José Teunissen, Hanka Van Der Voet & Jan Brand
Teunissen, J., Voet, H., Brand, J. (2013). Couture graphique. Houten: Terra.
- Tamsin Blanchard
- The label has become its own form of currency
- It is the markers mark; the reason the garment was sold in the first place
- A simple label can mean the difference between a plain, white T shirt selling for £5.99 or £59.99
- Increasingly, fashion brands rely on packaging & presentation rather than the product itself
- The graphic designer has taken on a status and power within the fashion industry that was unheard of in the early 80s
- Fashion companies have become mini publishing empires, often employing their own graphic design teams
- Lookbooks, catalogues, magazines, adverts etc
- Peter Saville - pioneer in fashion graphics - Case Study?
- An architect might be attracted to a shirt by Comme de Garçon because of the message it is communicating
- Whereas a businessman might be attracted to a shirt from Hugo Boss because the logo speaks to him; it is a confident, direct and has a clear corporate message
- Similar shirts... totally different customers
Unknown Pleasures
by Joy Division
Peter Saville
In some cases, the graphic designer or art director is also the fashion designer
- Georgio Armani - Case Study?
- He is both art director and fashion director
- "A designer label is his or her business card"
- " It not only reflects the spirit and integrity of each collection; it also expresses the philosophy and character of the line to the customer. The final product is the most important part of the package, but a label and logo secures a recognisable identity. The graphic identity is a natural extension to what my products are trying to express or reflect"
- In many cases, the graphic designer takes on a role as important, if not more, than the fashion designer themselves.
- Fabien Baron - Creative Director of Burberry - Case Study?
- Closely involved in many aspects of the British brand's relaunch at the end of the 90s
- Working alongside managing director Rose Marie Bravo, he signalled the new direction of the brand by not only modernising the logo but by creating an advertising campaign before there was any new products to advertise
- Worked with photographer Mario Testino
- Turning Burberry from a purveyor of old-fashioned raincoats to a dynamic, high-fashion, luxury label.
- Walter Van Beirendonck - W< - Case Study?
- Has always incorporated graphics into his fashion, both for his own labels and for the streetwear brand
- With help from Paul Boudens, a graphic designer who has worked with many of the new wave of Belgian designers
- Sees graphic design and fashion as so inseperable as to include graphics as part of the fashion degree for students at the prestigious Antwerp Academy of Fine Arts
W<
Wild & Lethal Trash!
by Walter Van Beirendonck
- Stella McCartney - Launched her own label under Gucci umbrella in 2002 - Case Study?
- Worked with multidisciplinary creative agency Wink Media set up in London
- Wink offers a wide range of creative services, including advertising, brand development and corporate identity.
- Stella McCartney was a unique project
- "We were creating a new brand for a very well-known designer, so it was already loaded with values and perceptions, which made it very interesting, but also much more demanding, as the expectations on Stella launching her own label were very high"
- "We would often visit Stella's studio to study the fabrics and the designs so we could get a very clear idea of the collection - and of course the designer behind it"
- For any fashion house, a well-designed, universally recognised logo is the key to commercial success.
- The logo becomes its own currency
- No one has proved this better than Yves Saint Laurent, who has one of the most famous and enduring logos in fashion history
- He was one of the first to turn to a graphics artist for help in translating the abstract idea of a new fashion house into a logo
- He had met A.M. Cassandre through his previous employer, Christian Dior, and he approached him in the late 50s to create his logo
- It is said to have taken just a few minutes
- Even someone who has never owned an item of their clothing could draw out the logo from memory
- Alice Rawsthorn - "It is exquisitely drawn in an instantly recognisable but distinctive style"
"Also, its central characteristics fuse perfectly with those of the brand and it has been reproduced more or less consistently over the years. Those are the generic characteristics of any classic logo and the YSL symbol encapsulates them perfectly."
- Fabien Baron - "I would not have changed [the logo] either. Cassandre was one of the best graphic designers in the world. He was an artist. That logo can stay forever. It's beautiful. It's the lettering, the intricacy of the logo, the way the letters are stacked up. It's very elegant and very French with a sense of history. It would be like going to Egypt and changing the pyramids"
- It was in the 80s, however, that fashion houses began to graphic design seriously. Yohji Yamamoto's creative director, Marc Ascoli, was persuaded into hiring Peter Saville by Nick Knight, a photographer who had come to his attention after a series of one hundred portaits of the 80s for i-D magazine
- Michael Amzalag and Mathias Augustyniak - M/M (Paris)
- Their way of making people notice the brand was to take the Calvin Klein logo and rip it up and start again
- They re-drew it, as a school kid might make a doodle. They felt the CK brand had become schizophrenic and needed to have a single stamp to bring it all back together.
