Runway Shows and Fashion Films As a Means of Communicating the Design Concept

Home , Fashion, Fashion show, Model (person), Riccardo Tisci

RUNWAY SHOWS AND FASHION FILMS AS A MEANS OF COMMUNICATING THE DESIGN CONCEPT

A thesis submitted to the College of the Arts

of Kent State University in partial fulfillment of the

requirements for the degree of

Master of Arts

Xiaohan Lin

July 2016

Thesis written by

Xiaohan Lin

B.S, Kent State University, 2014

M.A., Kent State University, 2016

Approved by

______Name, Thesis Supervisor

______Name, Thesis Supervisor or Committee Member

______Name, Committee Member

______Dr. Catherine Amoroso Leslie, Graduate Studies Coordinator, The Fashion School

______Dr. Linda Hoeptner Poling, Graduate Studies Coordinator, The School of Art

______Mr. J.R. Campbell, Director, The Fashion School

______Dr. Christine Havice, Director, The School of Art

______Dr. John Crawford-Spinelli, Dean, College of the Arts

REPORT OF THESIS FINAL EXAMINATION

DATE OF EXAM______Student

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If master’s degree candidate elected an option not requiring a thesis, indicate which one and briefly describe work done in lieu of thesis______

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TABLE OF CONTENTS

Page LIST OF FIGURES vi

LIST OF TABLES vii

ACKNOWLEDGMENTS vii

ABSTRACT viii

CHAPTER I. INTRODUCTION 9 II. LITERATURE REVIEW AND HYPOTHESIS DEVELOPMENT Runway Shows 13 Models 15 Stage Setting 16 Media 18 Runway Show Videos 19 Fashion Film 19 Design Concept 20 Future Fashion Professionals 21 Summary 21 Hypotheses 22 III. FRAMEWORK AND MODEL Communication Process Model 23 IV. METHOD Preparation 26 Participants 30 Procedure 31 Data Analysis 33 Hypothesis Testing 34 V. DISCUSSION AND CONCLUSION Discussion 42 Conclusions 43

REFERENCES 47 APPENDIX A. Questionnaire 53

LIST OF FIGURES

Figure Page

1. The Communication Process Model 24

2. Communication Model as Adapted to Runway Show Video and Fashion Film 25

3. Group 1 and Group 2 Survey Process 32

4. Group 3 and Group 4 Survey Process 33

LIST OF TABLES Table Page

1. Expert Opinions of Design Concept 29

2. The Runway Show Was Creative, They Enjoyed Watching and

Were Interested 34

3. Frequencies of Adjective Selection Among Participants Watching

Dolce & Gabbana Fashion Film (102 Participants) 35

4. Frequencies of Adjective Selection Among Participants Watching

Dolce & Gabbana Runway Show (100 Participants) 36

5. Frequencies of Adjective Selection Among Participants Watching

Givenchy Fashion Film (100 Participants) 37

6. Frequencies of Adjective Selection Among Participants Watching

Givenchy Runway Show (102 Participants) 38

7. Percentage of Participants Whose Perceptions of the Design

Concept Were Congruent with Experts’ Perceptions 39

8. Paired Sample t-tests for Differences Between Means 40

vii

ACKNOWLEDGMENTS

I want to thank my family for being wonderful. My parents have always stood by me through all of the difficult days and nights. I want to thank the faculty in the Fashion

School especially Dr. Leslie, and Dr. Gargi who had a super positive influence during my life at Kent State University. I would like to thank my committee member Professor Luke

Amour, who is knowledgeable and professional. I would like to express the deepest appreciation to my advisor Dr. Nancy Stanforth who has patient and always helps me to improve my thesis line by line.

viii

Abstract

As diverse media technology develops faster and faster, choosing the best media to show artistic expression directly influences the audience understanding of the design concept. The purpose of this study is to investigate which media assists viewers to understand and manage the information from runway show videos and fashion films differently. In this study, Dolce & Gabbana and Givenchy runway shows and fashion films were shown to participants. The results indicate that there are significant differences in perception of design concepts, intrinsic elements, and extrinsic elements between runway shows and fashion films. Also, the study investigated the congruence in perceptions between participants and fashion experts. This study is especially timely given the rapid growth of electronic fashion communication, and provides detailed information to fashion designers and runway show/fashion film producers in order to create more for effective methods to deliver design concepts to audience.

Chapter I

Introduction

Ariel Emanuel, chief of WME/IMG said, “When we look at the world, we see fashion” (Vanessa, 2015，p. 7). Runway shows offer a form of expression through which to showcase the latest styles during fashion weeks each season in New York City, Milan,

Paris, and London, the top fashion cities for fashion events. Guide To Producing a

Fashion Show, the concept of the runway show is defined as an event that intends to provide the newest ideas in fashion trends, color trends, and the latest styles in apparel and accessories by showcasing specific items on live models in front of an audience

(Everett & Swanson, 2013). Therefore, runway shows are both communicated to the audience and a tool for helping designers to show their design concepts.

Majima (2008) provides a possible reason why companies and designers choose runway shows to display their ideas, which is “the fundamental role of runway shows and fairs as venues where capital-poor designers (the seller) and capital-rich mass producers/marketers (the buyer) form a reciprocal relationship” (p. 2). The most important reason to hold a runway show is to sell merchandise (Everett & Swanson,

2013).

In the contemporary fashion industry runway show videos are among the most useful methods designers have to present their design concepts to an audience. Designers started recording runway shows in mass numbers in 2000, with such videos appearing on specific television or YouTube channels (Everett & Swanson, 2013). In order to gain

attention and create memorable brands, designers for major brands such as Chanel,

Givenchy, and Alexander Wang began posting their runway show videos on YouTube.

