Market research, ideas of other designer that might be taken much further in its focus. Key points: artistic collaborations, followers engagement.
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Claire Keane
Keni
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@yolokei-blog
Market research, ideas of other designer that might be taken much further in its focus. Key points: artistic collaborations, followers engagement.
Photosmagorical Fashion Rusalka is a label from Budapest with one of a kind garment and accessories. We don’t only love the direction of the styling, we also love the concept. In this shoot, the artists focus on conveying a feeling and a mood, which clearly comes across as we scroll through the beautiful set of phantasmagorical images. (Trend Land, 2015) It's important for me to have a look at contemporary take of fashion photography. Gather practitioners who somehow have stepped away from the traditional approach of fashion editorial. In the particular example I'm interested in how the terms model and background are united into one balanced composition.
Top Tips for Startups: Retail Dreaming of starting your own retail brand? Here’s some tips from co-creator and director of Nique, Nick Ennis.
“I literally walked out on my job at an advertising agency and never looked back,” says Nick Ennis. “That was when Lucy and I were in our early twenties, and we’re now both nearly 40. Nique has been our life for the past 18 years.” In 1998, Nick Ennis and his now-wife Lucy dared to drop their current jobs and start a creative agency that placed them in an industry they were passionate about – music. Nique took its first breath as a design studio in Melbourne; its niche was graphics and marketing material (flyers, street art, animated emails etc.) for electronic touring acts. However, not long after its beginning, the focus of the brand shifted. “[The fashion] started as a side project. We wanted to contribute to the fashion side of the music industry in some way, but before we knew it we had a collection that was flying off the shelves. Nique then morphed into a fashion brand, pretty organically, really,” explains Ennis. After 2003, the graphic-design element of the brand was phased out to focus purely on the clothing side of things. The brand moved into wholesale and was distributed in almost 150 stores across Australia. It then crossed borders to feature in retail markets in New Zealand and Northern Europe, while it commenced its mission to role out stand-alone retail stores within Australia. “We saw the writing on the wall with the shrinking Australian wholesale market, so we took a risk; we established eight stores and it’s the best thing we have ever done. They now earn more than 90 per cent of our revenue,” states Ennis. With Lucy and Nick currently on the brink of rolling out their next Nique chapter in the United States, we asked Nick for the secrets behind their success and some pointers on what it takes to start a fashion label in the current retail environment. 1. Jump in “It’s all about momentum. If you don’t start, you’re never going to go anywhere, obviously, so get into a flow and build up that momentum. Research your market, have confidence in your brand and just give it a good swing.” 2. Find a balance “The hardest thing in fashion retail is balancing creativity and business, especially when you’re a creative person yourself. You have to own two hats and decide which one to wear depending on the weather. It’s a challenge, but it’s really important.” 3. Master multi-channeling “From a store’s aesthetics and website design, to swing tags and carry bags, every point of contact with the customer needs to be right on brand.” 4. Stay true, but evolve “Our four As (authentic, acidic, articulate and accessible) are at our core, always. People want to know you stand for something; they want something to believe in. If you keep changing your mission, you dilute your message, but then, you also need to stay relevant. Again, it’s a balancing act.” “I think what’s got us through is keeping our core principles front of mind. We’re a lifestyle brand for inner-city creative professionals: architects, writers, media personnel, lovers of design and electronic music. But we’re not slaves to runway fashion. Our products are designed to be relevant seasons after they were bought.” 5. Be prepared for a challenge “Remember it’s the rag trade and that in itself is a hurdle. The fashion world is always changing, so there are continual challenges that make work complex and difficult, but that’s why I love it. The past five years have been insane in this field, but there’s a real thrill that comes out of being able to navigate it.”
The Art of Editorial
Popularity and development of editorials has risen over past couple of years. If we look at fashion editorials let’s say 5 years ago (see images break): there were undoubtedly many creative and highly artistic editorials produced, we have an example of those two images (belong to two different designers and shot by two different photographers). But from my research it seams like editorials back then were mostly concentrated on the model. Yes there is a concept and story behind each and every one and suitable background and props but it is still focused on the body, model, performance if you’d like.
Looking at fashion editorials today (2015), photographers/designers/art directors have started to focus on the body within a particular atmosphere, body does not necessary play a centre role in the image anymore, it can be light/colour/texture/pose/props the centre of attention or message. There is a great potential for development of such marketing method. It brings more attention to vision, inspiration routs, design approach which are attractions for contemporary consumer.
Last photo represents textile print and the source of its inspiration together, which is great and fun idea. It such easily and clever represented concept.
