Fashion Promotion: Building a Brand Through Marketing and Communication 9781350090293, 9781350090279

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Introduction

Fashion promotion is a fast-growth industry that is continually adapting to the ways in which consumers communicate, how they shop, find and share information. Social and digital media channels have infiltrated almost every form of promotion and communication and now play a key role in customer service provision, how brands gather customer information and, subsequently, how they talk to customers.

This book looks at the ways in which fashion brands are reaching out to consumers and making their designs, products and services available to as many relevant and interested customers as possible. The opportunities afforded by new digital technologies and changing consumer behaviour are discussed, along with how the creation of relevant and meaningful content is at the heart of twenty-first century consumer outreach.

The fashion media landscape continues to evolve as print magazines and newspapers face new challenges and independent influencers play an increasingly important role in sharing content. The promotion of a fashion brand is a far more multi-faceted and less predictable exercise than it once was.

The chapters also look at fashion visualization, including the creation of still and moving image and how to work with professionals in associated industries including public and media relations.

Consumer knowledge of fashion and manufacturing has increased and small designers, manufacturers and retailers now compete with larger, more established organizations. The playing field has become more level, but this has also made it necessary for brands to develop and offer a more unique and personal proposition or experience for customers.

Collaboration is increasingly part of twenty-first century commerce, and this book explores some of the various ways in which people are collaborating and partnering not only for the greater good of fashion brands, large and small, but also for the planet. Fashion promotion and communication is continually evolving and being driven towards a more customer-centric, personalized way of providing information and opportunities to buy fashion. Some of the predictions for future promotion and purchasing opportunities are also explored throughout the book.

0.2  ‘THE TEDS’ The promotion of fashion is still about image, but street style and styling have become increasingly relevant and powerful when selling brands.

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Industry and context

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The fashion industry is extremely fast-paced, consuming new ideas and trends at an astonishing rate. What is considered fashionable one day can be seen as passé the very next. It is vital for any brand to keep ahead of these changes and successfully communicate new ideas and designs to build a loyal following of customers. Global and economic factors influence what the world consumes and wears, and fashion brands must consider the global audience more than ever before. An increased focus on sustainable fashion and a more circular supply chain of clothing means brands are also now considering more than just how to produce the new but also how to preserve and reuse existing materials. 1.1 Models showcase designs on the runway at the TENCEL Collection show by designer Chen Wen during the Mercedes-Benz China Fashion Week Spring/ Summer 2018 Collection at the Beijing Hotel.

In this chapter we will take a look at how fashion brands can face the challenge of communicating with this wide, international audience, and how to stand out to a savvy and demanding consumer increasingly interested in reducing the human impact on the planet. 1

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CHAPTER 1: INDUSTRY AND CONTEXT

Brand building Building a strong identity is key for any fashion brand. It allows for representation of a clear idea of what’s being sold, the concept and ethos behind it, the underlying principles of the brand and the way in which it is retailed. These elements create a background for the brand and a picture of what it is about – what it stands for, its attributes and values, and ultimately why the customer will want to buy into it. A brand is a company’s personality and what it hopes to represent to the customer.

There remains, of course, a need for good design and quality construction of clothing, materials and accessories, a brand name, logo and visual identity. As consumers become more connected, however, and awareness is heightened around the process of fashion manufacturing and issues around sustainability, the demand for brand transparency, provenance and authenticity is increasing. Customers are seeking a connection with a brand, where they feel their principles are represented, understood and valued.

‘What I did as a fashion designer for both Gucci and Yves Saint Laurent was to create a character and then costume that character throughout her life.’ Tom Ford

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Brand identity should be built around a number of elements, including the reasons the brand was developed in the first place and what the target audience is looking for; this is determined by conducting market research. It is also about how the products or services are devised, produced and made available and, ultimately, what the brand wants to be known or ‘famous’ for. It is crucial to understand that there can be little promotion or communication of a brand if there is no story to tell or background regarding why it exists in the first place.

1.2 MVM Designer Michelle McGrath chose a simple, text-based logo, and used muted tones to represent her brand MVM.

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BRAND BUILDING

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The brand still matters While routes to market have developed considerably and communication channels are now many and varied, there remains a need to offer a strong ‘story’ or background to a brand that compels the customer to find out more. It is, therefore, crucial to have a clear vision of what the brand should mean to the customer. Consumers gather information about brands from a number of different sources. These will include looking at the visual identity and associated imagery and content, the stores and clothes themselves, as well as all of the other elements of the brand and the background that the company presents to the audience. We learn about Topshop, for example, from the retail stores, the website, the products, adverts, digital content, catwalk and events, online campaigns, social media and influencer collaborations. All of these elements combine to build a picture of what the brand stands for, believes in and strives to create. It is not enough just to design and make great clothes; a fashion brand has to create a complete story behind the ideas so that the consumer can both differentiate it from the competition and feel a connection with the brand.

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HIGH-STREET BRANDS High-street retailers such as Topshop and H&M focus on having an overall mass-market appeal to a mainly young audience. Collaborations with luxury brands such as Versace (H&M) and Jonathan Saunders (Topshop) offer a more aspirational offering to their customers. The opportunity for luxury or more traditional brands is that they are exposed to a wider audience. Collaborations increasingly include working with online influencers who have built an audience around their own personal style and may also reflect the target audience of a high-street brand.

‘When you think of the blur of all the brands that are out there, the ones you believe in and the ones you remember, like Chanel and Armani, are the ones that stand for something. Fashion is about establishing an image that consumers can adapt to their own individuality.’ Ralph Lauren

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BRAND BUILDING

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1.3 TOPSHOP BRANDING High-street giant Topshop presents each element of the brand consistently across all customer contact points, from shop window to store interior and digital presence.

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1.4 ASOS Online fashion retailer ASOS caters to the demands of varied fashion consumers, embracing new ways of communicating brands and products.

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BRAND BUILDING

Adapting for the new consumer With global markets, the explosion of digital communication, the growth of the independent influencer, a more demanding consumer and greater levels of competition, it is becoming increasingly difficult for fashion brands, large and small, to compete. Differentiators that enable brands to have a unique selling point (USP) are becoming harder to define as local markets develop to include global audiences and luxury brands continue to expand their offering to mass markets. However, the growth in communication channels and access to two-way conversations with the customer means it is still possible to create a strong, focused brand that appeals to the modern consumer. More than ever before, brands are required to listen to the customer and respond accordingly, which also means that product development can be efficiently targeted, and marketing and promotional campaigns can be bespoke and responsive. The gathering of data, use of Artificial Intelligence (AI) and the need to respond to consumer feedback at speed all play a significant role in brand survival. Gathering data and customer information of spending habits, product and services feedback, responsiveness, preferences and a whole host of valuable interactions allows brands to create a more compelling and complete customer experience.

disciplines. The fashion and creative industries are receiving more attention, recognition and funding from official bodies and some governments. The challenge is to ensure the market remains customer-focused and commercial as well as creative and innovative. Market research, creativity, strong brand stories, well-developed products, and responsiveness to customer feedback are all key to the creation and survival of a brand that is appealing to the new fashion consumer.

UK FASHION INDUSTRY REPORT In 2010, the British Fashion Council commissioned a report into the value of the UK fashion industry. The report analysed the industry’s profit, as well as fashion education, fashion marketing and fashion media. The study concluded that the fashion industry at that time was worth £21 billion/$32 billion a year to the UK economy, and as much as £37 billion/$57 billion when related businesses were taken into account. Part of the focus of this report was to give the government the impetus to invest more readily in the fashion industry. The report also made recommendations for the future – including the provision of better business training for fledgling designers and providing support once businesses are up and running.

Fashion collections and the people and creativity behind them are gaining more attention from the consumer, and the industry is still attracting enthusiastic apprentices and interns across most

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CHAPTER 1: INDUSTRY AND CONTEXT

The shifting communications landscape At a time when information bombards the consumer at every turn, it has become increasingly challenging for any brand to be heard above the noise. The Instagram generation of ‘always on’ interaction means the consumption of information is constant but the opportunity to grab attention is increasingly challenging.

The availability of information through digital channels, and the ease with which we can share it with each other through social media, means that we no longer necessarily believe everything a brand tells us. We now demand more information about brands, we expect them to engage with us – on a one-toone basis – and we look to our peers and online review and referral services for information about brands, often above traditional sales messaging.

We choose what we want to see, read and listen to, when we want to. We expect brands to listen to our choices and provide what we need, when we need it. The fast-moving fashion industry, with its need to share ideas and imagery, engage with the customer on an emotional level and keep ahead of new trends, continues to embrace new digital communication developments with enthusiasm.

The speed at which information travels has also increased dramatically and we no longer need to rely on ‘official’ sources such as online news sites and magazines. We have often already heard the news through our own personal channels of communication, before it is officially released.

1.5 BURBERRY Burberry is considered a digital trailblazer, communicating what appears on the catwalk into easily consumable information and instantly shoppable products. Rosie Huntington-Whiteley attends the Burberry Festive Film Premiere on November 3, 2015, in London, England (Photo by David M. Benett/Dave Benett/Getty Images for Burberry)

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THE SHIFTING COMMUNICATIONS LANDSCAPE

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Before the digital revolution To fully understand the impact that recent advances in digital communication have had on fashion, it is necessary to know how things were done before the sharing of content became so widespread, instant and accessible. There were a number of traditional routes for a new fashion brand, large or small, to be seen by the customer. A label, garments and brand would be devised based on the vision of the fashion designer. These would be interpreted to create visuals or marketing materials for the brand. If these proved successful, the brand might exhibit at fashion weeks around the world, hire a PR agency, meet with the press and buyers, and their profile would start to build.

With a large enough budget, a designer could advertise in fashion and lifestyle magazines and newspapers, and work with the media on interviews and features. The audience connected with at this first stage – editors, PR consultants, buyers and fashion week teams – would be relatively small but once their support was gained, progress could be made and brand exposure established.

TRADITIONAL MARKETING MATERIALS A brand’s basic marketing materials would often include the following: • A lookbook, which is a collection of individual photographs of each item in a collection, clearly showing the garments with details included. • A brochure, which may include more conceptual and styled images of a collection, along with detailed brand and designer information. • A media or press pack, which can include all of the above along with a press release, press-specific images and contact details for media and buyers.

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1.6 BRITISH VOGUE APP Fashion brands use many tools to communicate with the consumer. British Vogue created an app to offer its readers an alternative way to access the publication.

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THE SHIFTING COMMUNICATIONS LANDSCAPE

New approaches Now, although a label and brand are still devised by the designer in much the same way, the lookbook, brochure, press information and imagery will all be accessible digitally across a number of platforms – social media, app, website etc. The growth of social media channels such as Instagram and YouTube are image-led (still and moving) and require constant updating. Fashion brands are expected to regularly refresh their feeds to offer customers the latest looks, information and updates.

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Catwalk shows are often now livestreamed, and many fashion brands are now publishers in their own right, becoming adept at producing and curating content on a daily basis. Content can range from features showcasing own brand items to style advice articles, to simple lifestyle images that help depict the brand story and aesthetic. PR professionals, working in-house or as external consultants, combine their experience of creating compelling content with a contact book of media and influencers to help raise brand awareness.

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CHAPTER 1: INDUSTRY AND CONTEXT

The availability of digital channels to gather data at speed now provides fashion brands with access to continual customer contact and feedback. It also allows a brand to quickly let people know what they are doing and when. This two-way exchange of information has also impacted how brands design, manufacture and distribute fashion, as the customer takes more control and puts pressure on the industry to be more transparent and responsible. The new era of sharing Since fashion bloggers, vloggers, and street style websites started sharing their own personal style and began predicting trends, from a more individual perspective, consumers have been able to see and respond to fashion from across the globe through instant and constant access. This peer-to-peer recommendation and review process, where each of us can share our own personal preferences with everyone, means we look for ideas and validation from more than one source.

A more level playing field The result of this new era of sharing is that the playing field for fashion communication and promotion has become more level. If a designer has internet access, good content, something to say and, of course, a good idea or product, then they have the potential to compete with bigger brands that have significantly bigger budgets. They still have to consider what they want their brand to be known for which may be anything from high-quality, bespoke, cutting-edge design to mass-market appeal clothes for everyday wear. They also need to consider how they want their brand to stand out, and even if they gather a loyal following, customers will only return if they have a good experience and like the products. If a designer invests the time needed to create a good product, a well-developed brand story and a strong understanding of what the customer is looking for, there are now greater opportunities to reach consumers than ever before.

Influencers, through Instagram, Snapchat, YouTube and other social channels, are all about sharing information, thoughts and opinions with others. As information spreads throughout digital social networks so too does an influencer’s reach and profile, and as brands have recognised this influence, the role of publisher and content creator has shifted from the few to the many.

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GLOBAL MARKET CHANGES

Global market changes Luxury labels were once the preserve of the rich and famous, but brands such as Dior and Burberry have begun to capitalize on a wider market share and are reaching a much broader audience. Previously struggling to compete with high-street brands both on turnover and wider market visibility, luxury brands have created additional revenue streams via lower priced accessory ranges, cosmetics, perfumes and more affordable diffusion labels. These retain the essence of the brand but also cater for a larger audience.

In addition, some high-end fashion labels have elected to offer products that move further away from their heritage or exclusivity, hoping to embrace the desires of a younger, discerning, but less affluent customer. Growing markets in Asia, including China and India, have also helped luxury brands to increase market share. According to McKinsey FashionScope, Greater China is expected to overtake the US as the largest fashion market in the world in 2019. A growing middle class in India combined with a strengthened manufacturing sector has meant more disposable income for more people. (State of Fashion 2019 Report – BoF, McKinsey & Company)

‘Traditional brands are beginning to disrupt their own business models, image and offering in response to a new breed of small emerging brands that are accelerating thanks to decreasing brand loyalty and a growing appetite for newness.’ (State of Fashion 2019 Report – BoF, McKinsey & Company)

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Changing attitudes Coverage of poor working conditions in third world ‘sweatshops’ has impacted the way in which consumers perceive some fashion brands. Increased awareness of the way in which people in other countries live and work has forced brands to clean up their act when it comes to commissioning cheap labour to manufacture their goods. As awareness of the significant impact the fashion industry has on the environment continues to spread and gain consumer mindshare, more people are turning away from fast, unsustainable fashion. New fashion consumption models that create less waste and utilize more sustainable resources and manufacture processes are becoming increasingly popular. Throw-away or fast fashion may never completely leave us, but perhaps through a combination of increased social conscience, greater environmental awareness, and closer connections between consumers and brands, we will see a more evolved industry that places a higher value on quality over quantity.

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CHAPTER 1: INDUSTRY AND CONTEXT

The new fashion consumer The twenty-first century fashion consumer has more information at their fingertips than previous generations. Today, if the consumer wants to buy fashion, they can source exactly what they’re looking for instantly, online, at any time of the day or night. They can compare prices, check product availability and access reviews and recommendations. They can see the latest trends and global influences and share what they find with friends and contacts.

The impact this has had on the industry is that fashion brands now need to listen and gather customer data and feedback consistently, accurately and at speed, to be able to respond and make relevant and timely recommendations to customers. The growth and success of global online retail giants like Amazon, which now includes a fashion offering, has meant retailers, large and small, have had to increase presence, promotion and performance, to be able to compete. Multi-channel retailing where customers can purchase via website, app, social media and physical channels with ease, is now a minimum requirement to survive. Collaborations across almost every sector and at almost every level are also commonplace, where once exclusive brands have had to engage with and try to capitalise on mass-market appeal. New demands – choosing their own channels The race to grab, engage, entertain and retain consumer attention across multiple platforms is at the heart of fashion promotion. As fashion consumers are increasingly bombarded with information by brands and labels all vying for their attention, they are also becoming more adept at filtering through the information and researching what they are looking for.

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For a fashion brand, there is increased pressure to provide the right information in the right format at the right time, for the right audience. Brands are now adept at creating their own content with e-commerce and other sales platforms creating a more editorial-focused experience, developing communities to engage with customers on multiple levels. ASOS includes an ‘Inspiration’ section on its sales channel website which incorporates advice with curated edits to inspire customers, for example:

‘ASOS Insiders – fashion tips from your favourite insiders, Style Feed – daily style inspiration and beauty advice, ASOS magazine – shop featured pieces as they land on-site.’

The consumer’s decision to buy is influenced by many things, not least because there are now so many competing sources of information. The consumer, however, also now demands to be communicated with on a number of levels and across platforms.

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THE NEW FASHION CONSUMER

Part of multi- or omni-channel outreach is the offline experience which many fashion business experts still agree will remain important for consumer engagement with fashion. Whilst many multi-offer department stores are struggling to survive, high-street outlets, independent boutiques, discount stores, collaborative events, pop-ups, experiential offerings and supermarkets still survive. The physical experience of shopping for fashion

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will it seems, remain an important and irreplaceable activity for many customers. Traditional ‘brick and mortar’ retail outlets will need to continue to develop if they are to compete with online channels, by providing higher levels of customer experience and service along with new ways of presenting product and purchasing information, seamlessly across all channels.

1.7 THE PHYSICAL EXPERIENCE For many consumers, the physical experience of shopping in-store cannot be entirely replaced by online retail.

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The rise of the influencer Blogging, vlogging and micro-blogging have all become commonplace, alongside on-demand broadcast streaming services such as YouTube and IGTV. Consumers want to access information about their chosen preferences, passions and perspectives from people they feel they can connect with and who understand them, 24/7, on-demand. Influencers who have built a community following on social platforms are acting as mouthpiece and advisor to many, and brands are capitalising on this connection by working with influencers on outreach campaigns. Celebrity influencers have also impacted the type of content fashion consumers engage with, often impacting what they will also covet and buy. More traditional media and industry commentators have adapted to survive, embracing new ways of connecting with the reader. Industry stalwarts like Vogue are offering content across multiple platforms including video and are also reaching out for reader input and feedback to retain relevance. It remains true, that those successful at making a career out of sharing their own personal thoughts and ideas, are ultimately the ones that are the most skilled at creating compelling content. Despite the undisputed power and reach of the independent fashion influencer, there still also appears to be a demand for strong input from experienced fashion industry professionals.

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1.8 ‘FASHION BOY’ This illustration by Moises Quesada was inspired by influential fashion blogger Bryan Boy.

1.9 SUSIE BUBBLE UK-based blogger Susanna Lau, aka Susie Bubble, was one of the early influential commentators on fashion and attends many highprofile industry events and shows.

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THE NEW FASHION CONSUMER

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Case study Hall Ohara London-born Steven Hall and Tokyo-born Yurika Ohara graduated from Central Saint Martins College, London, in 2003, and established their fashion label, Hall Ohara. They debuted their first collection during SS06 at London Fashion Week, winning the New Generation Award. The Japan-based label fully embraces digital communication, promotion, and collaboration. The brand identity has become synonymous with precision cutting and fit. The core ethos of the label is a focus on capturing the energy of a garment during the process of it being made. This vision led to the label being rebranded to In-Process by Hall Ohara, and the new label debuted at Japan Fashion Week AW11. Steven Hall explains:

Embracing artistic collaboration, they have worked on projects with Dazed & Confused Japan, Nylon Japan, Amelia’s Magazine, Garcia Marquez Gauche and Creative Recreation. Their work also appears on SHOWstudio, an awardwinning fashion website which presents work from top designers, artists, filmmakers and photographers.

‘We rebranded to take the line in a new direction, which has been vindicated with its development. We didn’t just rebrand, we also changed the whole approach to design and pattern cutting in the studio. It was a brave choice to make, but it’s worked and a few other brands out here have taken our lead, which is always a good sign.’

Hall Ohara has created a brand focus and has a strong understanding and knowledge of their customers, refreshing the brand to accommodate developing client needs as well as their own aesthetic as designers. Using both traditional and new routes to market, from international fashion weeks to websites and e-commerce channels, they have embraced the opportunities of collaborating with other people and industries.

The label is sold via a number of partnered online outlets, including Stylife.co.jp, and is also promoted on its own website In-process.org and through collaborations and coverage on digital channels. Hall Ohara also showcases each collection on the catwalk and works with magazines on editorial opportunities.

1.10 IN-PROCESS Hall Ohara showcases their In-Process brand on the catwalk.

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CASE STUDY: HALL OHARA

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Interview José Neves Farfetch.com is an online-only fashion retail business. It offers customers access to stock from independent boutiques around the world. Payment to multiple boutiques, in multiple currencies, can be conducted through one process, allowing customers to buy garments from a number of retailers around the world in one transaction. José Neves is the founder of farfetch.com and has been in the fashion business for more than 20 years.

How did your career in the fashion industry start? I was born in Porto, which is a fashion industry cluster in Portugal, and my grandfather was a cobbler. I decided to launch my own shoe brand after finding out I could design shoes, so SWEAR was born in 1995. I moved to London to launch the brand internationally, and founded B Store in 2001. Although I am an economist by education, fashion fulfilled my passion for design and creative activities, and my entrepreneurial vein as well.