Since Givenchy published its runway show video on YouTube March 8, 2015, the video has generated 103,669 views. Therefore, there is a much wider audience for runway show videos than the live runway shows could ever accommodate. These videos are serving as a means for the introduction of fashion items.

The success of runway videos and growth of accessibility to online content has led fashion on designers to explore other media. One of the newest ways to present a design concept is via a fashion film. In 2010, some luxury fashion brands such as Chanel,

Givenchy and Alexander Wang, started creating fashion films to communicate with their audiences (Min, Koo & DeLong, 2015). Such companies hire a fashion director to produce a dramatized fashion film, expecting this person not only to sell merchandise, but also to present the design concept to a wider audience (Guerin, 2005). Fashion campaigns on film (referred to as fashion films) are cinematic productions that blend

“fashion industry, entertainment and art practice” (Uhlirova, 2013, p. 137).

Different methods to deliver information to an audience (runway show videos and fashion films) may have different effects on the receivers of messages (Craig, 1999). A few articles discuss runway show production (Everett & Swanson, 2013), and only one article (Min, Koo, and Delong, 2014) has been found that investigates the differences between runway show videos and fashion films.

Min, Koo, and Delong (2014) explored differences in information management

between runway show videos and fashion films, focusing on the specific case of Chanel.

They revealed that a runway show video is easier for consumers to understand and remember than a fashion film. Currently, no research has explored whether runway show videos or fashion films better communicate design concepts. This paper focuses on how runway show videos and fashion films have different impacts on the audience, specifically on future fashion professionals, such as fashion students, who will be responsible for the promotion marketing and purchasing of fashion products in the industry.

This study is especially timely given the rapid growth of electronic fashion communication through platforms such as YouTube and Instagram. Where fashion designers used to produce live shows for a select few industry insiders who then disseminated the information and products, today’s fashion industry is characterized by rapid communication in real-time. Industry professionals and consumers can see fashion clothing and accessories online as soon as they are revealed in person. This is leading to a disruptive situation within the industry as designers and other industry stakeholders are seeking to find a balance between the immediacy of communication and decision-making about when and how to distribute their products for sale. To provide insights and inform solutions, runway show producers, directors of fashion films, fashion designers, and marketing brand managers can use this study to guide fashion event production or advertisements to achieve a better audience understanding of the design concept, an important link between their creative work and, ultimately sales. In a

changing landscape, future fashion professionals will benefit from knowledge of what format/media is most effective in communicating design concepts. Lavish runway shows require considerable expense. If the audience can gain the same understanding of the concept through a produced film, this may lead to decisions to choose film over a live runway show.

In addition, this study could provide insights for fashion educators to better understand characteristics of future fashion professionals. During the process of the study, future fashion professionals may find increased interest in the workings of the industry and thinking about the fashion world.

Chapter II Literature Review

To provide a foundation for this study, the literature review includes the history of runway shows, how runway shows have changed over time, a history of fashion films, fashion design concepts, and the communication model. Simmel (1957) asserted that fashion is a form of reproduction. Paradoxically, however, fashion is constantly changing and differs both from one time to another and from one social stratum to another.

According to Majima (2008), fashion has changed a great deal during the twentieth century in western countries. These changes may be classified in three ways:

1 From “class differentiation” to “collective selection”

2 “From closed fashion to open fashion”

3 “From the elitist model to the egalitarian model of fashion diffusion” (Majima, 2008, p.

71)

Fashion changes over time, as Blumer, an American sociologist; French philosopher

Lipvetsky (1994), and American socio-economist Pesendorfer (1995) all recognized the cyclical nature of fashion. At the same time, fashion and especially the fashion industry, are continually innovating. Fashion manifests itself differently during different each period of time.

Runway Shows

The objective of a runway show is to provide a unique way to express the design concept to a wider audience for its acceptance and recognition. Many kinds of runway

shows have appeared in history throughout different areas of the world. For example, in the late 1300s, fashion dolls were created that could be considered a type of very early runway show (Corinth, 1970). This is totally different from the runway show that the audiences feel familiar with today.

According to Plock (2013), the earliest fashion event in the world took place in 1924 in the form of a runway show held for professional buyers from major American department stores. Designer Jean Patou’s idea for publicity that year was to employ six

American models to walk the French catwalk. The purpose of this early runway show was to “increase French sales figures” (Plock, 2013, p. 793). One of the functions of a runway show is to entice the audience to imagine how they will look wearing the latest fashion by watching live models walk on the stage, demonstrating the outfit and the total look (Everett & Swanson, 2013). Essentially, the main purpose of a runway show was to offer a simple way to sell clothes.

Klein (1963) pointed out that the social environment, economic growth, political factors such as interchange of war and peace, fashion leaders, and trends influenced the evolution of the runway show. According to Dugguan (2001), sources of change to runway show ideations have included “political activism, performance art of the 1960s and 1970s, Fluxus and Dada performances, theater and popular culture” (p. 244).

Runway shows underwent a major transformation in the 1980s, and with this change came a shift also among most fashion designers and their design collections. Runway shows became a media interpretation of “the imagery of a particular brand name”

(Majima, 2008, p. 81). Seeing the value in building a brand, smaller companies chose to hold their runway shows on unusual public stages (subway stations, parking lots) due to limited resources (Majima, 2008). Larger, more established firms had deeper pockets and could hold their runway shows on different types of stages and invest in alternative media, making frequent advertisement films for their own brands. As a result “contemporary fashion houses have completely transformed the runway show” (Dugguan, 2001, p. 244).

Cultural factors that change over time can also affect the manifestation of the many elements of runway shows including the models, stage setting, and audience (Everett &

Swanson, 2013).