Editorials can be not only the way to communicate with consumer but also the way of interaction, which is a contemporary gap in the cultural trend towards Multiplicity.
Innovation intelligence and entrepreneurship in the fashion industry (article notes)
Fatma Genc Unay, Cemal Zehir
This article has been quite related and insightful for my research. Article discusses the place of innovation in contemporary fashion entrepreneurship. When we think of the word innovation, in relation to creative industry, we unconsciously imagine innovation in technologies, methods of production. Although innovation in entrepreneurship is another big topic and not less maybe even more important than production itself. First article views the definition of innovation in entrepreneurship.
Drucker (1985) defines ‘innovation’ as “the specific tool of entrepreneurs, through which they exploit change as an opportunity (which is the source of innovation)for a different business or service”. Another definition comes from Ulijn and Weggeman, “the process by which opportunities identified and exploited”. According to Lowe and Marriott “innovation is a process of creating, experimenting, transforming not only what is offered but the way in which it is offered - “the business model”. It seams like innovation can be hidden and not acknowledged, especially by consumers but it always makes a difference. Another interesting idea from the same part of the article is how talent and creativity is something some of the artists/designers just have, innovation is tend “to be born from of a conscious, purposeful search for opportunities”.
The process of innovation for the fashion entrepreneurs id continuous and infinite. The emphasis is on “the necessity o innovation as a devise of competitiveness”. As Timothy Ferriss once said “One can steal, ideas but no one can steal execution and passion”. Article argues about the fact how industry knows that “new ideas usually must relate to what already exists” ... and it is all about “strategic approach”.
I think this section of the article is very valuable.
“The innovation process comprises five stages: Recognition, invention, development, implementation and diffusion. The first of the three models of innovation is incremental innovation or continuous improvement (kaizen) which is a Japanese-inspired model of innovation. It means “improving existing” goods, processes or services and integrates applied research and production. The second is radical innovation and means the “development of new” goods, processes or services of value that have not existed previously. It is an American big business model in which innovation is concentrated in R&D labs and isolated from production. The third is a new model called ‘open systems’ regional innovation which represents firms, or networked groups of firms, that have demonstrated a regional capability to innovate and rapidly reinvent products. As well as posing new challenges for marketing, discontinuous innovations and, slightly less so, dynamically continuous innovations, cause disruption to the internal operations of an organization.”
Innovation is a key aspect of successful business model and takes time for research and planning. Everyone has ideas but an idea by itself is vulnerable in the world of tactic. Entrepreneurs are agents for innovation, who nourish an idea and prepare a ‘fertile soil’ for it to flourish. At the same time, there will no innovation or entrepreneurship for that matter without creative and passionate individual. Creativity requires sophisticated management(entrepreneurship) techniques and entrepreneurship requires high level of creativity.
MUJI
Start with the company message (see the image), it shows that MUJI value nature, quality, fit and consumers who have their own values.
Product fitness is another very interesting and innovative aspect of MUJI phylosophy:
There is an old Japanese saying that goes "Eat in measure and defy the doctor." It simply means eating moderately or stopping eating before you feel totally stuffed is good for your health; just good old common sense when you think about it. The deeper meaning of the proverb lets us know the key to a healthy life is to eat an adequate or fit amount; and hints that by exercising a little self-restraint, if we reduce our measure from 100% to say 80%, rather than a joyless exercise in excessive self-control, we will create a joyful, balanced and healthy life.
Many people in Japan have taken the Great East Japan Earthquake on 11 March 2011 as a wakeup call. The aftermath of the earthquake only served to underline the awareness of truly appreciating the many wonderful things we take for granted in our daily lives. Increasing concern about our excessive consumption of goods and materials, as well as an over emphasis in the media on encouraging excessive consumption has been growing; the consumer society is in danger of consuming itself, and we now have a responsibility to return such out of control human desire to a more sustainable level.
MUJI has always been dedicated to the pursuit of adequacy, of designing products that are truly fit for their purpose. The Japanese word for craftsmanship is monozukuri, and we have put it at the very heart of our products; MUJI does not aim to make just adequate products, but products imbued with craftsmanship. We have taken a rather minimalist approach, always asking such questions as: "Is this necessary?" or "Is this going too far?" However, following the quake disaster, even MUJI strongly felt the need to renew our determination to pursue monozukuri in harmony with society and the earth, and that is why we decided to organize this exhibition.
We constantly question if we have used excessive materials; whether products are overpackaged, or are their sizes and weights too much; can we reduce waste in the ordering, manufacturing or transportation of products? Less is more.