Which elements of fashion communication have impacted the way farfetch.com has developed? All of them. Online marketing became a very complex mix, a science and an art at the same time. You have to master all the channels to be successful; they are all important.

‘I believe the future is multichannel shopping.’

What led to the birth of farfetch.com? My other company, SIX, sells to over 300 high fashion boutiques worldwide. It struck me that they had amazing products that were relevant for the global online shopper, but very few retailers have the resources to run a top-notch e-commerce website. I thought that creating a platform for the best independent retailers would be a win-win proposition for them and provide an extraordinary experience for the consumer.

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INTERVIEW: JOSÉ NEVES

How important are up-and-coming designers to the service you offer? They are crucial. The whole purpose of farfetch.com is to bring an unrivalled fashion selection curated by the best independent buyers; a place where fashion enthusiasts can treasure-hunt and interact with a global fashion community, and discover new talent. The big luxury e-tailers do not stock the new talent of tomorrow, it is still the independent fashion boutique that scouts and takes risks. And these are the boutiques farfetch.com carefully selects for its marketplace, hoping to showcase those designers at the helm of fashion’s creative process.

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Do you think the media landscape has changed, in terms of how labels promote themselves to raise their profile? Definitely. The big media powerhouses have lost a lot of their influence. Designers are no longer made or broken by the glossy titles, ‘The Devil Wears Prada’ is already an anachronism. Do you think online buying will continue to change the way we buy fashion in the future? Online buying is still a fraction of total retail sales. There will certainly be tremendous growth as more and more people start to buy online, and emerging markets discover and embrace e-commerce. But eventually, online sales are going to stabilize and become just another way people shop, complementary to bricks and mortar.

1.11 ATRIUM, NYC Atrium is one of the high-end boutique stores represented online by farfetch.com.

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Are sites like farfetch.com the way for independent boutiques to compete with the bigger brands? We believe so, because the capital and human resources necessary to run a successful online operation are growing relentlessly. This means that independent boutiques either need to raise funding and employ an army of e-commerce professionals, or find a shared platform that can provide them with all the tools and traffic to be able to succeed.

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How important is it to engage with the blogger community? A big point of difference of farfetch.com is that we are a community. We are not an online magazine which you can shop from (a successful approach used by most other luxury sites). Instead, we are a fashion community made of boutiques, but one which also wants to engage others such as designers, bloggers, stylists, and fashion enthusiasts at large.

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EXERCISE: GLOBAL FASHION

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Exercise Global fashion This exercise encourages you to consider the reasons why, and the ways in which, fashion brands adapt to various international markets. Choose one country anywhere in the world and conduct some basic online research to identify the main fashion brands that seem to have the biggest presence there. It can be a combination of local brands and international labels, from high-street to high-end. Look more closely at the characteristics of one of the major brands that you have identified as having a significant presence in your chosen country. Combine the information you have discovered with some general research into the country as a whole and see if you can come up with five reasons why you think your chosen fashion brand sells so well there.

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Things to think about: • When was the brand established? Has it got a recognized history or pedigree? • Where does the brand’s pricing sit in the market – is it considered a premium or a value brand? • Look at the brand advertising and who it is aimed at – what is their age, lifestyle, gender? • Look on social media sites and channels and see what you can find out about how the general public are commenting on the brand. • How do you feel about the brand and is it targeted at you? Compile your findings into a report on the brand detailing your observations and how you arrived at them, including information on the research you conducted.

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Marketing

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Marketing encompasses a variety of outreach, promotional and sales activities, focused on the communication of brand attributes, values, products and services to persuade consumers to engage and purchase. At the heart of marketing is research and understanding what the customer needs and wants. In the fast-paced fashion industry, understanding, responding to and forecasting what the customer is seeking is crucial for brands to be able to offer not just what the consumer wants now, but also what they may want and aspire to in the future. When it comes to satisfying the consumer, there are many ways in which to inform, entice, excite, educate and ultimately sell. This chapter looks at some of the ways in which experts predict and inform the industry and how that process determines planned marketing strategy and tactics. 2.1 PLAYLIFE Brand campaign image for Bennetton Group label Playlife’s SS12 collection.

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CHAPTER 2: MARKETING

Research and trends To assist in the development of products and designs that are market relevant, it is important to understand the customer journey and what influences their buying decisions. To uncover this information, some form of consumer research is necessary. Many designers will have a personal vision of what they instinctively feel is right for them to produce and what people will buy into. The reality, however, is that this will not always reflect what the customer is willing to pay for.

A new designer might conduct some basic research by asking people they know, as well as people they don’t know, what they think of the design ideas and the brand concept. They could also scour the internet for up-and-coming trends and predictions to help develop a potential customer profile. It is also worthwhile to look to other industries for inspiration regarding what people are interested in, from arts and crafts, to general manufacturing techniques, music, subcultures and literature. It can, however, be difficult to separate an emerging trend, a unique piece of research, or an original idea, from something that inspires only a few people or is already well represented. Many designers and brands, therefore, rely on the services and expertise of specialist research and trend analysis companies, such as WGSN, Stylus, Trendstop and Peclers, for example. These organizations conduct research on a global scale and provide analysis and trend predictions used by industry, including fashion. Fashion forecasting and trend analysis With a network of experts – creative marketing and design consultants, freelance analysts, researchers and

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journalists – trend forecasting organizations gather details from across the globe to help make informed predictions about what fashion consumers will turn their attention to next. Trade fairs and international trade panels also work at predicting the colours, fabrics and styling that will be favoured in the coming season. The introduction and journey of a trend has previously been characterized by a small percentage of innovators, often designers and creators, initiating a new idea, which is then picked up by early adopters or trailblazers first before it hits the mainstream of general public take-up and market saturation. Whilst this process still exists, there is also activity where the consumer and/or independent influencer impacts or introduces a new trend which then trickles up the chain and influences what fashion brands produce next. The process of forecasting and the introduction of a new trend from concept to saturation has shortened, as consumers become more globally aware and play their own role in the creation, sharing and dispersion of a new trend. With the growth of global influencers sharing content via visual platforms such as Instagram, consumers who follow and trust them are demanding access to the latest trends at a much faster pace. This has impacted the timeframe of designer

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concept to completed designs, meaning the traditional fashion calendar has become increasingly disrupted. Trend forecasters and consultants still have an important role to play as the information they gather includes details of economic and cultural developments, political influences, weather and environmental predictions, along with latest developments in interior and architectural design, as well as art, street style and so on. Their activity is ultimately focused on gathering information about various levels of human and environmental interaction, along with cultural indicators, seasonal guidelines, historical trends and references and more, to predict what may happen next when it comes to both global and local trends.

TREND FORECASTING ORGANIZATIONS Trend forecasting and research into the ‘next big thing’ is carried out by organizations such as WGSN, Promostyl and the International Colour Authority (ICA), which is a world-leading colour forecasting service. Many brands also have their own in-house ‘cool hunters,’ employed to go out and report on new trends and ideas around the world. Many research companies will carry out bespoke research for a fee. For new designers, as well as those that are very clearly focused on their own ideas and aesthetic regardless of current trends, they may be less relevant, but forecasting agencies and in-house researchers play an important role in informing the industry by reporting on what is expected to appear next.

There are also buying patterns that can be identified when it comes to researching what consumers will respond to next, and weather and seasonal changes can impact how and when people purchase. Economic patterns can be cyclical, and much of the analysis activity is based on what we know has happened in the past when certain conditions have been similar, such as during times of economic recession. So, part science and numbers, part experience and instinct, the business of fashion forecasting can be complex. The impact of consumers who are increasingly more vocal in their feedback and expectations of a brand is also significantly impacting the way in which trends are introduced and evolve. The notion of new trends being introduced to the market via expert research and prediction is constantly being challenged by customers pushing their own research and predictions up the chain and also seeking to be individual and less trend accepting.

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Consumer behaviour and market research To be able to devise a brand that offers something unique or mass-market, cutting edge or mainstream, it is important to have a clear understanding of what people are buying, their feelings about existing brands, and what they are likely to buy in the future. Market research must be conducted to determine this and can be carried out on a small scale, among contacts and acquaintances, or be outsourced to an expert research and analysis company,

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such as Euromonitor International. Companies such as this are highly skilled at conducting market research and have banks of existing contacts, connections and methods of engaging with the consumer.

ways of uncovering consumer spending patterns, loyalty, and feedback and responses to brand developments. The ongoing process of keeping in touch with what the consumer wants is imperative to brand longevity.

Online survey tools are also available, some of which are free, such as Survey Monkey. These enable a level of market testing for little or no investment. Instagram and other social media platforms can also be good resources for conducting consumer outreach and surveys for particular target audiences.

Through social media and other digital interactive channels brands can gather up-to-date data from customers on an ongoing basis. Information gathered from transactions (online and in-store), customer reviews, browsing and online chat services can be collected and used by brands. This data, once analysed, can be used to further understand customers, their buying habits and shopping preferences as well as the topics and campaigns that interest and engage them the most.

When conducting in-house research, it is important to ensure that the consumer market research questions used are appropriate and the target group is applicable. Possible responses offered for any multiple-choice questions must enable honest answers; ensuring feedback is both relevant and useful. This is vital to be able to clearly identify how the consumer is likely to react to the brand. The larger the test group used the better, as this provides a more accurate snapshot of consumer sentiment. Market research results should enable you to begin customer profiling, which involves creating a summary of the type of customer most likely to buy your product. A customer profile describes the attributes of a potential customer and can include demographic, geographic and psychographic (attitudes, opinions, values, etc.) information, along with buying patterns and purchase history. There are a multitude of ways in which customers can be researched and profiled to aid brand development and assess market size and spending habits. Each designer or brand will develop their own

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The growth in use of high volumes of customer data collection means information can be gathered and monitored at speed and can be utilized to create an environment where responses to customers become automatic. The implications of this level of data gathering and manipulation for the purpose of responding to customers in an ever more personalized way are still being explored and discovered. Traditional consumer groups and existing demographic profiles, which have been used for brand development reference for many years, are now being challenged as consumers have access to more information and more options. The result is that consumers are more diverse and less predictable in their buying choices. Brands are expected to be more responsive and to recognize that consumers no longer exist in demographic silos any more.

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CONSUMER MARKET RESEARCH QUESTIONS Basic questions to ask prospective customers to gain an insight into their shopping habits and the market, can include: • Where do you normally shop? • Which brands do you normally buy? • Which brands would you like to be able to buy? • How often do you buy fashion items? • What is your monthly fashion budget? • How do you find out about current trends?

The influence of street style Street style fashion has long been observed by brands and shared through channels including TV advertising campaigns, magazine editorial and digital marketing programmes. ‘Cool hunters’ have been employed by brands to watch what’s happening on the streets, ultimately helping them to decide how they wish to be perceived and develop as a brand. Street style blogs have had a significant impact on this activity and increased the accessibility of information about new trends.

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The influence of some of the earliest online street style fashion recorders – such as Scott Schuman – has been significant. He collaborated with Burberry on one of the earliest luxury brand digital collaborations, ‘The Art of the Trench’ project, making use of the profile he built as a fashion photographer and commentator to help build a new community for the brand, highlighting a particular product. Fashion bloggers such as Bryan Boy have also influenced brands such as Marc Jacobs, who designed and named a bag after him, known as the ‘BB Bag.’ Influencers continue to impact trends and can range in focus and reach and are categorized as micro or macro. A micro influencer is a non-celebrity with a relatively active and loyal audience on social media, often with a unique or niche focus for their content. A macro influencer is normally a celebrity with a large and engaged audience with significant reach. So, in addition to predicting trends through traditional cultural resources and research, designers have to keep a close eye on influencers to keep up with the next generation of style commentators.

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2.2 CHIARA FERRAGNI Italian fashion blogger and influencer Chiara Ferragni established her blog ‘The Blonde Salad’ in 2009. Chiara Ferragni, wearing a pink oversize jacket and Oakley sunglasses, poses outside the Fendi show during Milan Fashion Week Spring/Summer 2020.

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2.3 FREDDIE HARREL Cameroonian French born and raised, living in London, Freddie Harrel is an influencer who’s been active on her blog and Instagram since 2013. Levi’s® Made & Crafted® SS19 Showcase At Wild By Tart Freddie Harrel at Levi’s® Made & Crafted® event celebrating the Spring/Summer 2019 ‘New West’ collection. Co-hosted by Tart London at Wild By Tart, Belgravia.

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Brand development Brands in the twenty-first century are expected to be multi-dimensional, and be able to represent themselves, respond to external feedback and communicate with the customer in a consistent and appropriate manner. Brands need to develop a strong identity and to depict an ethos, a personality, a range of attributes and principles.

Brands can be defined in a number of ways. They can be focused on the personality at the helm of the organization, such as Julien Macdonald or Vivienne Westwood. They can represent a certain ethos or worldview, such as Benetton, which depicted multiculturalism in the 1980s and 90s with provocative advertising campaigns, Diesel as the ‘anti-fashion’ label, presenting original, often controversial campaigns, or cult streetwear brand Off-White described as “the grey area between black and white.”

There are elements of a fashion brand that we, as consumers, become familiar with and describe to us what the brand is all about – its brand concept. This is something that has to be carefully developed. A more recent shift from a brand centric approach to a more customer centric brand definition is also increasingly relevant as customers have greater access to a wider array of products and a more direct route for providing their feedback to a brand about their wants and needs.

2.4 VIVIENNE WESTWOOD Fashion icon Vivienne Westwood is instantly recognizable as the figurehead of her brand. Dame Vivienne Westwood attends the ‘Country & Town House: Great British Brands’ party at Annabel’s on January 27, 2020 in London, England.

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BRAND DEVELOPMENT

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SWOT analysis Before developing a brand concept, it is important to identify the key strengths and weaknesses of either the individual designer at the helm or the organization. An effective way to do this is to carry out a SWOT analysis, which is a tool used across many different industries. SWOT is an acronym of ‘strengths, weaknesses, opportunities and threats.’ To carry out the analysis, you write down each of the words as a heading, then a list of attributes relating to each one. For it to be truly effective, a SWOT analysis needs to be approached with honesty and clarity.

Opportunities These can include areas where the business could take advantage of opportunities to grow the business such as competitor weaknesses or investment from new sources. For example: ●●

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The designer has a good reputation.

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The business is financially stable.

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The staff are loyal.

Weaknesses What are the weaknesses of the designer and/or the business? For example: ●● ●●

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The business has little kudos. The staff have little commercial knowledge.

A contact is interested in a collaboration.

Threats These could be financial, based on the industry, the environment, or competitors. For example:

Strengths These could be from a creative perspective or be about the financial viability of the business. For example:

A competitor has fallen out of favour with the media, creating an opportunity.

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Money in the bank is limited.

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Creditors could withdraw funding.

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Manufacturer prices are increasing.

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Competition is well established

Having honest answers for each part of the SWOT analysis will allow a clearer thought process when considering how to build and develop a brand story and concept. When conducting a SWOT analysis, it is also important to bear in mind market forces, consumer demands and behaviour, competitor stance and realistic opportunities for commercial development.

The location of the premises is not ideal.

2.5 VIVIENNE WESTWOOD A model walks the runway during the Vivienne Westwood show as part of the Paris Fashion Week Womenswear Fall/Winter 2020/2021 on February 29, 2020 in Paris, France.

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2.6 RIVER ISLAND High-street retailer River Island ensures all of its garments, branded items and visuals remain consistent and true to the brand’s profile and principles.

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Defining the brand Once information has been gathered from research, survey feedback and SWOT analyses, opportunities can be identified and decisions made that allow a brand to be more fully developed and defined. When developing a new brand the following elements need to be considered: ●●

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Brand Manifesto – What does the brand stand for? What is the brand vision, ethos and principles? What features or attributes set the brand apart from the competition? Brand Personality – How will the brand communicate with its audience and in what tone? Will it reach out to customers and prospects in a formal or friendly way? What will it say? Target Audience – Who are they and what do they want/need? Who else do they buy from? Why would they buy from your brand? Brand Visual Identity – Logo, typography, images and colours associated with the brand. Brand Assets – The promotional tools used to tell others about the brand – social media content, campaign visuals, in-store point of sale displays, product packaging etc.

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MARKETING MIX Brands are created and promoted to an audience through a number of channels and formats. To ensure the most relevant marketing strategy is devised and the most impactful marketing activities are delivered requires all of the following elements to be considered and determined. The 7P’s is a recognized marketing model that helps determine and further clarify the brand story and the most applicable methods and places to sell. 1. Product – what the brand sells 2. Price – what the products cost for the consumer to buy 3. Place – where will the products be sold – physical and digital 4. Promotion – how the products will be communicated to the consumer – e.g. social media content, digital advertising, catwalk shows etc. 5. People – the people who promote and sell the products – e.g. PR agents, customer sales and service representatives 6. Process – all of the services offered alongside the product – e.g. style advice, personal shopping, payment 7. Physical Evidence – all of the elements that help the customer understand the products – e.g. website, store, catalogues

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This process of considering the brand has to be continually revisited to ensure that the aspirations and goals originally devised are still referenced and that the market and consumer demands continue to be met.

Things to consider include: whether the materials used originate from a sustainable source, how much energy is used to produce the items (the carbon footprint), the working conditions of people manufacturing the garments, and whether any animal products are used.

Communicating a conscience

Making statements about the sustainability of resources used is complex and requires considerable research and commitment. There are organizations that commit time and funds into investigating resources and their use, and these can give advice and also endorse a designer’s commitment to the protection of resources.

In developing a brand identity it is also important to consider the brand’s stance on a number of ethical issues, including those relating to materials and manufacturing. Brands are increasingly required to demonstrate their principles regarding the human and environmental impact of what they do.

2.7 STELLA MCCARTNEY SS20 The use of non-animal materials in her collections has become a key part of Stella McCartney’s brand identity. Fashion designer Stella McCartney and models pose at the presentation of Stella McCartney during the Milan Men’s Fashion Week Spring/Summer 2020 on June 14, 2019 in Milan, Italy.

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The use of fur in fashion has been an emotive subject for some time and there have been many high-profile campaigns protesting against its use. Many designers will not use animal skins, on principle. Stella McCartney is one such designer and has worked with animal rights charity PETA to highlight using fabrics that ‘don’t bleed.’ A number of global fashion week events have now banned the use of fur on the catwalk.

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A strong stance on issues such as environmental impact, working conditions, material sourcing and animal welfare can be communicated to consumers as part of the brand identity, and can affect how customers will react to the brand. The key is consistency – if a brand becomes synonymous with not using animal skins, for example, it needs to retain this stance for the life of the brand or suffer loss of brand value and customer loyalty. Statements about these issues should be factually correct and also, crucially, relate to the genuinely held beliefs of the designer at the helm.

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Multi-channel marketing Armed with a brand concept, a product, an understanding of the 7P’s and market research feedback, there are a number of marketing channels to consider when communicating brand profile. From digital advertising and social media campaigns, to catwalk shows and visual merchandising, there are a variety of methods through which a brand can physically and virtually engage with and interact with the consumer.

Most brands now promote their offering through more than one channel, giving the customer the opportunity to become familiar with their attributes in a variety of ways. The key for any brand is to remain consistent, and this includes responses to customer feedback and complaints, as much as through advertising and retail selling. Advertising – print and digital Display advertising in the print media is still considered an important way to connect with customers for many brands. However, as magazine circulation figures continue to decline, many fashion brands are being forced to consider other options. Online advertising has grown in prevalence and impact and many brands are assigning significant proportions or even all of their advertising budgets to dedicated digital advertising. Digital advertising and marketing is a complex science that allows brands to connect with consumers in powerful and targeted ways.

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Online advertising includes banner advertising, keyword search advertising, including Google Adwords, interstitial advertising and affiliate or influencer outreach. Banner advertising was one of the earlier forms of digital advertising and consists of placing an advert across a web page. Keyword search advertising focuses on popular keyword searches and creating content that includes relevant words and terms. Google Adwords and pay-per-click advertising offer brands the opportunity to pay for popular keyword search words and terms so that a brand can appear higher up the list on a Google search result. Interstitial advertising refers to pop-up screens or pages that interrupt online activity with targeted adverts.

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MULTI-CHANNEL MARKETING

As the use of printed promotional materials continues to decline, some would still argue that digital advertising lacks the impact and shelf life of a doublepage spread in a glossy magazine, art directed, styled and photographed by industry experts. Display advertising such as this remains the domain of those who can afford it, namely luxury brands and large high-street retail chains, and magazines rely on their investment to survive. Magazines and newspapers have seen a significant decline in revenue and circulation figures in recent years, but there currently still remains a level of demand for culturally significant and aesthetically stimulating fashion imagery for editorial and advertising in print form. Just as with sales of goods, it is now necessary to approach advertising in a multi-channel way. A combination of targeting the right audience via focused advertising campaigns and a clear visual aesthetic, offers a culturally aware but time-strapped consumer the easiest means of responding to advertising. In-app promotions that offer direct shoppable links to purchase opportunities without having to visit a brand website are shortening the online sales process even further. Digital marketing via email newsletter campaigns, sponsored posts on social media and distributed content across various channels can offer a more direct, targeted route for communicating with the customer. Consumers are constantly looking for ways to avoid the ‘noise’ of online advertising, however, and methods for digital outreach are set to continue to evolve.