Models (body shape)

The first models used to show apparel were inanimate forms such as mannequins beginning in the fourteenth century (Diehl, 1976). According to Dugguan (2001) runway show producers started to use live models on the catwalk in the early 1900s at the

Chicago apparel marts. Indeed, models provide a visualization of what the viewer might expect when wearing fashion items themselves. While the presence of models in contemporary runway shows is a constant, the models themselves have changed over the years. For example, designer Gianni Versace influenced the development of runway show by using supermodels in the late 1980s and early 1990s (Evans, 1999). According to Ashmore, Solomon, and Longo (1996), in the 1990s, ethnic diversity changed with the introduction of more diverse models on the runway.

The shape of models also has changed over time, according to the Morris and Cooper

(1989), from 1959 to 1978, models’ “bust and hip size decreased relative to waist size, producing a more tubular shape” (p. 596). Also, the models became taller. In the 1990s,

Victoria Secret runway shows, which featured fit, athletic, and voluptuous models, had a big impact on the types of models in runway shows. Models are one of many elements that comprise the total presentation of a runway show.

Stage Setting (lighting, color, textile design, silhouette, music, background and environmental design)

The ambient factors of a runway show include elements such as lighting, music, and scents to create a specific atmosphere for viewers. In the 1930s, runway shows began to be produced on a massive stage, and in the 1960s, runway shows producers started to add multiple lights and sounds to produce a more theatrical effect (Diehl, 1976). For example, aspects of lighting that match the color of the apparel may provide a positive show experience and create a different mood within a space (Baker, Levy, & Grewal, 1992;

Roush, 1994; Schlosser, 1998). Lighting may also impact customers’ attitude toward the product (Areni& Kim, 1994), and adds to the theatrical nature of a runway show (Everett

& Swanson, 2013).

Color management practices and principles are key components of apparel design, also an inexhaustible source of inspiration for a brand. To become a world leader of clothing trends, it is necessary to form color management practices with characteristics and rationality (Teng, 2015). Usually audiences watch and come to accept apparel styles presented during a runway show. Therefore, the colors of the apparel are one of the main

points that make a runway show successful. Other essential points include apparel textile design and silhouette.

Apparel textiles are not only for beauty, but also have meaning. In some cases, textiles can carry a religious meaning or other significance (William, 1997). In current fashion, a brand presents its own multiform apparel silhouettes. This differs from the past when the fashionable silhouette usually changed with the time period. For example, in

1897, the silhouette was in a shape of an “S curve,” Influenced by the wearing of corsets

(Adam, 2012), but in the 1930s, the silhouette was accentuated to be longer and slimmer.

In the 1930s, elegance and femininity were popular; the fashionable silhouette required clothing to be closely fitted to a woman’s body (A-Rang & Hyo-Jin, 2012). These types of silhouette changes are essential to the element of fashion change.

Aspects of music such as congruity (Kellaris& Mantel, 1996), intensity or volume

(Spangenberg, Grohmann & Sprott, 2004), pleasantness (Chebat et al., 2001; Dube ́ and

Morin, 2001) and tempo (Eroglu et al., 2005; Milliman, 1982) help to set the ambiance of the show and “create excitement” (Everett & Swanson, 2013, p. 228). Runway Hits (1998) established that stylish dance music could play perfectly with modeling on the runway.

The background and the whole environmental design of a runway show includes outside factors (e.g. exterior of the building) and general inside factors (e.g. carpet, colors, etc.,). According to Everett and Swanson (2013), selecting different backgrounds for a runway show plays the role of setting off the merchandise. A distinct set emphasizes the costume or theatrical background, reinforcing the theme. All of the environmental

elements of runway show stage setting are presented with the audience, and ultimately, the consumer in mind.

Runway shows not only work for the benefit of the fashion industry, but also serve as a bridge to connect brands to consumers. Luxury brands hold shows during fashion week, inviting people with high social impact in the world to attend. For example, Women’s

Wear Daily reported Mary-Kate and Ashley Olsen and Paul McCartney were in attendance at a runway show during fashion week in 2015. And in 2014, “at the Chanel show, staged amid a mock supermarket, the aisles were teeming with the likes of Keira

Knightley, Rihanna, Melanie Griffith, Vanessa Paradis and ClémencePoésy” (WWD

Staff, 2014, p. 1). This Chanel runway show and its participants were chosen to provide the brand with more exposure (Rihanna has 14.1 million followers in her Instagram account) due to the association of celebrities in attendance. Engaging celebrities who influence consumers helps bring the latest fashion to the public.

According to Plock (2013, p793), the audiences for early runway shows were professional buyers, but the audience is quite different today. Contemporary fashion audiences include fashion photographers, celebrities, fashion editors and bloggers.

Overtime, runway show audiences during fashion weeks in NYC, Milan, Paris, and

London have undergone a shift from retail buyers to celebrities and social media stars.

Media

The use of new technology in runway show arenas is becoming more and more popular with media impacting both the purpose and presentation of shows. Wu (2013)

said, “Digital runway shows allow designers to create infinite ideas by articulating the designers’ concepts through not only garments but also other factors” (p. 64). This includes technology in the actual shows, such as holograms, film, and video.

Runway Show Video

Fashion professionals have found that runway show videos are among the most useful methods designers have to present their design concepts to an audience. Designers started recording their runway shows in mass numbers in 2000 with videos first appearing on specific broadcast television channels and later online on YouTube (Everett

& Swanson, 2013). In order to gain attention and create memorable consumer connections, designers for major brands such as Chanel, Givenchy, and Alexander Wang began posting their runway show videos on YouTube with notable response in 2010.

Since Givenchy published its runway show video on YouTube, March 8, 2015, it has generated 103,669 views. Therefore, there is a much wider audience exists for runway show videos than live runway shows could accommodate.