MUJI constantly exercises self-restraint in the design and manufacture of its products; it can be frustrating reducing an item to its essentials, but with practice it becomes natural and even enjoyable. Just as changing our diet or taking up an exercise program, although sometimes painful at first, helps us become fit and healthy, MUJI hopes that as a world society, we will choose a sustainable path for the greater benefit of our Mother Earth and all her people.
"Product fitness 80" reflects MUJI's willingness to educate ourselves by reviewing our own "adequacy" (fitness) now, and is our message to the world.
While in the store, I took couple of photos of ideas I’m particularly fond of.
The store itself is a manifesto to the innovation:
Packaging (see image #3) is capacious and clear. In the underwear section, for example (see images) there is an illustration of the types of underwear, fits; the samples of underwear are hanging next to it on a clop hangers so customers can have a look and feel of the material and fit; the actual underwear for selling carefully packed into plastic and placed into plastic containers in the size order so its much faster and easier to find what suit you best. I noticed that at first customers get confused but then when they realise the structure they are looked quite surprised in a good way. It seams like such small aspect, packaging, but it is also demonstrate the presentation and innovation in method thinking, which is very valuable in contemporary design.
Another interesting thing is an interaction aspect, in the section of notebooks and diaries, there is a table with different stamps (see the image). After you purchase your diary you can come back there and play with stamps. They are not for sale, can be used only in store, which is a clever way to potentially make customer come back for another notebook and some inks from stamps.
The layout of the store is very smart, clear and it translates the message very well.
Establishing the niche
Based on researched current cultural trends, popularity of visual platforms, multiplicity and escapism, there are three based needs have evolved.
multiple experiences from design
more opportunities to appreciate art; more opportunities to communicate with designer/artist; more opportunities for consumer’s to participate in design background.
more interaction
Over the time fashion photography has established itself as an independent discipline. It is not just photography anymore it is a performance, an interaction with product for aesthetic or marketing purposes.
Fashion bloggers like Sydney fashion blogger, Chloe Chill, Winston and Willow are part of an elite of bloggers that established the new way of fashion photography, such as ‘daily look’, ‘view from the top’, ‘mirror selfie’.
There is also development in editorial photography, designers choose more conceptual ways and treat editorials as an artistic expression of the collection. Jacque Mus use collaging in his editorials; in the editorial ‘touch’ by Opening Ceremony model’s body is used as a still life object.
The tendency of ‘faceless’ fashion photography is becoming more common as well, we can see it in Opening Ceremony editorials ‘color run’ and ‘magrette’. There are many ways that photographers and stylist use in order, to present body as a commodity in fashion photography, an abstraction instead of clarity.
Over past couple of years still life movement has risen among the social media, visual platforms. We see still life in the magazines, on the banners, on the web sites there are even separate categories and archives for still life online.(see screenshots from Trendland.com)
Still life is dated back to nineteen hundreds but contemporary still life has more popularity that ever before. Nowdays still life is a multidisciplinary art, spacial designers, architects, photographers, visual artists everyone can be a still life artist and somehow incorporate it in their practice. Highlights og my research among still life creations were Anny Wang also known as @annyversary, Anny is spatial and furniture designer from Sweden; Visual artists XL and Donson from FAKEDCANDID; Accessories designer Ally Capellino; Innovational technology Bang & Olufsen. All of these practitioners belong to different disciplines but still life bring them together.
An existence of hybrid design space gives an opportunity for more interaction, multidisciplinary and innovation. It seams that still life brings more innovative way to market/showcase product or service.
“Entrepreneurs are the agents of innovation and creative destruction... the essence of strategy is choosing to perform activities differently than rivals do” - Joseph Schumpeter (Innovation intelligence and entrepreneurship in the fashion industry,2012)
In order, to interlace my fashion practice with innovative methods, I have started thinking of the role that still life can play in fashion & textile design. Still-life as a visual resource, method of communication with consumer and marketing tool.