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The physical experience As consumers increasingly buy fashion online, retailers are under pressure to offer more than a traditional store experience in the retail space. Creating experiences and new ways to engage with brands in the offline space enables customers to still enjoy the tactile, physical experience of shopping. Boutiques and high-street brands vie for customer attention in new ways, and the art of visual merchandising continues to develop as an industry. US brand Anthropologie created an in-store experience that led the shopper into a staged world of ephemeral fashion, homewares and accessories. Levi’s® turned their London flagship store into ‘Origin’ – a whitewashed and raw-brick art and exhibition space. Many other brands are challenging the view of what a retail space looks like and offers. Pop-up offerings have become commonplace and some retailers are collaborating with other services, such as beauty and wellness products, to offer the customer a more holistic service. Although innovations, such as digital changing rooms and virtual stores, continue to be developed alongside click and collect and home delivery services, there remains a desire for the consumer to see and feel the brands and their products in the real world.

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2.8 BRITISH FASHION COUNCIL DESIGNER POP-UP Abbey Clancy attends the launch of the British Fashion Council designer pop-up store at Bicester Village Bicester, England.

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2.9 UNITED COLORS OF BENETTON, BARCELONA, SPAIN Garments displayed in colour groups and merchandise priorities ensure the brand’s attributes are echoed throughout the store.

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Catwalk shows Catwalk shows continue to offer a visual showpiece for many fashion brands across the globe, but even this traditional form of seasonal collection promotion is evolving to accommodate a changing industry. In 2019 the Swedish Fashion Council cancelled Stockholm Fashion Week and more and more catwalk offerings are available online. Some brands have begun to embrace virtual catwalks where human models have been replaced with digitally created clothing collections ‘worn’ by invisible forms.

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Catwalk shows have been out of the reach of many designers and brands, even if they gain sponsorship, so the development of new platforms to showcase designer collections opens up the field to a more democratic approach to ‘live’ promotion. While some designers still currently embrace exclusive, inviteonly atelier-style shows, others offer access to their catwalk shows online, as they happen, ensuring maximum audience exposure. 2.10 CATWALK SHOWS Catwalk shows at fashion weeks still attract significant attention from buyers, the media and the general public. They are a time-consuming and costly way to display a collection and are beginning to evolve into alternative formats that require less investment and logistics. Raisavanessa – Runway – February 2020 – New York Fashion Week.

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MULTI-CHANNEL MARKETING

Exhibitions and trade shows that allow buyers to meet designers and view their collections in a commercial environment have also begun to appear online, enabling the viewing and buying of designs post-event. So, while the physical event may still be held regularly, for the time being, there are opportunities to continue the experience online and revisit collections and designers once it is over.

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What cannot be fully replicated online are the opportunities that physical events present to network with people in the same field – to share ideas and allow relationships to build and potential collaborations to flourish. This element of regular fashion industry gatherings will continue to remain important for individuals and the industry as a whole, but may exist in a different format.

2.11 BACKSTAGE Backstage preparations preperformance at a catwalk show. Raisavanessa – Runway – February 2020 – New York Fashion Week.

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Case study Mary Kay pop-up store Mary Kay Ash founded Mary Kay Cosmetics, Inc. in the US in 1963 with her life savings of $5,000 and the support of her son, Richard Rogers. Today, Mary Kay is one of the largest direct sellers of skin care and cosmetics in the world with worldwide sales of $2.5 billion. Mary Kay products are sold in more than 35 markets worldwide, and the global independent sales force exceeds two million. In the US, awareness of the brand has been built up over 50 years through the legacy of Mary Kay herself, as well as television and advertising campaigns. Outside of the US, each market is encouraged to work very closely with their team of independent consultants to ensure that the brand is promoted in a way that appeals to consumers in that country. The decision to launch a pop-up store in Cardiff, UK, in 2011 followed extensive research into the UK market, looking for areas where the brand was underrepresented; both in terms of women who were likely to find the products appealing, as well as those interested in getting involved with the brand as a business. The Cardiff pop-up store was a world first for the brand in terms of marketing activity. The concept was chosen because they wanted an honest, genuine and fun experience for women that gave an opportunity to try the products with professional advice and no pressure to purchase. It was about women engaging with the brand, often for the first time. The benefit of the store was that it provided the opportunity to get direct, genuine feedback, wide press coverage, social media feedback and a positive, lasting association with the brand for those who visited on the day.

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‘The public reaction to the whole concept has been incredible. We are still getting great feedback and women enquiring two months after the event about products they tried on the day and now want to purchase, or to find out more about working with Mary Kay. It is definitely a marketing method we would use in the future.’

The very time-limited nature of this form of marketing meant that Mary Kay would directly touch around 1,000 individuals whilst the shop was open. In terms of raising brand awareness, while the number of women who were directly engaged by the brand was limited, many of the attendees spoke to their friends about their experience, enabling the positive vibe around the Mary Kay brand experience to be magnified. Press coverage reached over 750,000 readers, and press features on the store appeared around the world.

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CASE STUDY: MARY KAY POP-UP STORE

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2.12 POP-UP STORE The store allowed consumers to experience the products and talk to the company’s expert consultants in a non-sales environment.

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Interview Julia Kasper Julia Kasper is a fashion design graduate who has also studied art. After graduating, she gained valuable experience working with designer Katie Eary, WGSN and Fashion156.com. She has become a skilled fashion professional across a number of disciplines.

Why did you decide to study fashion design? I started off with art and design as a focus and just fell into fashion. It was the module that was most exciting to me at the time when I studied my art foundation diploma and it just became the medium with which I felt I could best express my ideas and explore creatively.

Was the course what you expected and did it confirm your plans to be a designer? Fashion design is demanding and suits a dedicated work ethos, so it’s something that sat with me quite well. It allows you to be as academic as you wish through your research and reading but also gives the scope for creative freedom and a real sense of being completely self-indulgent. You can work to please yourself in design at first, only then you can focus on pleasing the client with what you have become so attached to. If it becomes your passion, then nobody can sell it better than you. I’d never planned to become an independent designer, but the course certainly equipped me with the skills and confidence to do so.

2.13 JULIA KASPER Lookbook image from Julia Kasper’s 2011 graduate collection.

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INTERVIEW: JULIA KASPER

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What was the most valuable lesson you learned as a student about entering the fashion industry? Internships and experience are invaluable. It’s probably said in every guidebook and interview, but it’s because it’s just so true. You learn everything that you can’t learn in a studio/classroom and make contacts that can lead to amazing things. How important is it to have industry experience whilst you’re studying? It’s completely invaluable. You can only truly understand an industry once you’ve been in it. It will also aid your studies and help you to channel your strengths and home in on what you really enjoy. Has your gap year experience made you more visible as a designer and helped you build contacts? The contacts I made on my gap year – working with international and UK-based designers – have proved integral to launching my career in the industry. It’s like a snowball effect. Once you meet the first contact, who knows who you might be introduced to tomorrow? What are some of the most effective things you’ve done to make yourself and your work visible to your target contacts? Skipping the standard ‘Here’s my CV’ email and going straight for the contacts you have made in a confident manner by telephone or email. Tell them about the

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most exciting thing you have been doing and who you have been working with and show genuine interest in the company or brand. Sending hyperlinks to visuals of an online portfolio makes it quick and easy for them to see what you’re about, without having to download attachments and search for information. How important is your online presence to you? Online presence is imperative in today’s industry but can come across as shameless self-promotion at times, so it needs to be fresh and interesting and not too gloating! I decided to set up a blog that detached itself completely from the design but carried the same aesthetic and ethos. This means personal insight, research and ideas stay separate from the online portfolio and CV. It can be a lot of upkeep, but having a few outlets for creativity online keeps your brand exciting. Do digital opportunities for promotion make it easier or more difficult for young designers to stand out from the crowd? I guess with so many blogs, portfolios and sites it’s even more difficult to stand out in the online sector. The juxtaposition of online, print, events or other media is obviously going to be more exciting than the average student blog. It just needs to be thought out and justified, and if the design is good, of course you can stand out.

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INTERVIEW: JULIA KASPER

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2.14 BRAND ETHOS Julia’s brand focuses on a strong design ethos and developed brand ‘story.’

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What else do you plan on doing to promote the ‘Julia Kasper’ brand, whether that be as a designer, forecaster or stylist? I’m freelancing as a pattern cutter at the moment but I’m keen to work in whatever medium becomes available and is interesting at a given time. I’m trying to keep up with the blog while I freelance full-time and continue contributing as a writer to other sites. It’s important to keep your name out there but it can be difficult to prioritize that when you are concentrating on doing your job to the best of your ability. At the moment I’m concentrating on doing my freelance pattern cutting to the best standard I can, and nurturing existing and new relationships with the contacts I’m meeting through this job.

What do you think is the most valuable promotional tool for a designer? Collaborations. Meeting like-minded people with the vision and skills that you need to promote your work. Photographers, filmmakers, stylists, writers, hair and make-up artists. . . you can’t do it all alone! You can try, but it’s a lot easier and a lot more fun doing it through creative collaboration. How would you like your career to progress? At some point, I’d love to be in the position to set up the label and do a collection. You don’t realize it at the time, but doing your graduate collection is so self-indulgent and can be so self-fulfilling if you let your creativity run wild. It’s not often that you’ll get to do that when you’re working for someone else or for a client. So getting to a stage when I can create and design for myself, having a completely singular vision and outcome; that would be amazing.

‘If it becomes your passion, then nobody can sell it better than you.’

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Exercise Creating a brand identity This exercise looks at how to approach creating a fashion brand identity from an original idea. If you were thinking about setting up a label, consider the main reasons why you would want to design clothes, shoes or accessories. What makes you passionate about expressing your creativity?

Next, think about what you and your brand will stand for – your identity, the market you want to sell in and who your customers might be. Making these decisions early on will enable you to be focused and clear about other decisions you will have to make at different stages of your brand development.

Conduct an honest SWOT analysis about you and what you have to offer as a designer/creative. Referring to the guidelines on page 35, consider what to include in a list of your: • • • •

Strengths Weaknesses Opportunities Threats

Once you’ve identified what you have to offer as well as any limitations, think about what matters to you most as a creative. Is it that you want to produce garments that only make use of natural materials? Do you want to be a cuttingedge designer focused on creating something truly unique, or do you want to create highly wearable, functional, but beautiful everyday fashion?

2.15 ELLY SNOW Elly Snow’s striking collection ‘Machinery and Manipulation’ explored ideas of the battle between man and nature through the juxtaposition of strong fabrics and organic sculptural forms.

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Media and PR

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The media industry as a whole experienced considerable change and evolution in the early part of the twenty-first century. The explosion of citizen journalism and fashion blogging meant that fashion media experienced some of the biggest changes of all. The fashion consumer can now easily read and be inspired by influencers and independent writers from across the globe, in addition to the more traditional publications and platforms, which have had to adapt and evolve.

3.1 RED CARPET EVENTS Singer Billie Eilish attends the 92nd Annual Academy Awards in Hollywood in a Chanel suit. Having a high-profile celebrity or influencer wear your brand can generate media and consumer interest.

The impact this has had on traditional fashion media has been complex and significant. Good content is still important and well-written, crafted, filmed and captured, timely and factually correct independent reportage is still valued. Authentic and relevant storytelling that connects with the customer can be created by anyone willing to share. As the publishing landscape has become busier, and opportunities for coverage have increased, media outreach and public relations activity has evolved to capitalize on the new platforms and channels. 55

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Fashion PR Public relations, in its purest form, is about establishing and managing relationships with all of the ‘publics,’ or audiences, that an organization comes into contact with. PR is often defined as press or media activity, but it also encompasses how companies communicate with many other types of people. It can include working with traditional media both online and print, influencers, celebrities, collaborators and other stakeholders, employees, suppliers, buyers and others.

Fashion PR is primarily focused on raising awareness and building the profile of fashion brands through media, celebrity and influencer engagement, endorsement and coverage. It also includes working directly with buyers to encourage them to view, support, promote and buy collections, networking with industry contacts, managing catwalk and other events, including press days, establishing relationships between designers and potential collaborators, and much more.

FASHION PR CAREERS Renowned for offering glimpses of a glamorous industry and the potential to rub shoulders with celebrities, fashion PR has become one of the most challenging sectors to gain entry into, for both interns and job applicants. If you’re interested in getting experience with a fashion PR agency, look out for their annual internship schemes, but be prepared to face tough competition. To work in fashion PR, you will need excellent communication skills, the ability to event manage, organize and multi-task, and the confidence to pitch and present ideas, concepts and collections to a variety of audiences.

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FASHION PR

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3.2 FASHION EVENT Naomi Ackie, Lala Takahashi and Lachlan Watson attend the Valentino show as part of the Paris Fashion Week Womenswear Fall/ Winter 2020/2021 in Paris, France.

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In-house or outsourced?

Working with agencies

Some fashion designers and brands work with external PR agencies, while others employ in-house staff. Working with an agency has the advantage of access to established networks and industry and media contacts that a designer would take years to build up on their own. A good PR agency will also know how to create information about brands and how to pitch it to the right people and on the right platforms.

There are a number of factors to take into account when selecting a PR or communications agency. These include agency costs, location, expectations and perhaps even their principles about fashion, production and communication techniques. A good agency will be upfront and realistic about what they can and can’t achieve for a designer and will be able to make informed decisions about the most effective and relevant media and contacts for a particular brand to engage with.

The growth of digital communication has presented increased opportunities for fashion brands, large and small, to carry out elements of PR outreach themselves. By researching the most influential online platforms, influencers and commentators, reviewers and writers, it is possible to build direct relationships independently. Many designers, for both cost and control reasons, combine outsourced PR agency support with conducting a number of activities themselves. A PR agency can be engaged, for example, to focus on writing and distributing press and launch announcements, organizing and running press days, and making use of their valuable contacts to alert media and buyers to designer collections. A designer can then supplement this activity by running their own social media profiles, communicating with influencers and industry contacts online and connecting on a more personal level among industry network groups.

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It is important to be clear at the outset of a relationship with an agency what your objectives are, how the results will be measured, and also what the main factors for campaign success are. The type of agency is also an important consideration and whether or not their existing client list complements a new designer. If an agency has an impressive list of high-end, well-known brands, a fledgling designer may find they don’t receive the attention expected because their budget doesn’t operate at the same level as the rest of the agency’s clients. Small ‘boutique’ agencies often seek out new designers as they can make their name on being a proactive consultancy that uncovers new, raw talent, and spends time and effort on nurturing industry relationships for small fashion businesses. Ultimately, it is important to conduct research, speak to as many people with relevant experience as possible, and visit and speak to the agencies themselves, before deciding to work with one. The agency should be able to demonstrate their understanding and passion about a designer’s work so that they can communicate this to a target audience.

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FASHION PR

Press days Press days are a key activity in the fashion industry calendar. They are held by the majority of fashion PR/communications agencies and larger fashion brands to enable the media, influencers, stylists and buyers to see the latest collections up close, and to assess whether to feature them, use the garments in photo shoots or reviews, or place orders. Press days can be held at an agency’s offices, a separate location such as a hotel, or in-house at the designer’s studio or showroom. Press packs, product samples and lookbooks are generally made available at these events and provide an opportunity to directly engage with key industry commentators and influencers.

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Press packs will often contain a designer biography and brand background, a collection lookbook with photography of each look, details of where the collection is stocked, as well as full product details. A well-organized and attended press day can offer a designer an excellent opportunity to put their collection in front of key industry contacts and influencers.

3.3 LIBERTY LONDON PRESS DAY Press days such as this allow the fashion press to see a brand’s latest collections in one place.

AGENCY COSTS In terms of costs and invoicing, there are three main ways in which PR/communications agencies tend to work: • Retained fee basis – this means they charge an agreed monthly amount for a certain number of hours or days of work per month and agree upfront what activities will be carried out. • Project basis – this means they only charge for completing an agreed number of activities, for example, introduction to two buyers and one feature in a magazine. • Results basis – this means they will only invoice once they have secured a desired result, such as securing an editorial feature.

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Working with celebrities and influencers Celebrities and influencers, if seen endorsing a fashion brand by wearing something from the collection and/or reviewing it, can have a direct impact on sales if they have an engaged and active audience interested in their lifestyle choices, willing to listen to their recommendations. No longer just about well-known celebrities wearing designer looks on the red carpet and being photographed, non-celebrity influencers can command the same impact and reach if they are seen wearing the garments and actively supporting a designer. For designers, it is important to consider which celebrities or influencers they would like to be seen endorsing their brand and how that person embraces what the brand stands for. This is a good starting point for making decisions about which wellknown people to offer garments to. A PR/ communications agency or practitioner will often have relationships with celebrities and influencers and if a designer wants items to be sent to a particular person, they will have an understanding of how best to approach this. A great shot of a high-profile celebrity or influencer in a key look from a designer’s collection can be enough PR for some brands to last a long time.

3.4 STREET STYLE – LFW SEPTEMBER 2019 Fashion blogger Clara Holmes wears a River Island trench coat and lace top and JustFab shoes during London Fashion Week September 2019. (Photo by Cristina Pedreira Perez/Getty Images)

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3.5 HAUTE COUTURE FALL WINTER 2018/2019 Digital Editor at Grazia Arabia Samantha de Reviziis wears an Anna Kiki dress during Haute Couture Fall Winter 2018/2019 in Paris, France.

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Building media relations Building connections with the media takes time, commitment and a clear understanding of the readership of each publication or platform.

Journalists, influencers and independent publications, whether they are online or offline, will only be interested in material that is relevant to their readers, whether that be for a newspaper, glossy magazine or social media channel. Without an audience, a publication loses the ability to create value or revenue through advertising or influence, evidenced through reader numbers and engagement. Even for influencers, without an audience to share thoughts and information with, the impetus to create content would quickly be lost. Creating meaningful and appropriate content for media and influencer outreach requires research, audience understanding and consistency. Working with a fashion PR/ communications agency that has existing relationships and contacts can provide an effective way for many designers to build connections with the media, giving them exposure that would otherwise be difficult to obtain. This can, however, be too costly for many fledgling fashion businesses. When working directly with journalists and influencers, it is important to remember that they like to be kept informed on a regular basis of what’s happening, sometimes expecting exclusives and information in advance of general release, so they can beat their competition to a new story.

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Influencers can have different pressures to media journalists and their deadlines may be created for entirely different reasons. A number of influencers work from home and may have to balance personal commitments with a full-time job, so they may only work on their profile in their free time. It’s important to build relations with the people who you hope will be interested enough in your brand to help you spread the word via their position of influence. Whether you take communications into your own hands as a designer brand, or engage the services of a professional, in-house or agency based, building a network of supportive contacts and media can be crucial to growing your profile. Understanding the audience While it is ultimately the journalist or writer’s responsibility to understand the needs and preferences of their readers, anyone wanting the media to write about them must also have a strong understanding of the sort of news and information that is of interest and sells.

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If you want to be covered by a particular publication, for example, you will need a very clear understanding of who reads it and what they expect from it. Even if you think you know who the readers of a publication are, you should check the profile of the publication by accessing its advertising information data, which is usually available online. This is intended to demonstrate to advertisers the audience demographic for a publication, highlighting the type of reader their adverts would need to be targeted at. Ultimately, to assess what the reader is looking for from a particular publication or platform, it’s important to read it yourself. To get a feel for what the reader wants and expects, you only have to take a look at the images, the editorial, regular features and the advertisers and brands previously collaborated with. As you read through relevant publications to assess their readership, it is also worth familiarizing yourself with the regular sections and columns, as these can provide good opportunities for you to supply timely and relevant information that works within an existing format. Understanding a publication and how it covers topics and news, and then making informed and relevant suggestions for input, can be much more powerful than sending a general press release to the editor.

Creating a media/influencer target list Armed with background information, an understanding of the reader, a list of applicable columns, platforms and features and knowledge of what’s been covered before, a target list can be built. As with most data sources, building a useful and current media target list takes time and patience and a considerable amount of research. It’s a good idea to begin with a larger list of all of the magazines, newspapers, blogs, profiles, podcast and broadcast contacts that you would like to cover your news and information and then edit it down into a smaller list of priorities. Include a top tier of approximately ten key contacts that represent the most desirable publications and platforms you would like to cover your stories. There are a number of media list subscription services available that allow access to a researched and up-to-date database of contacts for a monthly fee. These can be refined to build your own tailored list. They can be costly to subscribe to but save a lot of time. Fashion Monitor, Vuelio and ResponseSource are just some of these services. Most PR/communications agencies subscribe to a list of this sort that can be further refined for each client.