Fashion Film

According to Tortora (2015), the first fashion film was produced by a French designer, Paul Poiret, as a way of showing his current creations in 1900s. At that time, fashion films were not like the fashion films of today. This early film had no story line and showed its fashions in black and white. Naturally, fashion films today are more sophisticated than in the past. Today’s fashion films are short promotional films that purport to tell the viewer about the firm through a story line. The films are often quite

sophisticated promotions that create an image for the brand and may not feature actual products. This lack of specific merchandise makes the film more about the firm’s image and perhaps less about actual fashions that can be purchased, which may make it more difficult for viewers to understand the design concept.

Luxury brands make fashion films and post them on YouTube, Facebook and their official websites. Following this trend, more and more fashion films can be found on social media before companies even hold their more traditional runway shows. For example, Riccardo Tisci, Mert, and Marcus produced a thirty-second Givenchy’s

Fall/Winter 2015 advertisement campaign and posted it on YouTube on January 11, 2015.

This was more than two months before the actual runway show was posted on March 17,

2015. In the promotional campaign, the fashion film, models wear Givenchy 2015

Fall/Winter merchandise and accessories, which could be found in the Givenchy 2015

Fall/Winter runway show video. The fashion film takes place in an interior space, with the models riding bikes and playing basketball dressed in Givenchy’s newest styles. The

Givenchy film posted on YouTube generated 532,385 views.

Design Concept

When creating fashion concepts, designers start with “an idea, a concept, and a simple fragment of something” (Hallnäs, 2009, p.55). Then fashion designers use a variety of visual elements to develop the concept. Basic elements may appear individually or “all components together for a common ground” are integrated within a garment (Cho, 2009, p.490). The resulting apparel reflects such elements through its

shape, color, textile, etc. finally developing through the use of small concepts. These small concepts merge to create a deeper meaning of design ideas (Lee &Jirousek, 2015).

The most important task for fashion designers is to assign meaning and add value to the design (Cho, 2009). Designers work hard to infuse their unique inspiration into the design of products (clothing, accessories, etc.). According to Cho (2009), if consumers can understand a designer’s concept, it may create a deeper emblematic quality. Runway show video and fashion film are two main ways beyond the runway show that designers communicate their design concept to the audience members/consumers.

Future Fashion Professionals

Over four million employees work for the fashion industry in the U.S. in fashion design, merchandising, event planning, visual merchandising, product development, retailing, and more (The Fashion School, 2015). Fashion students are future fashion professionals, as they are preparing to enter the industry. After finishing their studies at school, the fashion students will have both acquired fashion sense and business experience. As professionals, their mission is to “make fashion relatable to the consumer”

(The Fashion School, 2015, p. 15). Understanding the key components for success such as design concept is especially important since future fashion professionals need to be highly sensitive to the fashion information they receive.

Summary

According to Everett and Swanson (2013), fashion shows are important promotion tools used together with advertising direct marketing and interactive media, sales

promotion, public relations, personal selling, special events, and visual merchandising.

Whether a beginner or a veteran designer, however, an important way to succeed in the fashion industry is to “get the media’s and public’s attention “to effectively communicate the design concept, and ultimately connect with industry professionals and consumers.

Therefore, the industry is extending its reach to a growing number of social media sites, such as YouTube, Facebook, and Instagram (p. 9), to broadcast live runway shows from the runway.

Hypotheses

H1: Fashion runway show videos are better able to communicate the design concept

than fashion films.

H2: Participants prefer fashion runway show videos to fashion films.

H3: Participants’ perceptions of the design concept are congruent with expert

perceptions.

H4: Fashion runway shows are better able to communicate intrinsic elements of the

designs than fashion films. H5: Fashion films are better able to communicate extrinsic elements of the designs than fashion runway shows.

Chapter III

Framework and Model

Communication Process Model

In understanding the relationship between fashion show video and fashion film in communicating the design concept to future fashion professionals, the theoretical foundation or this study is the Communication Process Model. This model involves senders, channels, and receivers.

Human communication is“as much in how we communicate as by what we communicate” (Gunsalus, 2010，p. 764). Communication is the way we transmit information by speaking, listening, writing, gesturing, and using other mediums.

According to the Oxford Dictionary (2016) definition, communication involves not only successfully sending information, but also successfully delivering the information.

Some extensions of communication are the exchange of emotions and ideas. In business, communication is a key functional method to manage whole companies. An organization cannot work well without internal and external communication. Thus, a successful communication process is necessary to create and deliver information to receivers

(Birdsall, 2010).

As in any industry, the fashion industry uses many forms of communication, and successful reception of delivered information is essential for success. When designers show apparel to consumers, they expect to create a sensory reaction to make consumers experience a particular feeling, emotion, attitude, and have a cognitive reaction (De Klerk

& Lubbe, 2008). According to the research of McGlynn (1993), images and videos can create and deliver information with a meaningful purpose. For example, fashion presentations stimulate the audience to gain exposure to new ideas or wear a specific garment. Although some of the audience members/consumers focus more on the functional use of the apparel, most of the individual audience members/consumers combine body, spirit and soul, sensory, affection, and cognizance together when receiving fashion information (Fisher, Rand & Erasmus, 2012).

Advertising is an important method of communication in the fashion industry.

Williamson (1978) analyzed the methods by which an advertisement was decoded to audiences. According to Shield (1990), the meaning and the communication ability of a visual image involves a complicated interplay of the communication process. This is applicable to the fashion show or fashion film communication process.

The basic Communication Process Model has three parts, namely the sender, the channel, and the receiver. According to Casstevens (1979), the communication process involves encoding and decoding; the message transfer process could distort the code to the receiver. Therefore, the channel should be chosen carefully.

Figure 1.The Communication Process Model (Casstevens, 1979).

Regardless of the medium, whether in a runway show video or fashion film, the show and film producers are the senders of information (the design concept) and they transmit using the different media channels, the runway show video and fashion films, allowing the receiver (the audience/consumer) to obtain the information.

Figure2. Communication Model as Adapted to Runway Show Video and Fashion Film.