- At their best, graphic designers have brought to the fashion industry another set of eyes, a fresh perspective and an uncompromising vision
- At worst, they are simply another marketing tool, a way for the designer to create a visual peg on which to hang the sales of perfumes, face creams, scarves and T shirts.
- Towards the late 80s, along with the recession, it looked as though there was nowhere else to go for graphic design within the fashion industry, it just seemed pointless
- However, it had already had a knock-on effect as a new generation of graphic designers had been studiously collecting those Yamamoto catalogues, as well as Six
- Six - the groundbreaking magazine published by Comme de Garçon which was one of the most defining moments of the fusion between fashion and graphics
- Peter Saville - " I looked at the scene in the mid-nineties and fashion had really embraced graphics"
- BUT perhaps it has gone too far.
- The design has overtaken the content
- Although it is what he wished for, Saville confesses that he didn't really want it to turn out like this...
- "Design is the new advertising. It's the insidious influence. It was better when it was a form of rebellion, when you had to fight with business. Now it's the other way around, It's entirely superficial"
Revisiting Previous
Dissertation Examples
For inspiration, I visited the library where I had access to last years dissertations. I had a look through them to see whether anybody had answered a similar question or topic that I intend to explore.
The two relevant questions that I found were 'To what extent does branding determine the success of a clothing company' and 'The relationship between graphic design and fashion, the concept of 'Lifestyle' and their connection to it'
I had a read through the introductions and contents page of each essay to get an understanding of structure as well as content.
Stella McCartney
Advertisement
by Mert & Marcus,
Ryan McGinley
- For any fashion house, a well-designed, universally recognised logo is the key to commercial success.
- The logo becomes its own currency
- No one has proved this better than Yves Saint Laurent, who has one of the most famous and enduring logos in fashion history
- He was one of the first to turn to a graphics artist for help in translating the abstract idea of a new fashion house into a logo
- He had met A.M. Cassandre through his previous employer, Christian Dior, and he approached him in the late 50s to create his logo
- It is said to have taken just a few minutes
- Even someone who has never owned an item of their clothing could draw out the logo from memory
- Alice Rawsthorn - "It is exquisitely drawn in an instantly recognisable but distinctive style"
"Also, its central characteristics fuse perfectly with those of the brand and it has been reproduced more or less consistently over the years. Those are the generic characteristics of any classic logo and the YSL symbol encapsulates them perfectly."
- Fabien Baron - "I would not have changed [the logo] either. Cassandre was one of the best graphic designers in the world. He was an artist. That logo can stay forever. It's beautiful. It's the lettering, the intricacy of the logo, the way the letters are stacked up. It's very elegant and very French with a sense of history. It would be like going to Egypt and changing the pyramids"
- It was in the 80s, however, that fashion houses began to graphic design seriously. Yohji Yamamoto's creative director, Marc Ascoli, was persuaded into hiring Peter Saville by Nick Knight, a photographer who had come to his attention after a series of one hundred portaits of the 80s for i-D magazine
- Michael Amzalag and Mathias Augustyniak - M/M (Paris)
- Their way of making people notice the brand was to take the Calvin Klein logo and rip it up and start again
- They re-drew it, as a school kid might make a doodle. They felt the CK brand had become schizophrenic and needed to have a single stamp to bring it all back together.
- At their best, graphic designers have brought to the fashion industry another set of eyes, a fresh perspective and an uncompromising vision
- At worst, they are simply another marketing tool, a way for the designer to create a visual peg on which to hang the sales of perfumes, face creams, scarves and T shirts.
- Towards the late 80s, along with the recession, it looked as though there was nowhere else to go for graphic design within the fashion industry, it just seemed pointless
- However, it had already had a knock-on effect as a new generation of graphic designers had been studiously collecting those Yamamoto catalogues, as well as Six
- Six - the groundbreaking magazine published by Comme de Garçon which was one of the most defining moments of the fusion between fashion and graphics
Six
Groundbreaking magazine
Comme de Garçon
- Peter Saville - " I looked at the scene in the mid-nineties and fashion had really embraced graphics"
- BUT perhaps it has gone too far.
- The design has overtaken the content
- Although it is what he wished for, Saville confesses that he didn't really want it to turn out like this...
- "Design is the new advertising. It's the insidious influence. It was better when it was a form of rebellion, when you had to fight with business. Now it's the other way around, It's entirely superficial"
Revisiting Previous
Dissertation Examples
For inspiration, I visited the library where I had access to last years dissertations. I had a look through them to see whether anybody had answered a similar question or topic that I intend to explore.
The two relevant questions that I found were 'To what extent does branding determine the success of a clothing company' and 'The relationship between graphic design and fashion, the concept of 'Lifestyle' and their connection to it'
I had a read through the introductions and contents page of each essay to get an understanding of structure as well as content.
No comments:
Post a Comment