Likewise, with influencers, the only way to get a clear understanding of what their readers are looking for is to read their content, including archived articles, comments and linked social media profiles.

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3.6 AL NAEEM BA (Hons) Fashion Promotion Graduate Asma Elmi created a magazine and website aimed at exploring the diverse culture within the black and Muslim community.

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There are also press release or newswire distribution services and news syndication services that charge a fee for sending out text and/or images to a large database of contacts. This is more of a scattergun approach that can gather coverage across a much broader range of publications and platforms. Examples of these include Newswire and Gorkana.

MEDIA/INFLUENCER TARGET LISTS

Some of the publications that cover stories using this method can be less prominent, but a presence across a number of online sites can help boost search engine optimization (SEO) which can also help raise brand awareness (see page 95).

• Publication or platform type – print or digital?

A comprehensive media/influencer target list should include the following information: • Publication or platform name. • Brief description – e.g. women’s lifestyle magazine, or sustainable fashion Instagram influencer.

• Frequency – how often is it published or updated? • Readership – readership or audience size. Some publications have an officially recognized readership number; others have their own validation of reader numbers, so be aware of this. • Contact name – this could be the editor if it’s a small publication, or, for larger publications, it will need to be a specific contact, such as the fashion editor. For influencers, try to find out if they have an agent or PR representative or if you can contact them directly. • Preferred method of contact – it is preferable to have email and telephone contact details so you can follow up an email with a phone call. Some journalists will only accept submissions via email, however. Influencers might prefer to be contacted via the platform they are most active on or in a private message.

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Creating content for distribution Creating content such as features, press releases, news alerts and product details forms the basis of a significant amount of PR/communications activity. This can be challenging and time consuming if a target publication’s content and preferences are not clearly understood. Some publications issue editorial guidelines with details of how they prefer to receive submissions. Some also provide editorial team contact details and information about which areas each journalist covers. This should provide a clear indication of what the publishers are looking for.

Most publications also issue guidelines on submitting images to accompany a press release or feature. These will refer to the image format, caption and other information regarding image copyright, the file size and also the style of the image. It is vital to study the type of images and ‘feel’ of the visual aspects of a publication to gain a full understanding of what they are likely to accept and, ultimately, publish.

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While most publications will accept press or news releases, not all will be receptive to lengthier features or ideas for them. Some will, however, accept a brief summary of a suggested feature, in a couple of paragraphs. If they think it will fit in with the publication, they may then ask for further details, for the article to be submitted in full or request to conduct an interview.

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Influencers and other digital content creators will sometimes accept contributed content and may allow and openly encourage contributed guest posts, images, features and product updates. Influencers are also often interested in collaborations and product reviews and can be approached with proposals on working together. The influencers with the most engaged audiences will be the ones that have built up trust with their followers so will be looking for brands and products to review that fit with their own preferences and principles. The most important considerations when working with the media and influencers are to know and understand the publication or platform and to understand their audience.

3.8 THE BUSINESS OF FASHION This renowned digital magazine founded by Imran Amed has gained a huge following based on its authoritative, well-written content.

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Press releases

Biography and profile

Press or news releases have been one of the most common methods of communication for many designers, PR/ communications agencies and in-house press teams for decades, when reaching out to the media. A press release offers a journalist or writer information that will be concise, topical, and based on factual details that are potentially of interest to their readers. Press releases are still used by brands to update the media and influencers about their latest product and business updates, but other, less formal methods of communications outreach are now a larger part of activity for PR practitioners.

To gain further understanding of news and other information sent out from a brand, journalists and influencers are often interested in the people behind the brand. Information of interest is likely to include: where they come from, what their experience is, what they have done in the past, along with some relevant personal details. Creating a professional biography to address this is important as it encourages a connection with brand customers, as people look for the human element of what they are buying into. Ensuring this information is readily available online on branded websites and social media profiles is also important for brand connection and consistency.

Press release content is generally geared at releasing news and information that hasn’t previously been available and is relevant at the time of release. There is no point in sending out details of an event or launch that has either already happened (unless offering a review of a successful event) or is going to happen a long time in the future. PRESS RELEASE CONTENT The minimum basic information that should be included in a press release is known as the Five W’s – who, what, where, when and why? • Who is the release about? • What is happening/has happened? • Where is it taking place? • When is it happening? • Why is it happening/relevant? Further details can be supplied to support this, but releases should remain predominantly factual with background details included as supporting information.

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Consider designers such as Vivienne Westwood and Tom Ford, for example, whose personal profiles, beliefs, and experience are integral to their brand and what it stands for. Not all designers approach the public face of their brand in this way, but for new designers, creating a personal element to the brand can lead to a closer understanding for the customer. Professional photographs can also be provided to depict the people behind the brand, which the reader will become familiar with and recognize over time. Features and other formats Features and lengthier, more involved opportunities to contribute to magazines, newspapers and broadcast channels can also be secured, giving an opportunity to secure more column inches in targeted publications and platforms. These can take the form of an in-depth interview with a designer, a feature on an industry issue that may include contributions from

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other designers, or a comment piece on a particular trend or style. The possibilities are seemingly endless, and many publications are open to ideas for features if they are presented in an informed and concise manner and demonstrate a sound knowledge of the publication or platform. PR/communications agencies are adept at ‘pitching in’ ideas for features and the placement of stories and reviews with targeted publications and platforms. For designers approaching this independently, building strong relationships with journalists over time by consistently offering up information in a relevant and timely manner can create opportunities for story and feature ideas in the future. Maintaining a profile

If a journalist or influencer makes a request for further details, products or images, they should be responded to immediately – if they are not, they may look elsewhere for information and images from another designer. Keeping websites and social media channels current is also important as it shows evidence of committed and informative communications and allows interested parties to be kept up-to-date about the label. Maintaining a consistent and regularly updated profile across all channels is much more involved than simply sending out a press release at the launch of each new collection. This is something to consider when deciding whether or not to invest in outsourced media and PR/ communications assistance.

Once relationships have been developed with the media and influencer contacts, whether via a PR/communications agency or directly, it is important to ensure that these contacts are kept informed of label and collection updates and developments on a regular basis.

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Case study Gareth White – Canoe Gareth White is Director of Creative and Social Strategy at Canoe, a communications agency based in London. Founded in 2003, the agency began with a mix of fashion, outdoor and lifestyle clients and has expanded into other sectors since. The name Canoe comes from a Baden Powell book called Rovering To Success. In the book, Powell talks about seeing the world from a different perspective when you paddle your own canoe. Gareth joined the agency in 2015, which was a turbulent time for the media industry where the opportunities for earning coverage in publications were becoming increasingly limited. Publications in every sector were closing, digital media powerhouses were being challenged, and paid media was becoming an increasing route to guaranteeing coverage. It was also around this time that paid social started to take hold. The boundaries between disciplines were merging and PR, social and creative became intrinsically linked. Gareth explains: We’re still in a position where ‘traditional’ PR is an exceptionally valued source of coverage. The titles that remain are trusted, and the relationships we maintain with journalists are incredibly healthy. PR has always been a symbiotic relationship; the past five years has meant that the earned media output is treasured more than ever before. Even though as a business, so much of our comms work now utilises paid media and social channels, we continue to strategise and deliver excellent results through traditional PR campaigns.

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As with most agencies, retained business is the optimum client/consultant arrangement as it often creates better value for both parties in the long term. Gareth explains, ‘often projects are with retained clients for one part of the business such as PR, that may then be interested in executing a social campaign. In that sense, the relationship is already there, which helps.’

‘Success comes from building trust between client and agency. It takes time to earn the trust through delivering consistent results. It also comes from excellent communication; honesty is critical, having the trust and confidence to admit shortcomings on both sides and the shared hunger to learn and grow together.’

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CASE STUDY: GARETH WHITE – CANOE

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Canoe clients often approach the agency looking to amplify a cause or purpose for the brand. Their clients range from Vans to Patagonia, Cotswold Outdoor to Dr. Marten. There isn’t a category or sector per se, but more of a collective mindset. What each brand has in common, for Canoe, is that Canoe has some sort of connection with each client. Gareth admits, ‘it sounds cheesy, but when we go through our client roster, there is such strong synergy. This cohesion is not necessarily in what the brands offer, more in that they stand for something. They have a story, a belief or a purpose, but also, the people that work for that brand are generally like us.’

3.9 and 3.10

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As fashion brands fight for space in the social and digital media landscape with continuous drops, content, campaigns and collaborations, some brands find it difficult to cut through and establish a point of difference that will stand out. Gareth believes that the ‘consumer has never been more discerning. They want to buy into a brand for more than pure aesthetics, and they are seeking to align values with them. They seek discovery and want to act as advocates to their peers. In this sense, there is plenty of encouragement for designers and brands looking to establish themselves in a crowded market.’ Experiential activities play a significant role in the Canoe business offering which can range from an exclusive trip to remote mountain locations or an immersive event in a key focus city. The end product may be a digital or media output or social post, etc., however, ‘the quality of the output is always richer following a genuine brand experience. Press days continue to be an excellent vehicle for us to set a pathway for the forthcoming seasons. It’s a chance to forge relationships and discuss opportunities.’

‘It is always easier to create something unique when there is a genuine reason to believe. It may be a strong brand narrative, driving passion for change or a genuinely game-changing direction. Regardless, we know from experience, if there is something unique to leverage, then the consumer will be prepared to listen.’

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Film and motion also play a big part in the agency’s content creation output and the social team work hand in hand with the creative department to shoot film that works hard for paid social results. This sort of content significantly outperforms still content in engagement rates. Gareth believes that Canoe is in a unique position as, within the group, they have two successful businesses: PR and social. He explains: The symbiotic relationship between the businesses means we can develop an influencer growth funnel. Much of the grass-roots outreach happens on the PR side through product seeding, events and showroom appointments for stylists, influencers, media etc. This constant outreach into multiple sectors means we now cultivate an eco-system of talent with a broad spectrum of reach and relevance. All of this hard work means that by the time Social pick up conversations with talent, they are already ‘friends of Canoe.’ The strength of these relationships undoubtedly shows in the output. The Canoe team has worked very hard to build a business around the passions of the team, including snow sports, running, fashion or streetwear, and believe keeping a healthy team culture is a continuous and vital task. By ensuring that Canoe has a harmonious and respectful atmosphere for their team to work in, Gareth believes the positives are evident ‘in the output of our work; you can teach someone how to do PR or Social, but you can’t teach them to love the subject matter. With that in mind, if you have a passion for a subject and want to get closer to it in your professional life, then a career in PR/ Comms can be extremely rewarding.’

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Interview Spectrum Collections Spectrum Collections is a beauty brand and was established in 2014 in the garage of sisters Sophie and Hannah Pycroft. Spectrum offers vegan and cruelty free make-up brushes and make-up products and is now a multi-million-pound business with a series of high-profile branding collaborations included in the range.

Tell me a little about how you began and where the idea for Spectrum came from. We always wanted to work together, so that was the driving force behind setting up Spectrum. We also wanted to stay in Wales and run our own business, so that’s what we decided to do! The idea came around because we just love fashion and beauty, and wanted to do something creative, Spectrum was the perfect business for us. The lack of creative opportunities at the time also had a big part to play in the decision to start our own business, we ultimately knew what we wanted and the only way we could see it being achievable was on our own terms. What did you do to initially raise your profile? In the first year we had a £90 budget for marketing, so we only really had the option of posting on social media. Just over 5 years ago it wasn’t the monetised platform that it has become now, so there was an element of timing in there, as I don’t think it’s as easy now to create a buzz for free, it’s become increasingly expensive. Initially we posted on Instagram once or twice a day using our strong knowledge of photography and graphic design to create a ‘look’ for the

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brand that was distinctive which helped the brand become recognisable in the market. We used Twitter more as a tool for conversation, posting statuses more so than images, and responding, replying and re-tweeting as appropriate to start engaging with potential customers. How have you reached out to established media and has it been effective? We now have a great relationship with the British press, but we had to start somewhere and yes, we did reach out to established media, mainly through Twitter as a way of starting a conversation, which worked to a certain extent. We now have an in-house PR manager who finds face to face communication much more effective, as it’s all about building and maintaining relationships. We don’t like to go to unnecessary meetings, but it does definitely help when it comes to press as I think the personal touch makes us stand out as a brand, we’re not too corporate, we’re very ‘normal’ and love a chat. It’s not always about selling a product to the press, or going OTT with packaging, if you have something unique to show them, they are genuinely interested in good products even if they’re from an unknown brand.

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3.11–3.13 SPECTRUM COLLECTIONS Sophie and Hannah are ambassadors for their successful beauty brand.

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What has been your approach regarding influencer outreach? We’ve always tried to maintain a fairly organic approach. The vast majority of marketing is through customers sharing pictures and good old-fashioned customer service. We see social media as an extension of customer service, so the tone of voice is really friendly and helpful. Influencers help with brand visibility but this doesn’t always convert quickly into sales, we see it more as a long term investment for brand awareness and also for that to work the influencer has to have a genuine personal preference for the product, otherwise, it’s all fake and consumers will be aware of this. How big a role have influencers played in helping to build your brand and tell your story? The brand story evolved naturally, it’s not something that we’ve created and told through influencers. It’s something we tell customers ourselves through our blog and on Instagram stories. Influencers help with brand awareness and this is more important as we grow and we want to reach new audiences. How we strengthen our story through influencers is by being really selective on who we work with, it usually comes about organically if we see them using our products on their Instagram, or if they e-mail us and ask for product. That’s always a really great starting point and usually leads to further work with them, and potentially some paid content in order to give them something in return for the commitment they’ve shown to our brand. It’s important to have give and take for both brands and influencers, it shouldn’t be one-sided.

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Who writes your copy for social media, press releases etc.? We have a team who write a lot of the copy for us, but we usually add the final flourish or make amendments, nothing goes out without us being the final set of eyes as such. When it comes to blog posts or more revealing pieces of information, we write these ourselves just to ensure it’s genuine as that’s so important to us. We want the brand to retain the relatable and friendly persona which originally came from us, so we have to remain part of the process. How important is it for you to keep your content fresh and constantly updated? It’s massively important, we tend to say don’t bother starting an online or productbased business if you haven’t got an Instagram account. It’s all about creating content that reflects the brand and keeping it consistent so customers know what they’re looking at. We love it when someone says ‘that looks very Spectrum.’ You can seriously never have too much content. That’s a lot of what we do now for the brand, generate key content like photo shoots and working with the team to create an overall aesthetic that has to be seasonal and up to date. Even we feel like we could be doing so much more, the internet has fuelled a hunger for content and so it’s become a constant demand we have to keep up with.

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INTERVIEW: SPECTRUM COLLECTIONS

Have you ever engaged the services of an external PR consultant/agency? We have but with limited success. It was great for the business initially as it looked more professional when the press or influencers were approached by a PR agency rather than us over Twitter. But for around three years we’ve had an in-house PR manager who, as we mentioned earlier, gives the personal touch. It’s really worked for us to have in-house PR in terms of productivity, we’re not just a client, we’re that person’s passion and that has really helped elevate the brand.

‘We don’t force our products on influencers or offer large sums of money for them to market them for us.’

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What single communications activity has made the most impact for Spectrum? This is a tricky one as each type of activity brings different benefits. Although it cost us more money than it made, having a seven month pop up on Carnaby Street was certainly the most visible we could possibly be with both UK and international customers, and presenting the brand to people who may never have seen it otherwise. It was also a hub we could use to meet with press and influencers, and they were instantly emerged in the brand, so it did a lot of the talking for us. We would like to do another shop, when we’re ready, who knows when that will be.

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Exercise Creating brand content Using the five W’s principles (see page 68) of writing a press release about a collection, create a brief news release, three or four paragraphs in length. It could focus on either your own or another brand and should be written with relevant target media and influencers in mind. Think about the most important element of the story, and what would be most compelling to the target readers. If you’re releasing a new collection but it’s not your first, think about what makes the second collection different and the reasons for the new approach. If the collection is similar to a previous one, think about why – was this a response to positive customer feedback? Journalists and influencers receive releases and brand details regularly, so your content has to offer something interesting and memorable in order to stand out. If you’re a very young designer or you have transferred from another industry, that could be what’s unique about you. Alternatively, it could be that you’ve collaborated with others to produce the collection, or that the materials you’ve used are unusual. Ask others what they think is your brand’s unique selling point (USP), as they can take a more objective view. Ask friends and family, colleagues and customers what they think makes each collection stand out and work this information into your media and influencer outreach. Try to keep your content that you send out brief, to the point and make sure it includes all the relevant details, such as where an event is happening or a collection is being launched, how people can obtain further details and contact you, and where potential customers can buy your collection.

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3.14 STUDENT WORK Your press release or other content could be about promoting a student collection, or the results of a collaboration, such as this one where fashion student graduate Alexis Lucas shows off a close-up of her design of re-used scrap leather pieces joined together to create a gown at the Rubbish to Runway fashion show at the Galleries at Lynn Arts in Lynn, Massachusetts, to support the art at Galleries at Lynn Arts and the Long Way Home Foundation which helps build sustainable housing in Guatemala.

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4

Creating the vision

The fashion industry is driven by the visual: concepts, styling and the presentation of a subjective aesthetic. This is clear when looking at the imagery presented via promotional fashion channels and by the brands themselves. Without this visual curation through creative editing and styling, clothing is just about the garments. The fashion industry capitalizes on our desire to say something about ourselves through the way we dress. All brands carefully shape and develop the visual representation of their products in order to make customers feel a particular way. The fashion industry is built on painting a desirable picture for the consumer. There are many ways for a brand to create and communicate their vision with the consumer; this chapter will look at some of the tools and techniques available.

4.1 POPPY ROBERTS Poppy produces distinct fashion-based illustrations that depict a strong style and personality (see case study on pages 98–99).

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Photography and styling Fashion magazines Vogue and Harper’s Bazaar pioneered the notion of stylized fashion photography, and in the 1920s and 1930s they employed in-house fashion photographers, including the likes of Cecil Beaton. These played a key role in transforming the genre into an art form. More recent photographers such as Patrick Demarchelier, Nick Knight, Tim Walker and Rankin have all continued this tradition and produced some of the most inspiring images of the twentieth and twenty-first centuries.

Fashion photography plays an important role in depicting not just the garments or products but also the personality, point of view and aesthetic of a fashion brand. Styled, creatively directed and edited photography is used in print and digital advertisements, lookbooks, editorial features in fashion magazines, campaigns and online social channels and websites. With the influx of street style photo sharing sites and image-driven social media channels, fashion photography has become increasingly important and more diversified. From flat lay photo shoots or lifestyle images for Instagram to more traditional editorial photography, the scope of fashion image making has become much broader. Working with fashion photographers Fashion photographers come with varying abilities and charge depending on their skills and experience. It is best to work with the most experienced photographer that your budget will allow. Some photographers schedule photo shoots weeks in advance, while others can be booked on short notice. It is useful to look at their previous work and to find out how they prefer to work. Do they welcome input from the designer,

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or are they reluctant to receive too much direction? Some designers are happy to supply a brief, garments, models and props, and leave the styling and photography to the professionals. Does the photographer collaborate with a stylist or leave the styling and creative direction to the designer? A certain amount of trust has to be gained before most designers will allow photographers carte blanche on a photo shoot. Creative direction – communicating the vision Having a clear understanding of the vision you want the photography to convey is key to both the brand and the collection. Many designers will approach a photo shoot with a character or story in mind. Some designers approaching a photo shoot may look back to the inspiration behind the designs and aim to incorporate elements of that into the images. Others will retain that inspiration throughout the development of the collection, and the photo shoot will be a continuation of the story being created as the garments evolve.

PHOTO SHOOT CONSIDERATIONS It is important to establish how each professional on a photo shoot will work, and who will be responsible for what. Ask yourself the following questions: • What will the photographer arrange – studio, props, models? • What will the designer arrange – models, make-up and hair, facilities for the models to get ready, refreshments? • Has permission been arranged with the owner of the shoot location? • Is the charge per hour, or per photo session? • Are expenses to be charged for travel and meals? • How will the images be supplied following the shoot? • Who will be responsible for getting model release forms signed? • Who has ultimate copyright of the images and control over how they can be used? A considerable amount of pre-planning and organization is required to ensure a photo shoot is conducted efficiently and yields the most positive results.

4.2 STYLED FASHION IMAGE Part of fashion design student Alyyson Arscott’s 2011 collection, this photograph was taken by fashion photographer Ali Johnson.