Chapter IV

Method

By showing the Dolce & Gabbana 2015 Spring/Summer, Givenchy 2015 Fall/Winter

Women’s fashion runway videos and fashion films to lower division classes at Kent State

University’s the Fashion School and using Qualtrics, an online surveys tool, this study explored the effectiveness of these two communication methods in conveying the design concept.

These two runway shows and fashion films were selected because these two firms both have successful brand images and strong brand stories. These two were also chosen as both the runway shows and the films portray the same clothing items. The apparel and accessories shown in Dolce & Gabbana 2015 Spring/Summer, and Givenchy 2015

Fall/Winter Women’s fashion runway videos match those shown in the fashion film. This helped the participants evaluate the design concept by looking at the same products shown in both the runway shows and fashion films.

Preparation

Experienced fashion design professors and one fashion design graduate student were asked to identify the design concept for each brand after they watched the runway show videos and fashion films. Their perceptions of the design concepts were recorded.

After viewing the first two minutes of the Dolce & Gabbana Spring/Summer 2015 fashion film, the fashion design professor, pointed out the colorful aspects that related to

heritage, culture. The second fashion professor pointed out passion through the ages and passion of bull fighting. The third, a graduate student pointed out colorful, dance and

Spain. All three professionals agreed on the terms “colorful aspects that related to heritage, culture, and passion through the ages and passion of bull fighting, colorful, dance and Spain” to describe the design concept.

After they watched the Dolce & Gabbana Spring/Summer 2015 Full Runway show for first two minutes, one professor pointed out that the show carried the feel of the bull fighting, application of embroideries, and playing with men’s jackets on women. The second professor pointed out Spain and bullfighting. The graduate student pointed out reinterpretation of costume and bullfighting. All three professionals agreed on the terms

“bull fighting, application of embroideries, playing with men’s jackets on women, reinterpretation of costume” to describe the design concept.

After they watched the Givenchy Fall/Winter 2015 film – long version on YouTube, the first professor pointed out the active feeling and clash of cultures. The second professor pointed out playful and young luxury. The graduate student pointed out new brand/customer perspective and playful. All three professionals agreed on the terms

“active feeling, clash of cultures, playful young luxury, and new brand/customer perspective and playful” to describe the design concept.

After viewing Givenchy 2015 Fall/Winter Women’s show, the first professor pointed out the dark feeling and contradiction between styling and design. The second professor pointed out the romance of popular culture and circus in modern world. And the graduate

student pointed out that the designer wants to catch the viewer off guard and the designer may truly be playing with ideas about global identities and contrasts between class and culture. All three professionals agreed on the terms “dark feeling and contradiction between styling and design, romance of popular culture and circus in modern world, the designer wants to catch the viewer off guard and the designer may truly be playing with ideas about global identities and contrasts between class and culture” to describe the design concept.

All of the words that the fashion professors and graduate student provided to describe the design concepts were the same as the terms that were used by Business of Fashion critics, a respected professional analytical website on the fashion business. In consultation with the fashion professionals, a set of terms was developed and an instrument was developed based on these results (see Table 1).

Table1 Expert Opinions of Design Concept

Original Play Website Professionals Opinions and Length Time Terms on Business of Fashion

Dolce & 1m47s 1m47s https://www.y Colorful aspects that related to Gabbana outube.com/wa heritage, culture, passion Spring/Summer tch?v=Biq9Lii through the ages and passion of 2015 film by ALx4 bull fighting, colorful, dance and Fashion Spain. Channel Dolce & 10m55s 2m https://www.y Bull fighting, application of Gabbana outube.com/wa embroideries, playing with Spring/Summer tch?v=gzYNsr men’s jackets on women, 2015 Full LewKo reinterpretation of costume. Runway show

Givenchy 45s 45s https://www.y The active feeling, clash of Fall/Winter outube.com/wa cultures, playful young luxury, 2015 film tch?v=hckgFx new brand/customer perspective VU7ho and playful.

Givenchy 2015 15m09s 2m32s https://www.y Dark feeling and contradiction Fall/Winter outube.com/wa between styling and design, Women’s tch?v=64X6eh romance of popular culture and runway show WY34s circus in modern world, the designer wants to catch the viewer off guard and the designer may truly be playing with ideas about global identities and contrasts between class and culture.

Participants

Institutional Review Board (IRB) approval was received for data collection and the research was presented on an on-line survey platform (www.qualtrics.com). Before the participants started the survey, they read a consent form. The participants could open the survey if they were interested in the study, and they could quit at any time.

The participants were future fashion professionals, in two lower level undergraduate fashion classes (Fashion Fundamentals and Fashion Branding) in Spring 2016. The

Qualtrics survey link was sent to the participants’ school e-mail address. The total 202 participants (90 freshmen, 88 sophomores, 19 juniors, 5 seniors older than 18) were separated into four groups, with each group viewing one runway show and one fashion film (See Figure. 4 and Figure 5 for the sequence used in the study). The number of participants in each group were: Dolce & Gabbana film and Givenchy runway show: 51,

Givenchy runway show and Dolce & Gabbana film: 51, Dolce & Gabbana runway show and Givenchy film: 51, Givenchy film and Dolce & Gabbana runway show: 48.

In showing these stimuli to the participants, the author mixed the adjectives/descriptors from the fashion professors and graduate student with other words on the screen to describe the design concepts for each of the fashion runway shows and fashion films. The first group viewed two minutes of the Dolce & Gabbana

Spring/Summer 2015 runway show and Givenchy 2015 Fall/Winter Women’s fashion film in its entirely. The second group watched the same runway show and film, but in reverse order. The third group viewed the Dolce & Gabbana Spring/Summer 2015

fashion film and Givenchy Fall/Winter 2015 runway show. The final group watched the same show and fashion film but in reverse order.