CASE STUDY - CREATIVE LABEL - ALPHA60 From a rose farm in Canberra where they spent their childhood, to being synonymous with Melbourne fashion, complimentary brother-sister duo- Alpha60 designers Alex and Georgie Cleary have come along way since they emerged on Australia's fashion scene. Launching their Melbourne-based label in 2005 alongside a Vivienne Westwood Retrospective at the National Gallery of Australia, the Alpha60 collection has flourished into a unique, inimitable label known for its fresh take on classic styles and cuts, reflecting a 'sophisticated quirk' unique to the brand. Since its inception, Alpha60's achievements and accolades have been many and varied including solo shows at Australian Fashion Week, L'Oreal Melbourne Fashion Festival, two time finalist of The Tiffany and Co Designer Award, showrooms in both Paris and London and collaborations with Sportsgirl, ASOS and Polaroid. Not content to sit and smell the roses, Alpha60 have opened eight Alpha60 boutiques in Melbourne, Sydney and Perth. The addition of shoes and bags to the Alpha60 repertoire has opened doors to shops overseas such as Assembly New York, Need Supply, Condor and Good as Gold. Inspired by change and a rebellion against the status quo, Alex and Georgie are never far from unveiling their next Alpha60 incarnation which will undoubtedly guide their label into full bloom. - Start from even an image of two designers, by the way they look you can tell - unconventional. I have been in APLPHA60 store million times and only recently notices, thousand doll's heads on the selling (see the image of the store) and the creepy portrait on the wall - one word rebellion in its the most smart form. - Store layout and merchandising is not only creative/artistic but also smart: colours to colours, fabric weights to fabric weights; clear display for accessories and shoes. - I'm a big fun of their designs, it's always unconventional, experimental, weird sometimes, very artistic and it always shows a high level of craftsmanship. Use of colour, prints and fabrics is immaculate. - ALPHA60 web site design is quite simple and clear (very different from their garments), as well as use of font, spacing and size. Labels, swing tags and bags have the same look, black with white lettering. - Look books are vary from one drop to another, change of background almost remind us about the mood/ inspiration and the season but it's vey subtle, nothing distracts from the garments.
Concept visuals
zine ideas/mock up /drafting
images: Kate Jacklin, Anny Wang, ALPHA60
Some examples of layouts I'm drawn to for my zine.
CASE STUDY - CREATIVE LABEL - ALPHA60 From a rose farm in Canberra where they spent their childhood, to being synonymous with Melbourne fashion, complimentary brother-sister duo- Alpha60 designers Alex and Georgie Cleary have come along way since they emerged on Australia's fashion scene. Launching their Melbourne-based label in 2005 alongside a Vivienne Westwood Retrospective at the National Gallery of Australia, the Alpha60 collection has flourished into a unique, inimitable label known for its fresh take on classic styles and cuts, reflecting a 'sophisticated quirk' unique to the brand. Since its inception, Alpha60's achievements and accolades have been many and varied including solo shows at Australian Fashion Week, L'Oreal Melbourne Fashion Festival, two time finalist of The Tiffany and Co Designer Award, showrooms in both Paris and London and collaborations with Sportsgirl, ASOS and Polaroid. Not content to sit and smell the roses, Alpha60 have opened eight Alpha60 boutiques in Melbourne, Sydney and Perth. The addition of shoes and bags to the Alpha60 repertoire has opened doors to shops overseas such as Assembly New York, Need Supply, Condor and Good as Gold. Inspired by change and a rebellion against the status quo, Alex and Georgie are never far from unveiling their next Alpha60 incarnation which will undoubtedly guide their label into full bloom. - Start from even an image of two designers, by the way they look you can tell - unconventional. I have been in APLPHA60 store million times and only recently notices, thousand doll's heads on the selling (see the image of the store) and the creepy portrait on the wall - one word rebellion in its the most smart form. - Store layout and merchandising is not only creative/artistic but also smart: colours to colours, fabric weights to fabric weights; clear display for accessories and shoes. - I'm a big fun of their designs, it's always unconventional, experimental, weird sometimes, very artistic and it always shows a high level of craftsmanship. Use of colour, prints and fabrics is immaculate. - ALPHA60 web site design is quite simple and clear (very different from their garments), as well as use of font, spacing and size. Labels, swing tags and bags have the same look, black with white lettering. - Look books are vary from one drop to another, change of background almost remind us about the mood/ inspiration and the season but it's vey subtle, nothing distracts from the garments.
CASE STUDY - CREATIVE PLATFORM - VSCO We all know and love VSCO, it gathers more and more followers and photographers every day. VSCO as a whole has a really good structure: There is VSCO Cam for each one of us who love take photos. It's a free app, which you can install on you phone or planchette and use it to 'beautify' your photos and what ever you want with them ( just don't forget to mention VSCO in your tags ###) Speaking of VSCO Cam, it has developed dramatically over past year, now you can literally edit your photos from top to bottom on your devise, not just add some filters but edit every single aspect of it (they even added grain function ❤️) Then there is VSCO Grid, where everyone who feel confident enough (or not) can publicly post their images for the judgment of others. Grid is very similar to the feed in the Instagram. There is also VSCO Journal where they post highlights of their VSCO Community. There is also VSCO Store where you can purchase VSCO films. What I particularly admire about VSCO is firstly exceptional standards and a big step up comparing to the apps we all know and use. Second, clarity of structure. And third accessibility. And overall I ❤️ VSCO!