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Whichever approach is taken, the inspiration will be depicted through the garments, styling, models, location, props and accessories. This inspiration will need to be clearly communicated to all professionals involved via a combination of written details in the format of a brief and mood boards including images of preferred photographic styles, colors, model poses etc., and verbal direction on the day of the shoot. Stylists and hair and make-up artists will also need clear direction regarding the looks to be created. The selection of models, hair and make-up artists, location and props are vital to ensure that the right aesthetic, for the brand and the garments, is depicted. Unlimited budgets allow access to a large number of models and hair and make-up stylists, but when funds are limited, universities and colleges are often a great place to find enthusiastic and creative people willing to collaborate to build their experience and portfolio. Props and background elements that are to be included in the styling of the shoot can be sourced from film studios, vintage shops, professional prop hire companies, personal belongings, and so on. A successful photo shoot is arrived at through a combination of good planning and organization, a clear understanding of the desired end visuals, flexibility, clear communication, some inspiration and a little risk-taking on the day!

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Styling Fashion styling is an art form in itself and an important element of fashion brand definition and communication, with many of the most reputable stylists in high demand by designers, brands and photographers. Styling can be used to convey complex concepts that suggest narratives about a brand and its underlying personality and aesthetic. Styling can range in creativity from straightforward catalogue or collection shoots to conceptual magazine editorial that evokes much more about a brand than simply the clothes. All fashion photography incorporates some elements of styling and editing, but the range of creative input can vary greatly. Many stylists work as freelancers, making their services available to designers, brands, magazines and other publications, as well as film and video production companies. Others are employed in-house. Good stylists will respond to a client’s brief while also offering something of their own individual talent, aesthetic point of view and creativity. Sourcing the services of a good stylist is the same as looking for any professional service where creativity is involved. It is important to see examples of work and to get feedback from previous clients to get a sense of how a stylist works. A stylist’s creative focus and how they approach a project is equally important. For a designer, a stylist’s ability to see the vision as they do and bring their own creative ideas to the table can sometimes be more important than their credentials.

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4.3 SHELLEY JONES Shelley Jones is a fashion photographer with a keen eye for depicting a visual ‘story’ through her images, evidenced in this striking self-portrait.

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4.4 and 4.5 MICHELLE VICTORIA MCGRATH Designer Michelle McGrath works closely with photographers to present a strong visual identity for her collections through a combination of creative direction, styling, location, lighting and model selection.

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Illustration and graphics Fashion illustration is a recognized art form and many talented fashion illustrators are held in high esteem alongside other contemporary illustrators. Fashion illustration can change and evolve as regularly as fashion trends, in the same way cultural changes can impact the sort of art that the public responds to.

4.6 J. PAULL MELEGARI J. Paull Melegari is a creative collaboration between Jacqui Paull and Carl Melegari. They work together to combine elements of illustration and photography, digitally.

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ILLUSTRATION AND GRAPHICS

Fashion illustration has become increasingly stylized and, alongside conceptual fashion photography, has become more of an expression of the industry and the time in which we live than simply a record of what we wear. Digital design has also had a lasting impact on the media used to create fashion illustration and the ways in which those images are shared with others. Timeline of modern fashion illustration In the early twentieth century, what is considered by many to be the first true fashion magazine, Le Gazette du Bon Ton, was launched. It presented the new style of fashion illustration and is credited

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with launching the careers of artists and illustrators such as Georges Lepape, Paul Iribe, Romain de Tirtoff (Erté) and Georges Barbier. In the 1930s, interest in fashion illustration was on the increase, alongside this photography was evolving, and there were new opportunities for artists and illustrators to offer their versions of the latest fashion trends. Artists such as Raoul Dufy and René Magritte were creating their own depictions of fashion. In the 1940s, illustration styles continued to develop and illustrators including Carl Erickson (Eric) and René Gruau began to create heavily brushed and inked charcoal impressions with loose lines and added movement.

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The 1950s saw a steep rise in the use of photography and fashion illustration was mainly seen in advertising campaigns. The 1960s and 1970s saw illustration further relegated to editorial and photography became the default image medium. The 1980s saw the birth of the new fashion media with magazines such as i-D and The Face, and art direction from creatives such as Neville Brody and photographer Nick Knight. This explored new ways of communicating ideas and saw the development of a more provocative, street-style illustrator. Patrick Nagel began creating his graphic images which spanned music promotion and fashion. Vibrant youth culture influences began to be reflected in fashion illustration techniques of this time. The 1990s and 2000s saw the rise of the fashion illustrator once more. The multitude of styles, media and techniques employed is hugely varied, from graphic to the avant-garde, to digital and everything in between.

4.7 ‘KIM’ This illustration by Michael Sibley depicts a lifelike, almost photographic representation of the subject.

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From graphite to pixels Creating a graphic representation of a brand, and perhaps a character that represents its personality, can be a complex design process. As with photography and styling, there are many considerations to ensure the visuals clearly represent what the brand aims to offer the customer. Fashion illustration is also used by designers to show the development of a garment as it progresses from idea and inspiration, through testing and construction, to manufacture and marketing. Most designers will show their ideas in a graphic format at some stage in the design process, and being able to illustrate ideas quickly is a valuable skill for all fashion designers. Some designers illustrate their collections with hand-drawn images, whilst others use digital tools and software or a combination of all techniques. Digital or ‘virtual clothing’ is also being created by some brands where the garments are displayed and viewed digitally, without models or human forms included. There are a multitude of contemporary illustrative styles and techniques that can be used to show brand identity, garments and ideas in a clear, persuasive and creative manner.

4.8 ‘FLORAL STRINGS’ Illustration by Adele Page.

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Film and video Digital video has evolved into one of the most powerful tools for communicating ideas and brand messages. The ability to film, edit and upload work in the public domain has become significantly more accessible. The falling cost of filming, production and editing has seen more people across the creative industries experiment with the medium, from raw footage to highly edited and conceptual content.

A proliferation of fashion brand and concept videos is now created and shared across multiple platforms. This moving image content can have a longer shelf life than a catwalk show, is generally cheaper to produce and has the added benefit of being able to reach a much wider audience. Some designers have replaced catwalk shows with film to simply share to more people more often while others use film to offer a further exploration and explanation of brand concepts and design ideas. Short form video format channels such as Instagram TV (IGTV) and Tik Tok can present a more immediate, timely, less formal and more personal insight to a brand. Well-scripted, planned, filmed and produced high quality video content still has a place in the promotion of fashion but perceived authenticity and opportunities to view ‘in-the-moment’ video content have also had a significant impact on consumer engagement with the medium.

Working with film professionals Commissioning a fashion film, even a low-budget one, can be time-consuming and requires a very strong creative collaboration between designer and film professionals. Producing footage has become considerably cheaper with the introduction of digital technologies, but it is still a complex process to be involved in. On a small budget, film professionals, such as editors, camera operators, directors and producers, can be sourced from colleges and universities that teach film courses, where students and staff may be interested in participating in film projects. Larger budgets give access to freelance filmmakers and large-scale film production companies. Some fashion brands employ teams of in-house experts that continually produce content for online channels. Many designers have embraced the notion of fashion films and websites such as SHOWstudio, established by visionary image-maker Nick Knight, showcases the very best of contemporary fashion film. For new designers, fashion films can be an effective way to establish a strong presence and visual identity, if interpreted and presented in the right way.

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4.9 UNITED COLORS OF BENETTON AW11 Benetton uses video content to showcase its latest campaigns.

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Channels for promoting work With the accessibility of online video content sharing sites such as YouTube and Vimeo opportunities for sending out films and promoting them are huge. A growth in consumer interest in video has meant that millions more people will now watch original and independent footage than ever before. However, this also means there are many more hours of film to compete with. To create the right impact, it is vital to ensure the content, tone and style of a branded video is both appropriate and compelling. Once the content is created and the audience identified, it can be shared on individual websites, sent out via links on

social media channels such as Instagram, Twitter and Facebook, and made available via video sharing sites in the public domain. Instagram TV (IGTV) and other shortform social media channel streams such as Snapchat and Tik Tok have further expanded the reach of video content and how consumers engage with brands and influencers. Fashion films are often showcased at fashion weeks and before and after the event through the organizers’ websites. Magazine websites also seek video content, so these can be approached to share editorial content if it fits with their audience demographic.

4.10 FERGURD, ICELAND Stills taken from online fashion video directed, filmed and edited by Fabian Weber, featuring designs by Ida Gut.

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Digital design visuals Websites and online social media platforms are now the first place most people will look to learn more about a brand and its products and services. Consumers now expect to be told everything about a brand online and for the information to be up to date, easy to read and navigate, and visually appealing.

As a key marketing tool, brands need to consider how their website will be found when people look for it on search engines, and how its ranking in search results can be improved – this is known as search engine optimization (SEO). Aside from brand websites, there are numerous other ways to create an online presence and communicate with audiences, from social media profiles and lookbook sites, to image resource sharing, apps and interactive media. Some of these areas will be covered later in Chapter 5, while this section will focus on the more directly branded online visuals.

SEARCH ENGINE OPTIMIZATION (SEO) SEO focuses on how including certain keywords and phrases within the content of a website can improve its ranking in search engine results. Key information and words embedded in websites can affect how easily a website and its content can be found when someone searches for information, not just about a certain brand, but about a certain topic or word or phrase.

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Creating an online presence Websites have become much more about regularly updated content and interaction than the static online brochures they once were. With the growth in blogging and the development of content platforms that allow a novice to create an online presence, sites such as Wordpress and Wix have become comprehensive and user-friendly ways for even beginners to start to display their products, services, brands and information. Website design increasingly incorporates the use of blogging style platforms and design templates to create a basic presence, enabling bespoke functionality and design elements if required. The user-friendly nature of these platforms often allows the client to update the site regularly themselves, without having to rely on – and pay for – a web designer to do this. Micro-blogging and image sharing platforms such as Pinterest and Instagram have become powerful promotional opportunities when creating an online presence, for little or no financial investment.

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4.11 HOUSE OF HOLLAND Henry Holland’s brand website used strong visuals to showcase collections and featured links to the brand’s social media profiles. During the Covid-19 crisis the business went into administration.

Creating a social presence Working alongside a brand’s website are profiles created on social media which allow a more active and interactive relationship to build further with customers and prospective customers. Text, photos and videos can easily be shared via Twitter, Instagram and other social media channels such as Facebook, LinkedIn, TikTok and Snapchat etc.

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Social media profiles need to be kept consistent with other digital branded platforms. They enable concise pieces of information about a brand to be shared with people interested in hearing about it in a less formal way than via a website. Social media gives us the opportunity to have conversations with brands that we might not have had through more structured methods of communication, such as email or online chat functions.

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BRAND WEBSITE CONTENT Most brand websites and/or owned digital platforms will include the following content: • Lookbook – images showing collections, current and previous, in date order so that customers can see the designs and their development. • Videos of catwalk shows, stand-alone videos, and branded films. • A profile of the designer. • A brief background to the label. • A press area with examples of previous coverage.

As communication becomes increasingly mobile, via smartphones and tablets, consumers expect to be kept up to date even more frequently and to be able to ‘see’ and engage with the people and principles behind the brands they support. It is no longer enough for a brand simply to have a good-looking digital presence. Twenty-first century brands are expected to participate with their community of customers, fans and followers, on a regular basis. The impact and opportunities of social and digital media for fashion brands is explored further in Chapter 5.

• A link to a blog or news pages which is updated on a regular basis. • Links to social media profiles. • Link to relevant brand app if available. • An e-commerce or shop function where items can be purchased or links to sites or platforms where they are sold. • Links to other relevant industry and designer websites that the brand or designer recommends or collaborates with.

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Case study Poppy Roberts Poppy Roberts is a young fashion illustrator who graduated in fashion design from the University of Glamorgan, Wales. Having begun her studies in art, Poppy became interested in textiles and fashion and was drawn to the idea of being able to create and illustrate her own clothes. Throughout her fashion design course, Poppy worked on her distinctive illustrative style and used this to create muses for her clothing collections. She also transferred some of her illustrative work into digital fabric prints. This process featured in her final collection, entitled ‘The Deadly Florals.’ Poppy’s philosophy is that art, and indeed life, is about enjoyment and expression rather than technicality and perfection. Her fashion design degree taught her that there is also a place for everyone within fashion, as it is such a vast subject and a huge industry. Poppy draws inspiration from the poignant and beautiful work of illustrator Julie Verhoeven, as well as from a broad range of female artists from music, literature, performance, photography and painting. Poppy begins the process of creating a new illustration by determining what sort of woman she wants to create. This might be influenced by something or someone that has recently inspired her, a certain facial expression, or an object that the character could wear in her hair. She then scours fashion magazines to find a strong pose to base her illustration on, and then traces a rough outline for a base figure to draw from. Her drawings often focus on detail as opposed to form. She spends hours working on the face, melting watercolours all over the eyes and getting the eyelashes right. Facial expression is key to Poppy’s imagery, as she wants it to communicate and relate to the audience. Once the detail is done through painting and drawing, Poppy scans the image and digitally adds various things such as flowers, string or anything that inspires her that week, using Photoshop. 4.12 and 4.13 THE DEADLY FLORALS Poppy’s distinctive illustrative style shines through in these images.

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‘It’s all about promotion – get online, get noticed, tell anyone you meet what you do and hand them a good, vibrant business card!’

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CASE STUDY: POPPY ROBERTS

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Interview Jubbi S (Georgia Rose) Jubbi S is a young creative director and stylist who graduated with a BA (Hons) Fashion Promotion degree in 2019. Throughout her studies she spent time gaining as much experience as possible via work placement and paid work opportunities to help build her professional portfolio.

Why did you decide to study fashion promotion? When it came to making a choice about my degree at University, I initially considered studying Fashion Photography, but I felt that this was such a niche subject, that if I set my mind to it, I could probably build up a decent portfolio without the fees. I then contemplated just studying photography, but this seemed pointless also when I knew that fashion was what I was most interested in. I wanted to expand my knowledge and learn loads whilst studying. Which is when I came across the BA (Hons) Fashion Promotion course at USW, it was perfect, I could study photography, drawing, graphics, research, theory and it was all about fashion. I struck gold! Did you have an idea, at the start of your studies, which area of the industry you would like to work in? I thought I did – and I wasn’t too far off. I still really enjoy photography. Although Styling and Creative Direction are my main areas now. However, before studying I don’t think I was fully aware that either of these positions existed and if I did, I didn’t understand how a team functioned, so I definitely discovered along the way.

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How important is it to have industry experience whilst you’re studying? Massively important. It’s all good and well, being studious and getting good grades, but until you actually apply those skills to the working world it’s hard to fully understand how it all happens. Plus, you can make connections through experience which is invaluable. What elements of fashion promotion do you enjoy the most? The creative process. I know that the final outcome of any campaign or work is to sell product and especially when working for a brand, it’s essential to remember this. However, fashion has the power to say so much more than just sell. And you can sell through what it says. When you are able to see a fashion image that completely absorbs you, takes you to another world, makes you question, or provokes any thought or emotion that’s when it’s succeeded, in my opinion, at least. What do you think is the most valuable promotional tool for fashion brands? It really depends, it can vary so much from brand to brand, depending on who their audience is and how they interact

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INTERVIEW: JUBBI S (GEORGIA ROSE)

and engage with the brand. For example, an e-store targeting youth, might be able to really push sales through Snapchat, whereas a high-end brand may still rely on the prestigious print of a gloss advert or billboard. However, one thing’s for sure, brands who are being inventive and making an effort to connect and interact with their customer and communicate to them with a set of beliefs that resonate with the customer, are succeeding the most, innovation isn’t underestimated. How do you see fashion imagery developing over the next five years? Ooh! In five years, I think it will have already gone through the refresh cycle a couple of times! We’ll probably be imitating something from now but in a slightly different way and that current image is probably already based on something else that’s already been. It’s

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crazy to think that there will only ever be more and more content to reference and inspire. On the one hand, we have the technological advances that are taking images to be moving, more highly edited and even delving into the realms of ‘generated’ models. But in contrast to that, we have a romantic rebellion that is shooting in 30mm film, models wearing no makeup, documenting subcultures. We have to remember that the people who are in the position of power are those creating the imagery and who they do it for is very much critical to their art. I do think however the blur between high end, luxury, street, vintage, and global fashions will continue to mesh even more.

4.14 PINK LIFE Creative Direction and Styling by Jubbi S (Georgia Rose) for the launch edition of Lutra Magazine

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How do you feel about the future of printed magazines? There was a point in time when I was very concerned that they might be ceasing to exist. But I realise now that this is definitely not the case. It’s about the audience and the print magazine audience has most definitely shifted, which I’m actually really happy about! It used to be dominated by mainstream magazines like Vogue, Elle, Glamour and Tatler and consumed by everyone with a vague interest in fashion to those who were very invested in fashion and everyone in between. However, this segment of the ‘vaguely interested’ don’t care enough to pay for such content, so consume it online. This means that people who buy printed fashion magazines are those who are in the industry or those who really care about fashion as being art. This has given loads of more alternative and creative magazines the chance to flourish.

Which fashion brands are getting it right when it comes to creating great content? I have to give a nod of respect to Glossier (although not directly fashion), they have definitely dominated the online beauty industry in a revolutionary way – massively driven through their very clever branding. That said, I’ve recently seen a lot of posters around London for Realisation Par’s launch in the UK, starting with an event in Harrods and I feel like this campaign was very strong. MSGM have also managed to boom very rapidly in a similar way to Glossier. With regards to more alternative brands I really like what Places + Faces are doing – it’s very down to earth and humble yet captures a scene and this means those they do connect with really invest. I’m always a fan of Lazy Oaf, again they have a more niche aesthetic.

4.15 MIXTAPE CONFESSIONS Creative Direction and Styling by Jubbi S (Georgia Rose) for the launch edition of Lutra Magazine

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INTERVIEW: JUBBI S (GEORGIA ROSE)

Now you’ve completed your degree how would you like your career to progress? What would be your dream job? When my degree came to an end it felt a lot less eventful than I expected, but I think it’s because I was still doing exactly what I was doing disregarding not being in education any more, it became my life already. That said, it’s definitely not easy to earn a living as a young, freelance creative. If I didn’t have to think about earning enough to survive, I would shoot and style for editorial several times a

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week, and nothing else! However, I have quite a lot of exciting projects lined up for the future, it really is all about making contacts and being brave enough to ask people if they’d be interested in working with you. After all, if you like what they do chances are they’ll reciprocate this connection and at the end of the day the worst they can say is no! I would definitely be happy working in any fashion role where I can continue to be creative, inspired and surrounded by a team who are just as passionate about what they do.

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CHAPTER 4: CREATING THE VISION

Exercise Creating an illustration Choose one fashion illustrator or illustration style that you like. Look at magazines, advertisements, posters, brochures, lookbooks, websites, museums and art galleries – anywhere that displays fashion illustration imagery. Look at how how your chosen illustrator or illustration style differs from other styles, and think about the following points: • What do you think are the key elements of this style? • What do you like about the style? Is it the fluidity of the lines or the control?

• Is it normally a style that incorporates a lot of colour, or more muted or neutral tones? • Could you recreate the style, but using an alternative colour palette? • Does the style often appear in contemporary illustrations and advertising, or was there a specific period when it did? Considering all of the above, make some basics notes and start to create an original fashion illustration in your own version of the style you selected.

4.16 ‘RED SHOES’ Freelance illustrator Adele Page has developed her own distinctive style inspired by patterns and textures.

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EXERCISE: CREATING AN ILLUSTRATION

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Digital fashion

5

The fashion industry has responded to the changes and opportunities provided by the digital revolution with enthusiasm. As we’ve seen, new influencers have emerged across the globe, independent street style sites offer world trend commentary and brands now engage with consumers in multiple ways.

5.1 The Business of Fashion Presents The Second Annual BoF China Summit In Shanghai – Anny Fan (L3), Blogger & Influencer, Style on Top , Yooyo Keong Ming (R2), Makeup Artist and Guests attend the BoF China Summit during Shanghai Fashion Week at HKRI Taikoo Hui in Shanghai, China.

The demand for new ideas in fashion has been propelled ever faster by the consumer’s increased knowledge of the industry and trends, and the ability to instantly share this with others on a global scale. Brands now have to consider the new nuances of promotion and marketing demanded by an ever more market-savvy and digitally informed customer. This chapter explores the ways in which digital communication has been embraced and developed across the fashion industry, and the impact this has had on brands, the media, customers and the very structure of the industry itself.

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A changing industry The digital fashion revolution is about much more than just an ability to communicate with customers online. It’s about sharing content across multiple platforms at speed, creating new services, gathering customer reviews and feedback and acting on them instantly, offering bespoke designs, creating communities, offering instant global access, improving purchasing processes and more.

Digital technologies have enabled new and established designers to create an online presence and increased exposure, offering extensive visibility and new opportunities to engage with the customer and build a loyal following. Armed with ideas, images, a welldeveloped brand and a well-designed and constructed collection, it is possible to create an online presence and retail offering with relative ease. The challenges are how to engage an audience and remain true and authentic as a brand, so that the customer continues to trust and stays loyal.