Procedure

When the participants opened the survey, they watched either a runway show video or a fashion film video for at least two minutes, and then answered questions. After they finished answering the questions for the first video, they watched the other video in their survey order and then answered the same questions. The first five questions asked participants to answer general questions about the designs and stage setting and asked them to select adjectives/descriptors relating to the design concept. The participants chose between strongly disagree to strongly agree. Demographic and general participant information was also collected.

There were a total of 14 questions included in the survey. The questions were developed as follows: intrinsic elements of the design (main color, textile, silhouette), extrinsic elements of the design (music, background, model, tempo, environment), design concept (it was easy to understand the design concept), and compare/prefer (the video is creative, enjoy watching the video, the video is interesting). The survey process was developed as follows:

Figure 3. Group 1 and Group 2 Survey Taken Process.

Figure 4. Group 3 and Group 4 Survey Process.

Data Analysis

Data were aggregated for data analysis by using SPSS. Paired-Sample t-Tests and frequencies were used to analyze the data. The test is intended to find out whether there is statistical indication that the mean difference between paired objects on a certain outcome is considerably different from zero. (University Libraries, 2016).

A total of 102 participants who watched the Dolce & Gabbana fashion film and Givenchy runway show, and 99 participants watched the Dolce & Gabbana runway show and

Givenchy fashion film.

Hypotheses Testing

Hypothesis 1 predicted that fashion runway show videos are better able to communicate the design concept than fashion films. Paired sample t-test for differences between means showed the result fashion film- runway show: t=-2.472, p>.05. (Number

9 in table).Therefore, the participants perceived that it was easier to see the design concept in arunway show video than afashion film. Hypothesis 1 was supported.

Hypothesis 2 predicted that participants would prefer fashion runway shows videos to fashion films. The participants indicated that the runway show was creative, they enjoyedwatching and was interesting were: Table 2

Table 2. Percentage of Creative, Enjoy Watching and Interesting

The Runway Show Was Creative, They Enjoyed

Watching and Was Interesting

Dolce& Gabbana fashion film 95.4% Dolce& Gabbana fashion runway show 93.1% Givenchy fashion film 92.8% Givenchy fashion runway show 93.1%

The average of the total percentage for fashion runway show was93.1%, for fashion film was94.1%. Therefore, this data indicated that participants slightly preferred the fashion films to the fashion runway show videos. Hypothesis 2 was not supported.

Hypothesis 3 predicted that participants’ perceptions of the design concept were congruent with the expert perceptions. Frequencies were used to test Hypothesis 3. The underlines in Table 3, 4, 5, 6 are those that were provided by fashion professionals and

Business of Fashion.

Table 3

Frequencies of Adjective Selection Among Participants Watching Dolce & Gabbana Fashion Film (102 Participants)

Number Terms Numbers of Choices Percentage Colorful - relates to 10.2% 1 99 heritage 2 Dance 102 10.7% 3 Dark 22 2.3% 4 Sad 3 0.3% 5 Culture 108 11.1% 6 Romance 74 7.6% 7 Playful 81 8.3% 8 Sex apparel 61 6.3% 9 Spain's Matador 78 8.0% 10 Flamboyance 57 5.9% 11 Active 50 5.1% 12 Customer perspective 19 2.0% Reinterpretation of 7.0% 13 68 costume Playing with men's 3.0% 14 29 jackets on women 15 Circus in modern world 7 0.7% 16 Young luxury 51 5.3% 17 Sports 5 0.5% 18 Bullfighter 55 5.7% Total 969 100%

Table 4

Frequencies of Adjective Selection Among Participants Watching Dolce &

Gabbana Runway Show (100 Participants)

Numbers of Percentage Number Terms Choices 1 Colorful - relates to heritage 98 10.2% 2 Dance 69 7.2% 3 Dark 36 3.8% 4 Sad 2 0.2% 5 Culture 100 10.4% 6 Romance 94 9.8% 7 Playful 56 5.8% 8 Sex apparel 46 4.8% 9 Spain's Matador 87 9.1% 10 Flamboyance 43 4.5% 11 Active 16 1.7% 12 Customer perspective 10 1.0% 13 Reinterpretation of costume 83 8.7% 14 Playing with men's jackets on women 62 6.5% 15 Circus in modern world 23 2.4% 16 Young luxury 56 5.8% 17 Sports 6 0.6% 18 Bullfighter 71 7.4% Total 962 100%

Table 5

Frequencies of Adjective Selection Among Participants Watching Givenchy Fashion Film (100 Participants)

Numbers Percentage Number Terms of Choices 1 Informed by tectonic shifts in the fashion landscape 67 7.7% 2 Playful 72 8.3% 3 Spain 24 2.8% 4 Passion through the ages 57 6.6% 5 Romance of popular culture 74 8.5% 6 Young luxury 94 10.8% 7 Bullfighting 2 0.2% 8 Active 69 8.0% 9 Clash of cultures 67 7.7% 10 Sad 19 2.2% 11 Floral 9 1.0% 12 Application of embroideries 52 6.0% 13 Heritage 34 3.9% 14 Dark 96 11.1% 15 Contradiction between styling and design 58 6.7% 16 Contrast between setting designs 45 5.2% 17 Flamboyance 28 3.2% Total 867 100%

Table 6

Frequencies of Adjective Selection Among Participants Watching Givenchy Runway Show (102 Participants)

Numbers Percentage Number Terms of Choices 1 Informed by tectonic shifts in the fashion landscape 61 6.9% 2 Playful 20 2.3% 3 Spain 47 5.3% 4 Passion through the ages 61 6.9% 5 Romance of popular culture 52 5.9% 6 Young luxury 64 7.2% 7 Bullfighting 18 2.0% 8 Active 14 1.6% 9 Clash of cultures 64 7.2% 10 Sad 68 7.7% 11 Floral 26 2.9% 12 Application of embroideries 75 8.5% 13 Heritage 67 7.6% 14 Dark 102 11.5% 15 Contradiction between styling and design 59 6.7% 16 Contrast between setting designs 61 6.9% 17 Flamboyance 25 2.8% Total 100% 884

