Fashion Brands: Branding Style from Armani to Zara
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Once a luxury that only the elite could afford, fashion is now accessible to all. Brands such as Zara and H&M have put fashion within the reach of anyone, while massive media attention has turned designers such as Tom Ford and Stella McCartney into brands in their own right.
This third edition of the international best seller Fashion Brands explores the popularization of fashion and explains how marketers and branding experts have turned clothes and accessories into objects of desire. Full of first-hand interviews with key players, it analyzes every aspect of fashion from a marketing perspective. With its finger firmly on the fashion pulse, it also looks at the impact of blogging and the rise of celebrity-endorsed products and fashion ranges.
Snappy and journalistic, Fashion Brands exposes how the use of advertising, store design and the media has altered our fashion "sense" and reveals how a mere piece of clothing can be transformed into something with mystical allure.
linen and denim, next season velvet and corduroy. But if the secret meeting suggested above does not actually take place, how do they know to stock similar stuff at exactly the same time? The style bureau Sitting in front of me is a man in a sky-blue v-neck sweater. He is casually yet stylishly dressed. And he runs one of a handful of companies that, ultimately, have a significant impact on what we wear. Pierre-François Le Louët is chief executive officer of Nelly Rodi, a ‘style bureau’
hired you – but in my experience they like to be surprised. This means that the photographer has an enormous influence on the branding process.’ Peters began taking pictures on a trip to Thailand in the 1980s, with the results being published in a travel magazine. In 1989 he moved to New York, where he got a job as an assistant photographer. Soon he branched out on his own, moving into fashion photography. After a while, though, he developed an ambition to become an artistic photographer, and
models on the cover of fashion magazines. Interviewed by Time magazine’s Style & Design special edition (September 2003), Grace Coddington, the creative director of US Vogue, hinted that this might be a bone of contention: ‘There are no models on covers any more. They’re all actors because they’re what sells. An actor often dictates what you’re going to get. I find that annoying. And I’m incredibly shy, so they scare the pants off me. But I feel perfectly comfortable with the models. They’re like
Lazareff, the founder of Elle, was fundamental to Gabrielle Chanel’s comeback in 1954, when the designer was severely out of favour – having ill-advisedly spent the Occupation shacked up in the Ritz with a German officer. Today, fashion fans continue to base buying decisions on what they see in the glossies. April Glassborow at Harvey Nichols says, ‘Vogue is still very influential – the photography remains beautiful. I think readers make the separation between the editorial and the advertising;
Steven Meisel, Nick Knight et al. Most fashion videos studiously avoid anything resembling a story arc. They are fragile and diaphanous. But they can be injected into a magazine app almost as easily as a conventional print ad. Talking of Nick Knight, he’s done more than most to revolutionize online fashion. His genre-bending SHOWstudio launched in November 2000 as an online space enabling creatives to present interactive and mixed-media work. It developed into ‘the home of fashion film’, an