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Brands, including luxury labels that previously only experimented with digital channels and social media, now participate in activity more frequently online. Live streaming of catwalk shows at fashion weeks has become commonplace, and followers can participate in and comment on events live via multiple channels.

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Customers now have more opportunities to engage directly with brands, providing feedback and input that can influence the development of a collection. Marc Jacobs, for example, introduced a plus-size range following direct social media feedback. The fashion industry is now built on mass digital communication – with a high turnover of new ideas and information, commercial exchange, customer interaction, visual stimulation and an ever evolving development and expression of brands.

5.2 GLOSSIER POP-UP IN BOSTON Glossier is a billion-dollar Instagram-driven makeup brand. Taking advantage of an opportunity to engage with the online brand in an offline environment, customers wait next to the Glossier pop-up in Boston’s Seaport District to pick up their orders.

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5.3 NEW YORK FASHION WEEK Models walk the runway for Seven Crash during New York Fashion Week. Fashion influencers are now as likely to be in the front row of catwalk shows as more traditional fashion media.

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Far-reaching impact The consumer’s constant demand for the latest announcements, trends and information has led to brands releasing collections more regularly than the standard two seasons each year or offering more bespoke designs and products that customers can help design and influence, increasing the perceived value. Some now offer online exclusives and early releases of their collections. Others offer exclusive deals and rewards to select online communities and followers. The ways in which these collections are promoted and reach their markets has also changed. Events such as seasonal fashion weeks used to be something that only a select number of industry players, dignitaries and commentators would be able to attend. As we’ve already seen, since the development of digital content sharing and live video streaming, most catwalk shows are now available for anybody to view online, live and post-event. The significance of this is that the consumer can now see new collections as they are launched, without having to wait for an editor and photographer to record and share them through magazine, newspaper or broadcast editorial. Consequently, the time for products to reach the consumer market is now considerably shorter. This also means the consumer can see the collections as they are presented by the designer, as opposed to seeing them once they’ve been edited to suit a publication’s target readership. The consumer now has a similar, if not the same, level of access to new collections as the press and buyers do. In reality, some designers still share new collections with ‘official’ industry players prior to fashion weeks, but the communication between

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brand and consumer has been shortened significantly through digital sharing. The fact that consumers can now easily access a large volume of information about fashion brands, labels, collections and products, has also led some brands to offer additional collections to their mainline offerings to keep the proposition new and continually trend-leading. Diffusion collections from luxury brands have also been introduced more readily as the general public becomes more familiar with these brands. Fashion brands have to continually explore new and innovative ways of personally connecting with the customer to ensure they maintain market share and brand awareness. Another element of the consumer to brand influence exchange that is happening is that, as brands gather more and more data from the customer and build a profile via online channels, mobile purchasing, social media engagement etc., there are increased opportunities for brands to create a more personalized experience for the consumer. The gathering of consumer data from in-store transactions, online searching and purchasing, third party sites and customer reviews means brands can keep watching, analysing and responding at speed to what the customer really wants. Those brands that don’t take advantage of the feedback and demands from their customers will be left behind as customers seek what they want elsewhere. Alongside the gathering of increased amounts of consumer data governments have responded with new regulations in some countries to ensure consumer privacy is protected. In 2018, the European Union introduced new General Data Protection Regulations (GDPR) providing guidelines for the collection and processing of personal information from individuals who live in the European Union (EU).

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5.4 VANCOUVER FASHION WEEK Vancouver Fashion Week, like many fashion weeks, has a live video stream from the catwalk shows that can be viewed online both during and after the event.

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Using social media to reach customers Social media is all about being ‘social’ whilst maintaining brand identity and consistency. Brands that attempt to be too corporate and commercial in their social media activity generally experience lower levels of success. Communicating effectively through social media takes time, commitment and an understanding of the audience.

Even as a brand voice it is imperative to share a little of yourself as a person, your interests, leisure activities, home life, work or thoughts, on social platforms. Social media allows us to appear more human to each other, rather than just focusing on a work persona. The impact of this can be powerful if used effectively. From a marketing perspective the fact that people share information about themselves on social media, that they would be unlikely to give to a market researcher – likes, dislikes, lifestyle, hobbies, and so on – means it can be gathered and used to send out information targeted at specific audiences and demographic groups. For a fee, Twitter, Facebook, Instagram and other market-leading social media platforms also enable brands to advertise directly to carefully filtered groups of registered users that have provided their location, age, gender, interests or other personal information. The key to social media content sharing is to avoid the traditional sales approach of bombarding users with the information that brands want to give them; rather, it’s about listening to the consumer and giving them the information they want in an authentic and relevant way.

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Community building is another key component of a strong social media strategy. If a fashion brand wants to build a base of loyal followers, they have to offer something of value to them. Many brands now offer compelling and exclusive content to their community of followers on a regular basis in response to their needs and wants. This approach means that when new products become available, the loyal fans and followers are more likely to be responsive to the occasional appropriately pitched salesbased message. Social media allows consumers to make more choices about what, and who, to listen to and how to gather information and content that interests them. A social media savvy brand will spend the time and commitment needed to build a loyal community of followers and fans by listening closely to their needs and preferences and engaging with them via direct conversation, creative content sharing, targeted advertising or sponsored posting.

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USING SOCIAL MEDIA TO REACH CUSTOMERS

Navigating the digital landscape With the plethora of tools, platforms and sites available, it can be difficult to choose the most appropriate ways in which to engage with an audience via social media. Some social media channels have been developed for purely personal interaction, some with more of a business audience in mind, while others are focused on engaging in more of a consumer purchase driven way. It is essential to understand the demographic and functionality of each channel before engaging with it. There has also been an increase in niche industry and activity-focused forums, communities and sharing and collaborative platforms that have sprung up to tap into audiences in an even more targeted way.

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New generations of consumers are digitally savvy and customers have expectations and demands of fashion brands that can go beyond simply liking the garments or designs. Whilst customer convenience and service are rated high on the list of demands, consumers are also increasingly looking for a deeper connection with a brand, something that makes them feel they have similar interests or principles that they care about. Fashion is changing fast, and pressures around clothing waste and the depletion of valuable resources, in addition to an increased sensibility surrounding more diverse representation, means brands are required to have a greater conscience and to be able to communicate that in an open and authentic manner with the consumer.

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Sharing and collaborating Part of the focus on digital communication is the need to openly share information and create content that is intended for sharing. In essence, the consumer becomes part of the promotion process for a brand – sharing information online, sending it to contacts and followers, until it is posted and shared further. This online word-of-mouth activity can have incredible power when it comes to brand building.

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In some cases, there are still blurred lines in terms of copyright protection of original images and words shared in this way online. Some larger brands exercise strict control over the use of images and content to protect their brand equity, but the majority now accept that as long as the original owner of the content is credited, sharing is allowed and actively encouraged.

In the fashion industry, where exclusives and trendsetting are an intrinsic part of how brands establish their niche, both consumers and content creators (brands) are focused on spreading the latest news, information and images before anyone else does. As a result, the information that is shared and the collaboration between content creator and sharer can be extensive and significantly impactful for a brand.

5.5 INFLUENCER ENDORSEMENT Influencers sharing their fashion brand choices on social media platforms can impact sales and brand opinion. Digital Influencer and Model Freya Sinyu Siu wears a Saint Durant Airey tuxedo jacket from 1910, Cezari shirt, tie and cufflinks, Kate Moss for Topshop trousers during London Fashion Week Men’s January 2019.

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Digital fashion content Online information is now the most influential media for consumers. Sites and social media feeds offer an accessible way to follow new trends as they emerge. There are now a huge number of influencers and content producers, Instagram celebrities and YouTube stars across the world sharing their thoughts, opinions and news.

The types of channels, communication styles, content and personalities sharing information vary greatly, and while there are a number that are independent and personally focused there are also many written by industry professionals. So, although an influencer could be someone who writes for enjoyment and to share their own personal views, there are also many content contributors with experience in fashion, the media, or both.

Some luxury brands also offer in-depth, regular content, as they are continually competing for the customer’s attention and loyalty. The type of ‘soft sell’ approach these sites embody – encouraging the customer to visit brand sites for more than just purchasing activity – has become commonplace. Customers now expect a more holistic experience of a brand. Content is used to attract customers who then buy into the brand story and can be more likely to make a purchase.

Magazine-style brand sites

Influencers can collaborate with official branded sites, and employees at some brands are encouraged to build a more personal connection with customers through their own content feeds.

Brands looking to build an in-depth connection with the customer while competing with the wave of amateur content creators can offer news, views and comments on their own editorialled websites. Online brand ASOS offers an ‘Insiders’ section providing fashion tips and a daily Style Feed sharing style inspiration and beauty advice along with details of products.

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Brands continue to explore the opportunities of less formal/more social interaction with the customer whilst also looking at new ways of making two-way social media conversation a more commercial transaction or exchange.

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5.6 BRYAN BOY Bryan Boy became influential after setting up his blog in 2004. He remains a regular at high-profile industry events.

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5.7 GITTA BANKO Street style blogs have been influential for some time as well-crafted photojournalist style records of the time and style of a city or location. Gitta Banko wearing a layering look containing a camel-coloured turtleneck sweater from H&M, oversize striped blouse by Joseph, top with pearl details and a leopard patterned coat by Steffen Schraut, jeans by Current Elliott, Chanel bag, sandals by MSGM and brown Ray-Ban sunglasses Paris, France.

5.8 SAO PAULO FASHION WEEK Street Style at Sao Paulo Fashion Week Fall/Winter 2017 – Day 1: A visitor, fashion detail digital watch, poses during Sao Paulo Fashion Week N43 SPFW Summer 2017.

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The future Digital technology and communication will continue to evolve to meet the growing needs and demands of market aware consumers.

Predictions about what will come next are regularly made, but one thing that is certain is that there is no going back in terms of how we communicate and share content with each other. Online sales of fashion continue to grow, and there are now many brands that sell exclusively online, although the physical experience of shopping is predicted to continue to hold a place in retail, it just might look a little different. Online-only offerings Mass-market online brands, such as net-a-porter, Boohoo, ASOS etc. are highly successful retail businesses that operate on a global scale. Other online stores, such as farfetch.com (see pages 20–22), represent smaller labels stocked by boutiques globally. The impact of online brands has been significant on fashion retail and many believe the high street will be unrecognizable in the near future. Global giants like Amazon have ventured into the world of fashion retail and collaborate with many brands, from luxury to high street, on the sale and distribution of clothing, accessories and beauty products. Amazon has also launched The Drop offering limited-edition street style designed by global influencers. For the customer the key is price and service but also the experience with a brand. So, whilst there is a demand for faultless purchasing, delivery and returns, the consumer also wants to be listened to, understood and catered for.

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As data is continually gathered by more and more fashion brands, building a clear and focused customer profile regarding everything from purchase habits to buying patterns and preferences, this information provides brands with important information that can help enhance the customer experience, offering a point of differentiation and true relevance to the customer. Establishing a coordinated, online shopping experience that focuses on customer service, communication and the efficient supply of goods, allows a brand to significantly extend reach and impact. As consciousness and consideration for the environment and our world grows, the way in which we consume fashion is also evolving. Clothing rental services such as Rent the Runway are trailblazing the notion of not owning what we wear but simply loaning it and returning it when we’re finished with it. This type of service enables multiple changes of styles and items to satisfy our need for the new without the issue of overconsumption. The increase in second-hand clothing purchasing and the repairing, recycling and repurposing of used clothing and materials is also an area of considerable growth as a more conscious consumer looks for alternatives to fast-fashion and a constant desire for the new.

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Emerging technologies Fashion brands are continually exploring ways in which technology can expand profile, build sales, increase customer loyalty and gain competitive advantage. From mobile apps and virtual reality to digital clothing and increasingly experiential retail, digital technologies can offer new ways for brands to be defined, represented and promoted in ways that are engaging, authentic and relevant for the twenty-first century consumer. High-street retailers have begun to focus on extending their in-store experience, aiding consistent brand engagement across multiple platforms. Stores are being developed to offer more of an experience than a purely sales environment where customers can get to know the brand in more meaningful ways. This can include virtual assistants, augmented reality branded content, touch screens and more, helping consumers discover and connect with the brand further through its history, people and beliefs, as opposed to just viewing the products.

Artificial Intelligence (AI) technology will continue to enable the gathering of increased amounts of customer information and data for the development of new services and products. This sort of data capture is also being explored via clothing embedded with sensors that when worn gathers physical information from the wearer to help analyse and advise on health and wellbeing improvements that can be made. As shopping and purchasing become more automatic there will be a separation between the replenishment of items that we need and the browsing of items that we don’t. The very nature of the high street and shopping itself could be unrecognizable in the not-too-distant future. The processes that lead consumer engagement and the ways in which a purchase is made will continually be challenged and reinvented as the possibilities of digital technology, virtual reality and mobile apps are explored and developed further.

Virtual clothing fitting enables consumers to ‘try things on’ virtually before buying, which can positively impact online and offline sales and decrease the number of items returned due to fit issues. QR codes and other mobile scan and capture technology allows consumers to scan details of products and services. Mobile payment technology continues to evolve as more customers use mobile devices for a seamless search, select and purchase experience, shopping online and in-store.

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5.9 FUTURISTIC FIGURE A highly-reflective silver-coloured mannequin in the window of the fashion brand Dior in New Bond Street, 2019 in London, England.

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Case study Lupe Castro Lupe Castro is a stylist, writer, creative director and influencer based in Europe. Her portfolio covers editorial features for leading magazines, styling for private clients and commercial shoots for brands. She currently works with global fashion brands to advise or style their imagery, lookbook shoots and campaigns.

Lupe is passionate about discovering the next generation of designers and believes collaboration with other creatives is crucial to the industry. She believes that ‘it’s the most important part of what we do, we work in an environment that wants you to keep active and up to date with what’s happening around you and to meet new people, to learn from their creative world is one of the most precious things if you want to succeed in this industry and of course grow.’ Lupe has seen the industry change constantly throughout her career and believes the continual evolution means it can be a tough industry to keep up with. She recalls: ‘When I was first a fashion agent most of the boutiques I worked with didn’t even have a web page or some didn’t even have the internet. Shopping online wasn’t even considered and there was a certain air that being online was rather vulgar, definitely not for ‘proper’ boutiques. Selling on the internet is what it’s all about now.’ Lupe supports an ethical fashion industry and is glad to see that ethical and sustainable products and practices are now, more than ever, present in most of the fashion houses in one way or another, but confesses: ‘I would like to see that eventually it is something that’s just part of every fashion brand’s DNA.’

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‘Fashion as we know it will not exist and the industry will evolve in such a way that fast fashion will be history and that only creativity will flow. I don’t know what form it will take yet, but I look forward to seeing it.’

Lupe is now leading a movement which is both artistic and social, bringing together music, art and fashion with the intention of promoting a new style of tourism and culture. As Creative Director of the pioneering FashionSpace.world brand, Lupe is building a portfolio of properties and businesses that follow the concept including apartments, villas, an e-commerce shop and a fashion event space.

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5.10 and 5.11 LUPE CASTRO Lupe Castro is a stylist, writer and creative director.

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Interview Callie Thorpe Callie Thorpe is a plus-size influencer, writer and brand consultant who works full-time sharing her experiences, thoughts and advice with her audience via www.calliethorpe.com and @calliethorpe on Instagram.

How and when did you discover that you liked writing and had a creative talent? I still don’t really feel like a professional writer but always liked writing, I didn’t excel at English classes, but I always had notebooks at home and wrote poetry, I loved telling stories and storytelling in general, I was also interested in drama. I enjoyed writing but didn’t see myself as a writer. What inspired you to start writing and sharing your thoughts with others? I was having a difficult time about my size and had this perception that if I lost weight, I would be more successful in life. In my last year of university, all of my friends went travelling and were doing amazing things, but I couldn’t afford it. I became depressed at not being able to participate and have the same experiences they were having. While this was going on, I started writing a blog called “Slimming in the City,” it was about my journey in terms of trying to lose weight and take accountability for my size, it was pretty self-deprecating and all about the journey of getting slim. I originally set it up on the Blogger platform.

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I was trying to lose weight and I was in a pretty negative space, I already suffered from anxiety and the blog made me more anxious as I was putting myself under pressure to lose weight. I felt I owed it to my followers to meet my goals. I became quite sick and hit rock bottom, and my eating habits became chaotic. It took me four weeks to go to hospital with appendicitis as I was so used to feeling stomach cramps through bad eating habits that I didn’t realize something was really wrong. I had a holiday booked to Barbados with my boyfriend, now my husband, and I needed to look for a plus-size swimsuit. I came across this blogger @gabifresh – a US plus size blogger and it was different to anything else I’d seen. She was a great example of how you could be positive and happy AND plus size. She showed how you could make plus-size fashion stylish and just because you were big didn’t mean you couldn’t be fashionable.

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What is most important to you as an influencer? Apart from being an influencer, which incidentally I don’t really see myself as, I’m also a brand consultant, I participate in panel talks, I write for magazines including Marie Claire, Cosmo etc. I wanted to be a teacher and wasn’t able to fulfill my ambition through the more traditional route but there is an element of teaching in what I do now, helping others to be themselves and feel happy about who they are. I get to engage with such a strong community of women and be part of a place where people can feel good and the underrepresented can be represented. The only role model I was aware of growing up, as a plus-size, successful woman was Dawn French. I take my role with great responsibility and everything I share is about helping people – not about making people like me but making them feel like themselves. I had someone contact me to say they were inspired by my blog and wearing swimwear and for the first time took her children to the beach – I try to create a tiny corner of the internet where people can share kindness – somewhere inclusive.

5.12 CALLIE THORPE Influencer, writer and brand consultant.

‘I’ve come to realise that everything that happened to me before, including the negative stuff has brought me to this point, and I was meant to be doing this.’

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5.13 CALLIE THORPE Influencer, writer and brand consultant.

How do you generally collaborate with brands, could you explain the process? I now have an internal management team working with me who manage contracts on my behalf. I get approached directly or they have a request from a brand. I generally get asked to collaborate with a brand about a campaign or product launch coming up. A set of deliverables is usually presented to me – it might consist of me trying on clothes and doing a review for example, taking photos and then posting a certain amount on Instagram for a fixed fee.

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What sort of brands do you prefer to work with? Does there have to be a strong connection between you and the brand? I’m particular about the brands I work with and say no to many brands. I never promote or work with weight loss brands for example. A brand and their products or services has to align with my own beliefs and also be socially responsible. I created a bucket brand list of the ones I would most like to work with – I have to like the products and what they stand for, they need to align with my views and principles. I really want to see more brands develop plus-size ranges.

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What’s the most challenging part of being a plus-size influencer? It’s not easy and I’m subjected to abuse at times. I can be controversial and opinionated, but that’s because when your plus size you still get treated differently. You still see plus-size people made a mockery of in films and on TV for example, even the health service and people in general look at you if you’re bigger and assume that you’re lazy or a failure somehow. It can be really hard to put yourself out there, but I’ve learned to develop a tough skin. Do you think the role of influencer is changing and is it more/less difficult now to become one? I think it’s such a funny thing that kids want to become an influencer now, more people are seeing it as an opportunity to make money and an actual job. There is space for anyone but it’s important to be authentic and real, you have to want to say something and maybe address a niche sector. Ultimately, it’s a digital marketing role – it is a job – it can include styling, photography and there’s lots of behind the scenes stuff that goes on. Do you manage your own PR outreach, or do you collaborate with anyone? I do most of my own individual outreach and PR. Sometimes my management team will play a role but it’s mostly down to me. What would you like to see happening in the future with regards the representation of diversity and fashion? Do you think things are changing fast enough? I started in fashion 6–7 years ago and it has changed a lot since then, there weren’t many plus-size ranges on the high

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5.14 CALLIE THORPE Influencer, writer and brand consultant.

street back then. But you see so many more brands offering diversity in their sizing now. When it comes to sizing, I have strong views about it. If you feel bad about being called plus-size or you avoid looking at labels or don’t want to be seen as size large, then it represents an internalized fat-phobia. It’s more of a reflection about how you feel about your clothes and size, it’s not about the labels which are just a useful way of differentiating one size from another.

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Labels don’t bother me anymore labels are what help us find clothing and we should be able to treat plus-size the same as tall and petite. It’s an internal thing people have to go through, sizing isn’t going to fix that – it’s more of an issue with your own body shape. What does the future look like for the promotion of the fashion industry? Everything will move into digital, and the end of print will happen, magazines will keep closing. We’ll see a move from blogging into digital selling and short-form video content, less than a minute long, we can already see this with the rise of Instagram on IGTV, and YouTube. We’ll also see more product placement on film and TV shows especially Netflix. As the high street continues to struggle, we’ll see more clothing rental with services like Rent the Runway flourishing. Sustainability is a big issue. Customers will slow down buying, we’ve reached the peak of the past six years of constant buying and will look at alternative ways to re-use, re-purpose and recycle clothing. I’ll happily re-wear clothes on my site, some influencers still won’t, but this will change, it has to.

