06 Oct 2010
Fashion, Identity, RepresentationFor many consumers, the model's short stroll is the first image that springs to mind at the mention of the word 'fashion'. The runway display - with its combination of creativity, glamour and artifice - is 1 with the components that drive us, again and once again, to invest in clothing we don't genuinely require. It's hard to believe of an market that does not have recourse to marketing in a single kind or an additional, but only fashion has this kind of an overbearing reliance on it. When garments go away the factories exactly where they're made, they're merely 'garments' or 'apparel'. Only when the marketers get hold of them do they magically turn into 'fashion'.
This was not an easy book to research. The fashion marketplace, as you may well expect, could be haughty and insular, and suspicious of outsiders. It was unlikely to open its arms to your journalist who wanted to deconstruct its marketing methods. The luxury brand names, particularly, are constructed like chateaux - their elegant façades masking outstanding battlements. At initial I thought the general public relations individuals operating at brand names such as Chanel and Louis Vuitton were simply dismissive. I was wrong - they had been becoming tactical. Their inaccessibility is component and parcel of their image. The sportswear brands, maybe a lot more surprisingly, have been equally problematic to penetrate. All these manufacturers are continuously around the defensive, as they existing large and irresistible targets which the advertising adore to pepper with damaging protection.
The designers are not always at ease with this situation. Lanvin designer Alber Elbaz - a man as softly spoken as he is sharply witty - relates an interesting anecdote. Elbaz learned his craft working for the legendary American designer Geoffrey Beene. A single day, Beene asked the young Alber what he believed of a unique dress. 'It's quite commercial,' Elbaz opined. Beene took him gently aside and stated, 'Alber, you must never say a dress is commercial. You must say it's desirable.'
For those outside the industry, it's probably easier to be cynical about fashion than it would be to be admiring. As my research progressed, I found that I bounced like a pinball from 1 mindset on the other. I was surprised that a large number of with the folks concerned in fashion marketing - the photographers, the artwork directors, the event organizers - retained a sense of humour about it. However they enjoyed grappling with an more and more mental challenge. Apart on the stores they're offered in - plus the bags we carry them home in - garments have no packaging. They just sit on shelves, waiting mutely to become judged on their own appearance. All of the packaging has to become done externally; otherwise, how would we know that this special shirt represents a whole range of emotions and messages that we are supposed to be buying into?
fashion design
fashion trends
fashion merchandising
This was not an easy book to research. The fashion marketplace, as you may well expect, could be haughty and insular, and suspicious of outsiders. It was unlikely to open its arms to your journalist who wanted to deconstruct its marketing methods. The luxury brand names, particularly, are constructed like chateaux - their elegant façades masking outstanding battlements. At initial I thought the general public relations individuals operating at brand names such as Chanel and Louis Vuitton were simply dismissive. I was wrong - they had been becoming tactical. Their inaccessibility is component and parcel of their image. The sportswear brands, maybe a lot more surprisingly, have been equally problematic to penetrate. All these manufacturers are continuously around the defensive, as they existing large and irresistible targets which the advertising adore to pepper with damaging protection.
The designers are not always at ease with this situation. Lanvin designer Alber Elbaz - a man as softly spoken as he is sharply witty - relates an interesting anecdote. Elbaz learned his craft working for the legendary American designer Geoffrey Beene. A single day, Beene asked the young Alber what he believed of a unique dress. 'It's quite commercial,' Elbaz opined. Beene took him gently aside and stated, 'Alber, you must never say a dress is commercial. You must say it's desirable.'
For those outside the industry, it's probably easier to be cynical about fashion than it would be to be admiring. As my research progressed, I found that I bounced like a pinball from 1 mindset on the other. I was surprised that a large number of with the folks concerned in fashion marketing - the photographers, the artwork directors, the event organizers - retained a sense of humour about it. However they enjoyed grappling with an more and more mental challenge. Apart on the stores they're offered in - plus the bags we carry them home in - garments have no packaging. They just sit on shelves, waiting mutely to become judged on their own appearance. All of the packaging has to become done externally; otherwise, how would we know that this special shirt represents a whole range of emotions and messages that we are supposed to be buying into?
fashion design
fashion trends
fashion merchandising
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