that my images link to my chosen artefact and there is a consistency in the style of my range. It is obvious that I have gone for an evening wear range, and in my conclusion on the task I allude to the various aspects of the tiffany lamp that I have reflected in the range. I particularly enjoyed this task because it was more creative than the previous ones. For this reason, I thought that I would take to this task more easily, however I found myself having to think a lot harder about the images I chose than I thought I would have. If I were to do this task again I would probably try to make my concept board more focused. While all my images can be linked back to my artefact, I feel that some items on the concept board, such as the two clutch bags, look like they belong in different ranges.
After considering social effects on the fashion industry I then looked at commercial branding. To begin with I was given five adverts for different companies and a number of questions with which to analyse them. Using the questions as a basis for this work was extremely useful, as it made me think about factors that I would not have thought to consider when looking at fashion branding. Discussing these in class was also very helpful, and it was interesting to see where others’ opinions on some adverts differed from my own. The Chanel advert, for instance, I thought worked well with the dark background, because in my opinion it made the colourful dress stand out more, whereas others in the class felt that the background was too dark and gave the image the wrong vibe. The range of thoughts and opinions shared in class provided a whole catalogue of ideas to consider when discussing these adverts. Following this task I had to find five successful and five unsuccessful branding images to discuss, using the same lines of enquiry as used previously. I found this a little more difficult, as it is difficult to remember adverts that are not necessarily that good. I found when I was looking through branding campaigns that there were a lot of adverts that were inappropriate on the grounds that there were sexist or they promoted an unhealthy lifestyle. I did not want all my choices for unsuccessful adverts to be on there for all the same reasons, however, so I picked a few images that were perhaps a little more odd than necessarily bad. I also found, when looking for images of fashion branding, that a larger majority of the worse branding images were from designer labels, rather than high street brands. I think this is perhaps because design houses have more room to be artistic with their branding, whereas high street chains usually just make it straight to the point, with a simple backdrop and a model clearly showing off the clothes on offer. The next task was the mini branding project, which I thoroughly enjoyed, but as I have already written a detailed analysis of this it is not necessary to go into further detail on that now. The final task was a peer assessment, for which I reviewed an artefact concept board made by another student. This was a useful task because it really made me think about all the things I need to consider when creating my own work, and there were a lot of great aspects of this specific concept board that I will be able to take away and use in future. I think one of the most valuable parts of this whole unit has been examining and discussing each other’s work, as it provides both useful criticism and inspiration with which to improve upon our own work. When starting this unit I had no experience of doing this kind of work, and I was worried when looking at the calibre of other students’ work that I was not cut out for this sort of course. I think this is evidenced by my earlier slides. They do not look particularly professional, and my presentation of the unit as a whole is not very uniform, although I have taken care to use the same font throughout the unit. The presentation of my work gradually became better as I became more familiar with the software I was using, although Microsoft PowerPoint still has limitations, and I hope that I will soon be able to use Photoshop instead, which should help me produce much more professional looking work. Overall I have thoroughly enjoyed this unit and am pleased to be looking forward to the next one. I am aware that I still have a long way to go, but I feel as if I have learnt a lot throughout this unit and will hopefully start to progress at a quicker pace now that I am more familiar with the type of work required.