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5.15 CALLIE THORPE Influencer, writer and brand consultant.

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Exercise Fashion blog analysis For this exercise, you need to conduct some research into current fashion influencer profiles by doing a basic online search to identify the top five fashion influencers in a country or part of the world – Europe, Asia, the US, etc. Once you have identified your top five influencers, spend some time reading through each profile and looking at the features that they have in common, or that are different. Try to identify which influencers you think are the most important and influential, as well as those you like the best. What are your reasons for these decisions? Once you have got a feel for each influencer, answer the following questions:

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• What is it that makes this influencer so successful? • How do they connect with their audience? • What do you think are the most important elements for connecting with followers? • How do you think the influencers have built a loyal following? Use your answers to these questions to devise a plan for starting your own online profile, if you do not already have one, or to identify how you could improve an existing one.

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6

Collaboration and connection

Collaboration in fashion can involve working with other creative people to help develop design concepts, techniques or new production ideas. It can enable designers to combine skills, share funds and potentially reach a wider audience. Many designers find collaborating enables them to develop ideas further, enriching their creative process and final designs. Others find that combining skills and services keeps costs down whilst opening up new opportunities for brand exposure and investment.

6.1 CELEBRITY ENDORSEMENT High-profile celebrities often rub shoulders with top designers. Actress Sarah Jessica Parker and fashion designer, Creative Director and Founder of Giles Deacon group, Couture Fashion House, Giles Deacon attend the 2018 New York City Ballet Fall Fashion Gala at David H. Koch Theater, Lincoln Center in New York City.

Collaborative projects can also bring together designers that have the same principles about issues such as sustainability and ethical production processes. Ultimately, as with any industry, collaboration in fashion can simply be the coming together of minds to produce a superior product. This chapter explores the ways in which some designers work collaboratively and the benefits this approach can bring to all parties involved.

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Working with other industries Fashion designers have long worked with a wide variety of collaborators to enhance collections, attract investment and sponsorship, to capitalize on the influence of a celebrity, or simply to explore shared business or commercial interests.

Many fashion designers work closely with fabric manufacturers, as well as graphic designers and artists, on print and textile designs. Others have worked with architects on installations, partnered with car manufacturers on bespoke interiors, produced fabrics and materials for the home or become acting magazine editors. All of these activities provide new vehicles for building brand awareness and industry influence, and can provide designers with exposure to new audiences whilst opening up new sales channels for their products. Skill and style matching Finding the right collaborative partner is key to the creative process and to the end product. It is important to return to the original inspiration behind a collection or brand when considering relevant partnering opportunities. Many designers come across like-minded potential collaborators through the course of their work and exposure to other industry professionals. Others actively seek out people or brands to collaborate with, choosing those that best complement their own design or brand ethos. Some brands that are looking to re-launch or re-energize their image will collaborate with brands or people that offer the desired kudos potential.

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Designers have collaborated for decades with manufacturers, such as woollen mills and leather producers, highlighting the quality of materials as the focus of a collection while endorsing the fabrics and the production techniques. Australian merino wool fell out of favour as a high-fashion product at one time before becoming a luxury material of choice for many designers. An exhibition saw Australian designers collaborate with the manufacturers of the material to showcase its use in high-end fashion. Australian designers Tina Kalivas, Josh Goot, Kym Ellery and Lisa Gorman made custom garments for the show that also featured Vivienne Westwood, Rick Owens, Burberry and Lanvin. American designer, DJ and stylist Virgil Abloh established his first fashion label called Pyrex Vision, which was made up of screen-printed logos onto existing stock from brands such as Champion and Ralph Lauren. Abloh also collaborated with Matthew Williams, Heron Preston and other creatives to develop a collective known as Been Trill. Collaborations with complementary partners can be extremely powerful and can create a significant impact in terms of building brand awareness if both sides are committed to an agreed end. Ensuring the right research is conducted and goals are clearly defined at the outset is key to a successful partnership.

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COLLABORATING When researching ideal collaborators brands should consider the following questions: • Which brand attributes would I most like to highlight through this collaboration? • Which other brands and/or industries best match the focus of my brand? • Have there already been similar collaborations? • Which celebrities/artists/designers/ manufacturers/producers do I most admire and want to work with? • What have the people I most admire been associated with recently? • How will the collaboration benefit my brand? • What do I hope to gain from collaboration?

6.2 SWAROVSKI/LIGIA DIAS Crystal brand Swarovski collaborated with jewellery designer Ligia Dias on this striking piece.

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Celebrity and influencer endorsement The increased popularity of reality TV shows, the growth in online influencer reach and the added focus on personal branding have all led to greater numbers of celebrities using their profile to endorse and sell products.

Brands that have a level of notoriety or appeal to the general public can be catapulted into mass-consumer awareness through the endorsement or support of a particular high-profile celebrity or influencer. This has been shown through partnerships such as Cardi B’s collection created for Fashion Nova, and the Rihanna Manolo Blahnik collaboration. The resulting collections were highly coveted and sought out by high-street shoppers keen to own an item associated with a high-profile figure. Whether a celebrity is actually significantly involved in the

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design of a collection is not necessarily of key importance – the consumer is more interested in the notional association with the style or image of the celebrity or influencer. PR agencies/consultants and in-house teams work hard to encourage celebrities, influencers and those with a high profile to wear clothes by the designers they represent in the hope that they will be photographed in them. Influencer or celebrity endorsement can make items appear much more desirable to the consumer.

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6.4 TIFFANY YOUNG AND H&M COLLABORATION Tiffany Young and H&M celebrate their fall 2018 collaboration.

6.3 FASHION NOVA AND CARDI B COLLABORATION Fashion Nova Presents: Party With Cardi at Hollywood Palladium 2019 in Los Angeles, California.

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Complimentary collaboration Celebrities often come with their own personal brand aesthetic and values and it is important for a designer to target those who will best represent their brand, its attributes, vision and ethos. There are a number of ways that celebrities can be targeted. Endorsement activity can range from simply wearing garments, to becoming the public face of a brand, or working as the brand’s ambassador by talking about and supporting it in public. Celebrities will become involved with brands for a variety of reasons, including straightforward financial gain, access to free garments, an affiliation with a brand and its ethos, or simply because they like what the brand produces. Celebrities already managing their own personal brand will only endorse products that work well alongside it. As with any collaboration, there has to be mutual benefit for it to work successfully.

ENDORSEMENTS Celebrity and influencer endorsements are varied and don’t always come about as the result of a pre-agreed collaboration. Kate Middleton, for example, openly supports British fashion designers and had her wedding dress designed by Alexander McQueen. The royal wedding, and many of the appearances made by Prince William and Kate Middleton, attracted an international audience, which subsequently put many British designers in the spotlight. Michelle Obama, First Lady to former US President Barack Obama, is also noted for the designers she chooses to wear, as has been the case with many previous politicians and their partners. These sorts of endorsements or brand ambassadors, which often come about from a mutual appreciation, can have a lasting impact on a brand and how it is perceived.

The latest reality TV stars and Instagram or YouTube influencers can be as powerful as high-profile celebrities when it comes to product and designer endorsement. There have been some successful and extremely effective collaborations between designer and celebrity that have revived both brands and careers, opened up entirely new audiences for both parties, and provided brands with renewed influence and respect. The benefits of engaging in complimentary endorsement can be both significant and far reaching.

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6.5 MADONNA AND JEAN PAUL GAULTIER Madonna and Jean Paul Gaultier have collaborated on a number of her iconic stage costumes. Here they attend the Heavenly Bodies: Fashion & The Catholic Imagination Costume Institute Gala at Metropolitan Museum, New York City.

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Future sharing From a communications perspective, the growth in digital information sharing has impacted the way in which designers and others involved in the fashion industry can work together and collaborate. As we’ve explored, the notion of social media is based on the idea of sharing information. A fashion influencer, brand or consumer can share information with thousands or even millions of people around the world in an instant, in a type of informal online editorial collaboration. Communities are built via this sort of online sharing activity. Designers sharing their thoughts, opinions and inspirations with others can also access more ideas and information from around the world and build unique collaborative partnerships in this way.

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Consumers have become part of the dialogue with designers and brands and are taking a more active role in determining trends and what happens next in the industry. In the same way, as discussions and activity grows around the topic of clothing waste and sustainable design, diversity and gender fluidity, more and more people are taking part in and influencing how the sector evolves. This ongoing interest in sharing information and ideas on a global scale has enabled, and will continue to facilitate, even more collaboration among people with similar sensibilities and ideas of what the future of fashionable design should be.

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CASE STUDY: EMMA JONES

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Case study Emma Jones Emma Jones has worked across a variety of creative roles in the fashion and lifestyle sector for 25 years after graduating with a degree in Graphic Communication from Central Saint Martins, London. In 1995 Emma joined cult agency AboudSodano after nervously accepting the offer of two weeks freelance work. Two weeks turned into three years. At Aboud-Sodano Emma worked primarily on key projects for fashion designer Paul Smith including advertising, packaging, branding and environmental graphics. She also led the design and delivery of the D&AD award winning book You Can Find Inspiration in Everything,*:* and If You Can’t, Look Again! which also won a European Art Directors Award. During her time at the studio she also designed and delivered concepts for Levi’s European flagship store windows.

‘I walked away from a very well paid but creatively stifling full time job at the time, in search of excitement and new challenges. Joining Aboud-Sodano was the most creatively rewarding risk I’d ever taken.’

I was extremely proud to be asked by Alan Aboud to lead the design and delivery of You Can Find Inspiration in Everything,*:* and If You Can’t, Look Again! It was a groundbreaking book project in many ways. The polystyrene case/ cover was designed by Jonathan Ive and there were various elements which were globally sourced. It won many accolades and awards across the industry and became a seminal fashion book. Working as Senior Designer at Construct London, Emma worked on Mulberry’s brand refresh celebrating British craftsmanship and quirky irreverence. The manifesto established a new tone of voice synonymous with optimism and confidence, embodied by muse Alexa Chung, and celebrated in an iconic handbag. Emma designed ‘Romance,’ a photographic book commissioned by Mulberry, by Chris Craymer, British fashion and lifestyle photographer. These never-before-seen prints became part of a travelling exhibition, curated within five of their biggest global flagship stores. Throughout her career, Emma has gained a reputation for bringing fresh thinking to projects, hitting the ground running and delivering solutions.

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6.6

Emma worked with Dutch design agency . . .,staat and collaborated with ad agency Anomaly to globally reposition Converse (which at the time was an anonymous weekend dad shoe brand) to iconic status. The focus for the campaign was to embrace a spirit of rebellion which was pretty fun to work on. I led the creative development of the Converse Century global retail campaign which bubbled up and became the basis of the brand you see today. It was pretty satisfying to be told by the UK marketing manager that a single poster was responsible for a 60 percent increase in sales over two weeks. During her career, Emma has met and collaborated with many people: fashion designers, stylists, executives, artists,

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entrepreneurs, producers, editors – right across the board. She sees creative collaboration with others as extremely important, especially if you’re a freelancer, as you can end up working with your own clients, agencies or in-house teams. Emma believes that ‘it’s super important that you’re open to collaboration if you work on your own, as generally you’re hired for a variety of reasons – to fix something quick, to fill in a vacant gap in a team, or to provide new ideas and direction to a team that’s exhausted. It’s never said, but it also helps if you like people, pressure and deadlines.’ Working as a freelance art director to develop new brand concepts for the Body Shop, Emma was quickly hired as Head of Creative, where she oversaw a busy team of designers, copywriters, packaging

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designers, art workers and freelancers. Notable successes included delivering a global Christmas retail package, which was directly responsible for the highest turnover on record. Emma recalls: ‘when I graduated the industry wanted specialists. However, that didn’t suit me. In fact when I shared my portfolio with headhunters and recruiters, they often thought my work was that of an agency due to its variety. e.g. fragrance packaging, advertising, graphic design, branding, art direction, retail concepts.’ Emma was hired as European Art Director at Media Arts Lab, a TBWA agency created specifically to work on the Apple account. Based in London, but regularly flying to the sister office in Los Angeles, Emma worked on the launch of iPhone and advertising for iPad.

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Emma believes the creative industry is currently going through an exciting phase of change. She explains: ‘What’s become clear to me over the past twenty years – and it’s pretty obvious, but I’ll say it anyway, is that yes we’re right in the middle of a communication revolution. While the new technology is fun, engaging and in some cases addictive – we mustn’t forget that good design comes from inspiration. Experience grows imagination. As the world becomes increasingly automated, I would like to see governments and society emphasise the importance of human creativity, collaboration and problem solving in our world today.’

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6.8 EMMA JONES Lead Art Director and Graphic Designer worked with . . .,staat to deliver an integrated marcomms campaign through retail, digital, social, PR and events, celebrating the spirit of rebellion through an activation known as ‘The Converse Century.”

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‘Graduates and freelancers are expected to be multidisciplinary and possess a range of transferable digital skills. Design, develop, shoot, edit, write – these are the basic requirements of any job in the fashion industry today. It’s all about content creation.’

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INTERVIEW: YUMI MORRISSEY

Interview Yumi Morrissey Zilpah Tart is an Australian fashion label created by designer Yumi Morrissey. Her designs are made in her studio in Canberra and include exclusive fabric prints inspired by the local area.

Could you explain a little about your background and how you started your brand? I decided I wanted to be a fashion designer when I was about seven years old. I spent my free time making outfits for my troll dolls. I had to wait until my tenth birthday for my mother to teach me how to use the sewing machine. In 2007, I completed a Bachelor of Design (Fashion Design) at the Canberra Institute of Technology. It was at this time that my label was formed, though it would be many years before I took the business full time. The name Zilpah Tart was the name of my late Grandmother (Zilpah was her first name and Tart was her maiden name). After she passed away, my family and I were sorting through her belongings when I found a 1940’s brooch of a pennyfarthing. This formed the basis for the logo and provides a personal memory and tribute of my Grandmother.

6.9 AUSTRALIAN FASHION DESIGNER YUMI MORRISSEY

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INTERVIEW: YUMI MORRISSEY

When was Zilpah Tart established and what’s the main focus of the brand ethos? I started Zilpah Tart in 2007 but at this stage it was more of a hobby and quite different to the brand today. It was in 2013, after my son Asher was born, that I took a leap and left the public service to pursue Zilpah Tart full time. My brand ethos: A Zilpah Tart dress inspires confidence and happiness. Beautiful and flattering, with unique photographic prints that tell stories of people and places. Each collection features a digital fabric print that I design based on photographs that I’ve taken. I use photographs taken mostly around my home town, and have featured buildings, iconic landmarks, different seasons (blossom trees in Spring, Autumn trees in Autumn, Winter trees in Winter, Sunsets in Summer). More recently I have used photographs taken with my drone of the Ocean on the NSW South Coast. The photographs are manipulated in Photoshop to create a pattern or simple repeat which is then transferred to the fabric.

‘I want each dress to be more than a piece of clothing. I design the style and the prints to change the way people feel when they’re wearing them.’

6.10–6.12 Each collection features a digital fabric print that Yumi designs based on photographs that she has taken.

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I want the prints to start conversations and to provide a connection to the wearer. And just as importantly, I want them to be comfortable and easy to care for because that’s what modern women need and want. I think it’s really important, now more than ever, to create clothing that provides more than just the latest trends. Fast fashion is creating a lot of waste, made purely to be replaced by the next trend at the end of the season, and tossed to landfill. How do you find creative inspiration for each collection? The inspiration and theme for each collection is based on the photographs that I use to create the print. I’m constantly keeping an eye out for things that I find beautiful or interesting. I’m drawn to colour and always storing places in my mind that I think might work for a future print. Sometimes particular ideas are suggested to me from customers or other people familiar with my brand. Do you collaborate/work with other industry professionals for ideas? I have worked with photographers, models, hair and makeup artists, jewellery designers and florists. I’ve collaborated with a local florist (Peony n Pearl) to create floral accessories for a runway show which created a stunning look and ensured that images from my runway show were used for a lot of the news articles after the show. It added a whole other level to the entertainment of the show and pushed me to think bigger about the overall look we were presenting on the runway.

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I recently collaborated with the same florist again to create a fabric print. I photographed some of her beautiful flower arrangements to create a wildflower print. The arrangement of the flowers in the photos also directed the feel and aesthetic of the collection.

photo shoots and promotional events. This had a direct impact on sales. I would like to approach more similar professional influencers such as journalists and news presenters in the future.

How important is it to work with other industry professionals, and why? I think collaboration is very important. I love working with other creative people because they can look at things in ways you may never have thought of. I think we can all provide skills and insights that enhance each other’s work.

How has digital communication impacted the way in which you communicate your brand to your customers? Digital communication is how I mostly communicate with my customers. Digital marketing is very important, and given that people rely on social media, internet and email for almost all of the information they take in, it can’t be ignored.

A photographer I work with always has ideas on how to show movement in my dresses that would not have occurred to me, which generates some great promotional images.

Digital marketing provides you with an opportunity to tell a story and create a feeling about your brand. It also provides channels of communication to build trust with your audience.

Collaborating with other professionals also increases the exposure for my brand, by reaching their audiences as well, particularly with the use of social media sharing and tagging.

Given that I post content on my Zilpah Tart social media pages daily. It has impacted the amount of imagery that I need to produce as I need to constantly create new content to share on social media platforms and email marketing. Generating this content takes up a considerable amount of time.

Are you interested in celebrity and/ or influencer endorsement for your collections? This is something that I haven’t used to a large extent, mainly because of the difficulty in finding the right type of influencer that appeals to my customer. My customers are professional women and look up to other high-level professional women. I’ve had several politicians photographed and seen in the media wearing my dresses, which definitely helped market my brand. Another customer of mine is a social justice journalist and author who has worn my dresses to multiple TV appearances,

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The insights and analytics provided through platforms such as Facebook and Instagram are also hugely valuable in working out what type of content is resonating with your audience. It’s a great tool, with results in real time, to help you modify and adjust your marketing to get better sales results and brand awareness.

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INTERVIEW: YUMI MORRISSEY

What is the future for Zilpah Tart? When I started Zilpah Tart, I thought that having product in physical stores should be my main goal and I did have stock in stores in Canberra, Melbourne and Brisbane. However, I am now pulling back from this direction and focusing most of my attention on direct to customer online sales. The proportion of money spent on online shopping is increasing year on year, and for me as a fashion business, it is a far more cost-effective pathway with very few overheads.

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I have recently begun creating smaller, more frequent collections so that my customers are presented with new prints and new designs more often. This is helping to keep the brand fresh and relevant and it also provides me with more regular time spent on the creative side of the business which can sometimes get overshadowed by the other all-consuming aspects of running a business. I’ll be focusing on marketing in a big way, with the help of a marketing and Facebook advertising professional and looking to expand to additional advertising such as Google Ad Words and Google shopping.

‘We need to be making clothing that lasts. Quality clothing that people love and want to keep and wear forever.’

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Exercise Brand you Consider your stance and principles when it comes to your feelings about the environment, resources, sustainabile practices and diverse representation in fashion. Do your views about these elements help to define your personal brand, your profile – as designer or fashion industry creative? Create a personal statement that clearly lays out what your position is about these important issues. Things to consider: • How do you feel about the impact the fashion industry is having on the environment?

• What’s your stance on fast fashion? • How do you feel about clothing rental? • Do you think enough diversity is represented in the fashion industry? • What do you think needs to change most about the fashion industry? What are the priorities? • How do you want your personal brand to be perceived by others? Once you have considered all of these elements and any others you consider important, start to build your personal profile. Write a short biography about you that lets others know what’s important to you as a fashion industry contributor.

6.13 UNITED COLORS OF BENETTON Benetton’s clear stance on sustainability and ethics is integral to its brand identity. It uses its global profile to highlight causes, such as this ‘micro-credit’ scheme run by co-operative credit society Birima to help Senegalese workers start small businesses.

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EXERCISE: BRAND YOU

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Conclusion

Fashion promotion and communication has experienced some of its biggest changes and challenges in recent times, and the opportunities to create and sell a brand have multiplied exponentially through the advent of digital media. However, at a time when almost every consumer is able to voice their opinions and feedback in a wider public domain online, it is still imperative for brands to be backed by a sound business idea with good products, responsive customer service, an authentic voice and a clear understanding of what the customer wants. This book has looked at the context for contemporary fashion branding and promotion, and how global market and technological changes have led to an evolution across the fashion industry, impacting the reach and the ways in

Fashion designers Elena Feit and Alexia Hanemian (R) work on a creation for their label ‘The Ethiquette’. Based in Paris, The Ethiquette offers creations made from sustainable materials through a yearly subscription.