For the Dolce & Gabbana film, there area total 969 participants’ choices, 60.9% were the same as terms given by professionals. 39.1% choices were not the same as terms given by professionals. For Dolce & Gabbana runway show, there are total 962 participants’ choices, 68.8% choices were the same as terms given by professionals, and

31.2% were not. For the Givenchy fashion film, there are total 867 participants’ choices,

74.0%were the same as terms given by professionals, 26% choices were not. For the

Givenchy runway show, there are 884 numbers of choices, 56.2% choices were the same as terms given by professionals, 43.8% were not. In both of the Dolce & Gabanna and

Givenchy testing, participants made a majority of choices alighted with terms given by professionals. Therefore, hypothesis 3 was supported (Table 7).

Table 7

The Percentage That Participants’ Perceptions of the Design Concept Are Congruent with The Expert Perceptions

Congruent Congruent Dolce & Gabbana Fashion 60.9% Dolce & Gabbana Runway 68.8% Film Show Givenchy Fashion Film 74.0% Givenchy Runway Show 56.2%

Hypothesis 4 predicted that the fashion runway shows would better communicate intrinsic elements of the designs: color, textile and silhouette. As seen in Table 8 the paired sample t-test showed statistically significant differences between the groups on colors fashion film – runway show: (t=-.878, p>.05), textile fashion film – runway show: t=-3.375, p<.05, and silhouette fashion film – runway show: (t=-4.568, p<.05). The participants responded that the runway show more effectively communicated intrinsic design concepts (colors, textiles, silhouette) than fashion films. Hypothesis 4 was supported.

Table 8

Paired sample t-tests for differences between means

Paired Differences t df Sig. (2-tailed)

Std. Mean Deviation Sub Scale Pair Film Color – Show -.07921 1.28275 -.878 201 .381 1 Color Pair Film Textile – Show -.31683 1.33406 -3.375 201 .001** 2 Textile Pair Film Silhouette – -.44059 1.37096 -4.568 201 .000*** 3 Show Silhouette Pair Film Music – Show -.11386 1.34272 -1.205 201 .230 4 Music Pair Film Background – .37624 1.42369 3.756 201 .000*** 5 Show Background Pair Film Model – Show .10891 1.47888 1.047 201 .297 6 Model Pair Film Tempo – Show .02970 1.32301 .319 201 .750 7 Tempo Pair Film Environment- .24257 1.32168 2.609 201 .010* 8 Show Environment Pair Film Concept – 9 Show Concept -.20896 1.19838 -2.472 200 .014*

*p < .05. **p < .01. ***p < .001

The results indicated there are significant differences between the fashion films and the runway shows (see table 8and table 9).

As seen in Table 8 statistically significance differences were found between the

means for textile, silhouette, background, and environment. The next section will present results of the hypotheses testing.

Hypothesis 5 predicted that the fashion films would better able communicate extrinsic elements of the designs: music, background, model, tempo, and environment. The paired sample t-test showed statistically significant differences between the groups on music fashion film – runway show: (t=-1.205, p>.05), background fashion film – runway show:

(t=3.756, p<.05), model fashion film – runway show: (t=1.047, p>.05), tempo fashion film – runway show: (t=.319, p>.05), environment fashion film – runway show: (t=2.609, p>.05).The participants responded that the fashion films more effectively communicated extrinsic design concepts (music, background, model, tempo and environment) than fashion films. Hypothesis 4 was supported.

Chapter V Discussion

Using the communications process model, this research indicated that participants understood and managed the information from the runway show videos and fashion films differently. First, the participants in this study understood design concepts better by watching runway show videos than by watching fashion films. The participants’ responses aligned with professionals on the intrinsic elements of the designs, like color, textile, and silhouette, better in runway show videos than fashion films. On the extrinsic side, participants’ responses aligned with professionals on design elements (music, model, background, tempo and environment) better than the runway show videos. These differences between groups on runway show videos and fashion films can be attributed toa sender transferring the message using different channels (runway show video and fashion film) to the receivers (Casstevens, 1979). Therefore, the results in this study provided concrete evidence that the fashion film helped the participants understand extrinsic elements (Kraft, 1987). Without the angles, lighting and a story line of the produced film, the runway show video helped the participants focus on intrinsic elements of the apparel itself.

Second, this study found that both the runway show videos and fashion films have value and have separate roles in the marketing mix. For buyers who work for the fashion industry, the focuses on the intrinsic aspects of products. On the other hand, consumers and general audiences are more interested in the extrinsic aspects of the designs.

However, not all extrinsic elements were better represented in fashion films. Results indicated that the music (one of the extrinsic elements) in a runway show video was better received. This result provided a choice for the fashion film producer to manipulate music in the fashion film, to better reach the audience,

Furthermore, results of this study provided support that the participants’ perceptions of the design concept were mostly congruent with the expert perceptions. For example, professionals used the term “active” to describe both the Givenchy fashion film and

Givenchy runway show. A greater number of participants chose this term for the

Givenchy fashion film than for the Givenchy runway show. Therefore, the presentational fashion films helped the participants understand the design concept on the term “active.”

This suggests that a runway show producer may want to have the aid of a fashion film expression to build a better show.

Conclusion In the contemporary fashion marketing mix, companies face not only the private consumers and buyers, but are also subject to the press and mainstream consumers. IN order to increase sales performance and lead fashion trends, the fashion industry presents runway shows every year. Different fashion brands have begun to produce fashion films to enhance brand image, putting both of the runway show videos and fashion films on

YouTube for consumers to view. In this way runway show producers and fashion film producers are the senders of communications, using different channels (runway show and fashion film) to promote styles and increase awareness for the brand, boosting the role of

the potential consumers and successfully delivering fashion information to a variety of audiences.