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which brands sell and connect with their customers. The promotion of fashion is now delivered through multiple channels, and the consequent need to develop a strong and consistent written and visual narrative has been outlined. Collaboration has been highlighted as organizations continue to share information and knowledge for mutual benefit, work with other creatives for increased opportunities, and improve efficiency by reducing costs through joint ventures. The industry surrounding the promotion and communication of fashion brands will continue to develop as the ability to provide and receive information continues to grow in reach and complexity.

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Glossary

Artificial Intelligence (AI)  Simulating human intelligence via the use of machines/ technology Augmented Reality (AR)  An interactive experience where real-world objects are enhanced or altered by computer generation technology Brand equity  The value behind a brand name that influences customer interest and response to the brand. Brick-and-mortar  A business that has a physical presence for the customer to see and engage with, a retail outlet or store, or a building for operations. Collateral  Sales aids or materials used to provide further details about a brand or product. They include brochures, product sheets, lookbooks, web content, white papers, etc. These differ from advertising materials in that they generally are used once the customer has engaged with a brand. Cruise collection  An inter-season, readyto-wear collection that is produced in between the two mainline seasonal collections produced each year. Demographic  The statistical characteristics of a population, which can include gender, race, age, location, etc. Diffusion labels/collections  Secondary line or collection from a designer, that is generally available at lower prices than the mainline collection. Influencer  An individual who has established influence through knowledge, skills, exposure or expertise, with an audience. The relationship is often then utilized to impact purchase and brand decisions with the audience.

Live streaming  Live events (such as catwalk shows) uploaded and shared online for consumers to view. Lookbook  A collection of photographs or images to show the latest range of garments including details available from a fashion designer. Mainline offerings/collections  A designer’s main range of designs, or signature collection, that identifies what the brand stands for and is primarily recognized for. Pay-per-click advertising  Online advertising that is only paid for once a potential customer clicks on the advertised link. Point of sale (POS)  The point at which purchasing occurs, for example in retail stores. The term also refers to the promotional displays and materials used to encourage consumers to buy at point of purchase. QR codes (quick response codes)  Barcodes that can be scanned using smartphones to directly link to online information. Unique selling point (USP)  Something unique or different from a competitor offering, that sets a brand or product apart. Virtual Reality (VR)  Computer-generated environments that simulate the ‘real world,’ or imaginary ones, for interaction and access to visual experiences.

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Picture credits

Cover: ‘Pink Milk’ for Lutra Magazine Ruby wears Amy Thomson Dress Photographed in Sarah Robert’s ‘Clod Di’ exhibition, Cardiff 2018. Photography, Creative Direction and Styling – Jubbi S Model – Ruby May Dunn Hair & Make up Artist – Heather Card Assistant – Asha Jane Retoucher – Adrian Garneata 0.1 Model: Olivia Williams. Creative Director: Annabel Ross. Photographer/Artistic Director: Assim Kamuka 0.2 ‘The Teds,’ by Pooja Bahaar Shah 1.1 Photo by Lintao Zhang/Staff/Getty Images 1.2 Michelle McGrath, model Kara Campbell 1.3a-b courtesy of Topshop 1.4 courtesy of ASOS 1.5 Photo by David M. Benett/Contributor/ Getty Images Europe

2.9 Photo by Victor VIRGILE/Gamma-Rapho via Getty Images 2.10 Photo by Francois Durand/Getty Images 2.13 Images supplied courtesy of Mary Kay Cosmetics (UK) Ltd; ©Chris Francis Photography, www.ffotos.co.uk 2.14 and 2.15 Julia Kasper, photography by Shelley Jones, www.milkandblue.com, model Lotte Goedhart 2.16 Elly Snow 3.1 Photo by Amy Sussman/Getty Images 3.2 Photo by Pascal Le Segretain/Getty Images 3.3 Courtesy of Liberty London 3.4 Photo by Cristina Pedreira Perez/Getty Images 3.5 Photo by Kirstin Sinclair/Getty Images 3.6 Photo by Sally Nguyen. Model Hibo. Creative Direction and Styling by Asma, Editor Al-Naaem 3.7 GRAZIA UK

1.6 Vogue iPad app Dec 2010, Condé Nast

3.8 www.businessoffashion.com

1.7 Photo Thomas Barwick

3.9 @deanmartindale

1.8 Moises Quesada

3.10 @mikepalmerphoto

1.9 Photo by Claudio Lavenia/Getty Images

3.11 Photo by Holly Patterson, Raghouse Studio, Cardiff

1.10a-b Hall Ohara, photography by Kei Ohnaka/Takahito Sasaki, changefashion.net 1.11 www.farfetch.com

3.12 Photo by Holly Patterson, Raghouse Studio, Cardiff

2.1, 2.11, 2.12, 4.9 and 6.13 Benetton Group, www.benettongroup.com

3.13 Photo by Holly Patterson, Raghouse Studio, Cardiff

2.2 Photo by Claudio Lavenia/Getty Images

3.14 Photo by JOSEPH PREZIOSO/AFP via Getty Images

2.3 Photo by David M. Benett/Dave Benett/ Getty Images for Levi’s ® Made & Crafted ®

4.1, 4.12 and 4.13 © Poppy Roberts

2.4 Photo by Peter White/Getty Images

4.2 and 4.3 ©AJIMAGERY

2.5 Photo by David M. Benett/Dave Benett/ Getty Images

4.3 Shelley Jones, www.milkandblue.com

2.7 Photo by Daniele Venturelli/Getty Images

4.4 Michelle McGrath; photography by Nick Webster; stylist Kristina Ritchie; model Nicola Sargent

2.8 Photo by David M. Benett/Dave Benett/ Getty Images for Bicester Village

4.6 www.jpaullmelegari.co.uk

2.6 Courtesy of River Island

4.5 Image by Jason Chapman

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PICTURE CREDITS

4.7 Michael Sibley 4.8 and 4.16 © www.adelepage.com 4.10 www.fabianweber.com 4.11 courtesy of Henry Holland 4.14 Ruby wears Amy Thomson Dress. Photographed in Sarah Robert’s ‘Clod Di’ exhibition, Cardiff 2018. Photography, Creative Direction and Styling, Jubbi S. Model, Ruby May Dunn. Hair & Make up Artist, Heather Card. Assistant, Asha Jane. Re-toucher, Adrian Garneata 4.15 Photographer: Marion Midnight, Model: Justina Law, Hair and Make-up: Erin Grace Wheatland 5.1 Photo by Lintao Zhang/Getty Images for The Business of Fashion

5.11 @MsCastroRides. Skirt and bra top @pomeline_anarodriguez 5.12 Callie Thorpe 5.13 Photo Brandon Harrington 5.14 Callie Thorpe 5.15 Photo Julianny Casado 6.1 Gilbert Carrasquillo/Contributor/Getty Images 6.2 courtesy of Swarovski; photographer Mitchel Sams; model Ocean Moon 6.3 Photo by Presley Ann/Getty Images for Fashion Nova 6.4 Photo by Vivien Killilea/Getty Images for H&M 6.7 Photo by Karwai Tang/Getty Images

5.2 Photographer: Kiyoshi Ota/Bloomberg via Getty Images

6.6–6.8 Emma Jones and . . .,staat

5.3 Jason Mendez/Stringer/Getty Images

6.10–6.12 Photography – Yumi Morrissey

5.4 © VFW Management Inc.

Conclusion Photo by MARTIN BUREAU/AFP via Getty Images

5.5 Photo by Kirstin Sinclair/Getty Images 5.6 www.bryanboy.com 5.7 Photo by Christian Vierig/Getty Images 5.8 Photo by Mauricio Santana/Getty Images 5.9 Photo by Richard Baker/In Pictures via Getty Images Images

6.9 Photography – Sarah Hill

All reasonable attempts have been made to trace, clear and credit the copyright holders of the images reproduced in this book. However, if any credits have been inadvertently omitted, the publisher will endeavour to incorporate amendments in future editions.

5.10 @MsCastroRides. Photographer @_izy_vision

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Useful websites

www.britishfashioncouncil.com

www.prnewswire.com

www.businessoffashion.com

www.promostyl.com

http://carbonmade.com

www.responsesource.com

www.colourforecasting.com

http://showstudio.com

www.edelkoortinc.com

www.sourcewire.com

www.euromonitor.com

www.stylus.com

www.fashionmonitor.com

www.trendstop.com

www.mediadisk.co.uk

www.tumblr.com

peclersparis.com

www.viewbook.com

http://pinterest.com

www.wgsn.com

www.pixpa.com

http://wordpress.org

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Contributor websites/contacts

www.adelepage.com/blog

www.jubbi.co.uk

http://ajimagery.4format.com

http://juliakasperdesign.carbonmade.com

@alnaaemag on Instagram

www.marykay.com

@annabel.rosss on Instagram

http://michellevictoriamcgrath.com

@_asmaiiii on Instagram

http://milkandblue.com

@bryanboycom on Instagram

www.moisesquesada.blogspot.co.uk

www.calliethorpe.com

www.msibley.com

www.canoeinc.com

www.nickwebster.com

www.emmajones.net

http://poojashahstyling.carbonmade.com

http://esnow.carbonmade.com

www.spectrumcollections.com

www.fabianweber.com

http://vanfashionweek.com

www.farfetch.com

www.zilpahtart.com.au

www.fashionspace.world www.ffotos.co.uk www.houseofholland.co.uk www.in-process.org www.jpaullmelegari.co.uk @jubbi.s on Instagram

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Acknowledgements

With special thanks I’d like to dedicate this book to my lovely mum and my inspiring dad, who were great parents, brilliant people and keen writers and lovers of books and learning! I’d also like to thank my husband Craig, my daughter Georgia and my son Casey for all their support and patience whilst I was writing this book and sourcing images. I’d like to thank all of the kind and inspiring people who have contributed their time, images and thoughts to this book, through interviews, case studies, quotes, images and advice. All of these people are busy, committed and dedicated contributors to the fashion industry and I genuinely appreciate the time they have given me.

I would also like to thank AVA for giving me the opportunity to put into words what I have been carrying around in my head for years. Special thanks to Leonie Taylor for her picture research, Renee Last for getting me started, and to Jacqui Sayers for her unending patience and support throughout the writing and image sourcing process. I would also like to thank the Bloomsbury Visual Arts team including Faith Marsland and Belinda Campbell for their editorial guidance. A special thanks to Georgia Kennedy for being a constant supporter from the first edition of this book through to the second edition, I am very grateful. The publisher would like to thank Virginia Grose and Gemma Moran for their comments on the manuscript.

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Index

Page numbers in italics refer to illustration captions. A Abloh, Virgil 132 Ackie, Naomi 57 advertising 40–1, 147 banner 40 information data 63 agency costs 58 Alexander McQueen (brand) 136 Al Naeem 64 Amazon 119 Amed, Imran (blogger) 67 Amelia’s Magazine 18 animal products 38 Anthropologie 41 Arscott, Alyyson 83 Artificial Intelligence (AI) technology 120 Ash, Mary Kay 46–7 ASOS 6, 6, 14, 116, 119 Atrium 21 augmented reality 120 B backstage 45 Banko, Gitta 118 banner advertising 40 Barbier, Georges 89 BB Bag 29 Beaton, Cecil 82 Been Trill 132 Beijing Fashion Week 1 Benetton 32, 43, 93, 148 blogger 12, 16, 22, 29, 30, 60, 124 blogs 16, 29, 30, 31, 52, 63, 76, 117, 118, 125, 129 boutiques 20, 21 brand(s) 13, 14, 16, 23, 27–9, 32 assets 37 development 32–9 equity 115 ethos 51 high-street 4, 13, 41 identity 53 personality 37 visual identity 37

brand building 2–7 media relations 62–5 online-only 119 British Fashion Council designer pop-up store 42 brochures 10, 11, 95, 146 Brody, Neville 90 Bryan Boy (blogger) 16, 29, 117, 119 B Store 20 Bubble, Susie (blogger) 16 Burberry 9, 13, 29, 132 Business of Fashion, The 107 buyers 44, 45, 56, 58, 59 C campaigns 7, 16, 28, 29, 32, 39–41, 70, 72, 90, 93 Canoe 70–1 carbon footprints 38 Cardi B 135 careers 56, 89 Castro, Lupe 122–3 catwalk shows 11, 40, 44, 44, 92, 108, 110, 111 celebrity endorsement 131, 134–8 Chanel 4, 55, 118 China 1, 13 citizen journalism 55 Clancy, Abbey 42 collaboration 4, 14, 29, 131–48 colour prediction 27 communication 2, 4, 7, 8, 20, 58–60, 68–70, 84, 97, 109, 110, 119, 139, 146, 151 digital 7, 8, 10, 107, 109, 115, 146 community building 112 competition 4, 7, 35, 62 consumers 1, 2, 4, 7, 12–16, 25–9, 35, 39, 41, 47, 55, 76, 81, 94, 107, 110, 112, 113, 115, 119, 120, 134, 138, 151 behaviour 27–9 engagement 15, 92, 120 market research questions 28

creating content 66–9 Creative Recreation 18 D Dazed & Confused 18 Demarchelier, Patrick 82 Dias, Ligia 133 Diesel 32 diffusion labels 13 digital clothing 91 digital communication 7, 8, 10, 107, 109, 115, 146 future 119–20 digital design visuals 95–7 digital fashion 107–29 digital technologies 108 digital video 92–4 Dior 120 Dufy, Raoul 89 E e-commerce 14, 18, 20–2, 122 websites 20 Elle (magazine) 102 Ellery, Kym 132 Elliott, Current 118 emerging market 21 environmental impact 38, 39 Erickson, Carl (Eric) 89 ethics 38, 148 Euromonitor International 28 F Face, The 90 Facebook 94, 96, 112, 146, 147 farfetch.com 20–2 fashion brands 120 calendar 27 consumer 14 digital 107–29 forecasting 26–7 illustration 89–91 fashion industry 7–8, 13, 20, 25, 45, 59, 81, 107, 109, 138, 148, 151, 162 Fashion Monitor 63 Fashion Nova 135 fashion photography 82–7

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Index

fashion PR 56–61 fashion weeks 10 Beijing 1 Japan 18 London 18, 60, 115 New York 44, 45, 109, 131, 136 Sao Paulo 118 Vancouver 111 feedback 7, 12, 14, 16, 27, 28, 32, 37, 40, 46, 78, 84, 109, 110, 151 Fendi 30 Ferragni, Chiara 30 film 84, 92–4 forecasting 27 fur 39 future digital communication 119–20 future sharing 138 G Garcia Marquez Gauche 18 Gaultier, Jean Paul 136 General Data Protection Regulations (GDPR) 110 Glamour (magazine) 102 global fashion 23 Glossier 109 Google Adwords 40 Goot, Josh 132 Gorman, Lisa 132 graphics. see illustration Grazia 61 Grey-Yambao, Bryan. see Bryan Boy (blogger) Gruau, René 89 Gut, Ida 94 H hair and make-up artists 52, 84 Hall Ohara 18–19 Hall, Steven 18–19 Harper’s Bazaar 82 Harrel, Freddie 31 Haute Couture Fall Winter 2018/2019 61 high-street 4 brands 4, 13, 41 H&M 4, 118, 135 Holland, Henry 96 House of Holland 96

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I i-D 90 illustration 88–91 influencer endorsement 134–8 influencers sharing 115 In-Process by Hall Ohara 18 Instagram (software) 96, 112, 116, 126, 128, 136, 146 Instagram TV (IGTV) 92, 94 in-store shopping 15 International Colour Authority (ICA) 27 interstitial advertising 40 iPad apps 141 Iribe, Paul 89 J Japan Fashion Week 18 Johnson, Ali 83 Jones, Emma 139–42 Jones, Shelley 85 journalists 26, 62, 65, 68–70, 78, 146 J Paull Melegari 88 Jubbi S 100–3 Julien Macdonald (brand) 32 K Kalivas, Tina 132 Kasper, Julia 48–52, 49 Katie Eary (brand) 48 ‘KIM’ 90 Knight, Nick 82, 90, 92 L Lanvin 132 Lauren, Ralph 4, 132 Le Gazette du Bon Ton (magazine) 89 Lepape, Georges 89 Levi’s 41, 139 Liberty London 59 LinkedIn 96 live streaming 108 logos 2, 2 London Fashion Week 18, 60, 115 Long Way Home Foundation 78 lookbook 10 Lucas, Alexis 78

159

Lutra (magazine) 101 luxury brands 4, 7, 13, 29, 41, 110, 116 Lynn Arts 78 M Madonna 136 magazine-style brand sites 116 Magritte, René 89 make-up artists 84 Marc Jacobs (brand) 29, 109 marketing 25–54 materials 10 multi-channel 40–7 market research 2, 7, 27–9, 112 Mary Kay Cosmetics 46–7 mass markets 4, 7, 12, 14, 27, 119 materials 1, 2, 10, 38, 39, 41, 62, 78, 132 McGrath, Michelle Victoria 2, 87 media. see press Melegari, Carl 88 Melegari, Jacqui Paull 88 micro-blogging 16, 95 mobile payment technology 120 Morrissey, Yumi 143–7 Moss, Kate 115 multi-channel marketing 40–7 MVM 2 N Nagel, Patrick 90 net-a-porter 119 Neves, José 20–1 newswire distribution 65 New York Fashion Week 44, 45, 109, 131, 136 Nylon Japan 18 O offers 116 online-only 119 retailers 4, 14, 20, 36, 41, 120 sales channels 14 Ohara, Yurika 18–19 online advertising 40, 41 online survey tools 28 P Page, Adele 91, 104

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Index

Paris 35, 57, 61, 118 Paull, Jacqui 88 pay-per-click advertising 40 PETA 39 photographers 52, 82–4, 87, 145 photography. see fashion photography Pinterest (software) 95 Playlife (Benetton Group) 24, 25 pop-up shops 41, 42, 46, 47 PR 56–61, 63, 66, 68–70, 72, 74, 77 careers 56 creating content 66–9 PR agencies 10, 56, 58, 77, 134 press 46, 56, 59, 63, 65, 66, 68, 73, 76–8 days 59, 59 packs 10, 59 releases 66, 68, 76, 78 product development 7 profiling 28 Promostyl 27 promotional campaigns 7 public relations. see PR Pycroft, Hannah 75 Pycroft, Sophie 75 Pyrex Vision 132

SHOWstudio (website) 18, 92 Sibley, Michael 90 SIX 20 Snapchat 94, 96 Snow, Elly 53 social media 4, 8, 11, 14, 23, 28, 29, 41, 58, 68, 69, 76, 94–6, 96, 108, 109, 112–13, 116, 146 Stella McCartney (brand) 38, 39 stores 4, 5, 15 British Fashion Council designer pop-up 42 B Store 20 in-store shopping 15 online-only 119 virtual 41 street style 12, 29, 60, 118, 119 blogs 118 Styled fashion image 82, 83 Style Insider (River Island) 36, 60 style matching 132 Stylife.co.jp (online store) 18 styling 84, 100, 122 Survey Monkey (software) 28 sustainability 38, 128 Swarovski 133 SWEAR 20 SWOT analysis 35, 37, 53

Q QR codes 120 Quesada, Moises 16

T Takahashi, Lala 57 target audience 37 target lists 65 Tatler (magazine) 102 Thorpe, Callie 124–8 Tik Tok 92, 94, 96 Tirtoff, Romain de (Erté) 89 Tom Ford (brand) 2, 68 Topshop 4, 5, 6 trend analysis 26–7 trend forecasting organizations 26, 27 Trendstop (trend analysis company) 26, 27 Twitter 73, 77, 96, 112

R Rankin 82 rebranding 18 ResponseSource 63 Rick Owens (brand) 132 River Island 36, 60 Roberts, Poppy 81, 98–9 Rose, Georgia 100–3 S Sao Paulo Fashion Week 118 search engine optimization (SEO) 65, 95 sharing 12 information 12, 115, 138 shops. see stores

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United Colors of Benetton. see Benetton USP. see unique selling point V Vancouver Fashion Week 111 Versace 4 video. see film Vimeo (website) 94 virtual clothing 91, 120 virtual stores 41 visual identity 2, 4, 37, 87 Vivienne Westwood (brand) 32, 32, 35, 68, 132 vlogging 16 Vogue 10, 16, 82, 102 W Walker, Tim 82 Watson, Lachlan 57 Weber, Fabian 94 websites 11, 12, 14, 18, 20, 41, 64, 68, 69, 94–7, 116 content 97 design 95 magazine-style 116 social media 112 Westwood, Vivienne. see Vivienne Westwood (brand) WGSN (trend analysis company) 27 White, Gareth 70–1 Wordpress 95 working conditions 38, 39 Y young designers 50, 78 Young, Tiffany 135 YouTube 11, 12, 94, 116, 136 Yves Saint Laurent (brand) 2 Z Zilpah Tart 143

U UK fashion industry report 7 unique selling point (USP) 7, 78

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