The results of the study indicate that runway show videos are better able to communicate some aspects of the design concepts than fashion films. Participants perceived the intrinsic elements better when watching runway show videos. The results of this study also provided concrete evidence that the fashion films helped the participants to understand extrinsic elements (Kraft, 1987). Without the rich shooting method, participants paid more attention to the garment itself in the runway show videos, therefore they understood the design concept better.

This research provides insight for fashion designers, runway show producers, fashion film producers, companies, and professionals in fashion industry. Producing a fashion film has extrinsic strengths, and producing a runway show has intrinsic strengths. Fashion buyers focus on the intrinsic elements; consumers and audiences are equally interested in the extrinsic elements. Therefore, companies could manage the strengths they needed to express to various stakeholders through the different fashion media to achieve their goals.

The results of the research can help to save money and time. Furthermore, this research could also provide fashion designers, runway show producers, and fashion film producers material to stimulate their creativity. They can combine the runway shows with fashion films to tailor their design concept communication more specifically to audiences. And last, professionals in the fashion industry and the fashion professors can guide future fashion professionals, to better understand design concepts and help them grow and

succeed in this ever-changing field.

The runway show is produced for live audience, so employing different media (video) includes videographers’ point of view, which changes the experience from the live runway show. Fashion film is produced for video, so the producer has that in mind from the start. Since shows are increasingly being put online, designers and show producers should take into account how the show is “shot” to maximize impact and consider aspects of production and filming that can enhance branding, taking advantage of benefits found in fashion films. Production of runway shows with an eye towards end use may even merge the best aspects of fashion film and show for maximum use of time and resources.

With increasing availably of phone videos, shows by amateur designers may want to seek to comfort vision of show –concentrate videography as integrated part of production, to add extra value to company- produced communication.

The limitations of this study and the suggested future research are as follows. First, the author chose to use very young participants in one physical location. The participants are the potential consumers, but may not have the resources to purchase the luxury brands.

Therefore, the participants may not understand the luxury brand design concept deeply.

Second, the participants were students and they may not have read the questions carefully enough in making their choices. Third, there were only two brands included in this study, famous in the fashion industry. Therefore, the participants may already have understood the design concept before they watched the videos. For future research, it would be suggested to increase the number of participants and choose more diverse participants. IN

addition, a different target market and non-student participants may yield different results.

Finally, more fashion brands should be used in future studies to provide more specific data and examine videos of spectacle show like Chanel grocery store, or other that are more dramatized against models walking on runway shows and fashion film.

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Appendix

Survey Questions Part I 1. It was easy to see the main color of the collection.

It was easy to see the textile design of the collection.

It was easy to see the silhouette of the collection.

2. The music helped me to understand the design concept.

The background helped me to understand the design concept.

The models helped me to understand the design concept.

The tempo in performing helped me to understand the design concept.

The environment helped me to understand the design concept.

3. It was easy to understand the design concept.

4. Dolce & Gabbana Spring/Summer 2015 campaign. Which of the following words could describe the design concept? (Multiple answer, please pick 3 answers per page. The answers below with underlines are the answers that given by the professionals.) A. Colorful – relates G. Playful costume to heritage H. Sex apparel 3 N. Playing with men’s B. Dance I. Spain’s Matador jackets on women C. Dark J. Flamboyance O. Circus in modern world D. Sad K. Active P. Young luxury E. Culture L. Customer perspective Q. Sports F. Romance M. Reinterpretation of R. Bullfighter 5. Dolce & Gabbana Spring/Summer 2015 Full Runway show. Which of the following words could describe the design concept? (Multiple answer, please pick 3 answers per page. The answers below with underlines are the answers that given by the professionals.) A. Colorful – relates to G. Playful costume heritage H. Sex apparel N. Playing with men’s B. Dance I. Spain’s Matador jackets on women C. Dark J. Flamboyance O. Circus in modern world D. Sad K. Active P. Young luxury E. Culture L. Customer perspective Q. Sports F. Romance M. Reinterpretation of R. Bullfighter 6. Givenchy Fall/Winter 2015 campaign. Which of the following words could describe the design concept? (Multiple answers, please pick 3 answers per page. The answers below with underlines are the answers that given by the professionals.)

A. Informed by tectonic culture embroideries shifts in the fashion F. Young luxury M. Heritage landscape G. Bullfighting N. Dark B. Playful H. Active O. Contradiction between C. Spain I. Clash of cultures styling and design D. Passion through the J. Sad P. Contrast between ages K. Floral setting designs E. Romance of popular L. Application of Q. Flamboyant 7. Givenchy 2015 Fall/Winter Women’s show. Which of the following words could describe the design concept? (Multiple answers please pick 3 answers per page. The answers below with underlines are the answers that given by the professionals.) A. Informed by tectonic culture embroideries shifts in the fashion F. Young luxury M. Heritage landscape G. Bullfighting N. Dark B. Playful H. Active O. Contradiction between C. Spain I. Clash of cultures styling and design D. Passion through the J. Sad P. Contrast between ages K. Floral setting designs E. Romance of popular L. Application of Q. Flamboyance

Part II Demographic Questions: 1. Which year are you in at Kent State Fashion School?

2. Are you familiar with these designers?

3. Do you have an idea that the designers stand for?

4. Do you regularly watch runway show?

5. Do you regularly watch fashion film?

6. Where do you watch? (Phone, laptop, desktop, iPad)

7. Do you think the runway show video/fashion films creative?

8. Do you enjoy watching them?

9. Do you think they are interesting?

10. Do you think you know more about the designers and the design concept now than before you see the video?

56 57