OCT. 14, 2019 • TXMI 5220 Tessa Akin, Nicole Bayless, Ashlyn Ricks

Total Page:16

File Type:pdf, Size:1020Kb

OCT. 14, 2019 • TXMI 5220 Tessa Akin, Nicole Bayless, Ashlyn Ricks R e OCT. 14, 2019 • TXMI 5220 a d y - t o - W e a r : READY-TO-WEAR: K I T H Tessa Akin, Nicole Bayless, Ashlyn Ricks, Catherine Mottern, Danielle Della Torre WHEN HISTORICAL November 11, 2011 OVERVIEW “CONCEPTUALIZING KITH AS AN WHERE EXTENSION OF HIMSELF, FIEG SEEKS TO Location #1: Brooklyn, NYC, NY SHIFT THE CURRENT LANDSCAPE OF FASHION, WHILE OPERATING UNDER A Location #2: Manhattan, NYC, NY PERSONAL PHILOSOPHY OF GIVING THE CONSUMER MORE THAN WHAT THEY PAY FOR” (KITH NYC, 2019). BY WHOM Ronnie Fieg - a prominent figure in the footwear industry with over 20 years of hands-on experience MAJOR 2012 2015-16 A small jewelry line Notable collaborations MILESTONES entitled Kin was sold. It with popular companies was designed by Fieg's become a signature of mother, Batshi. KITH. 2015 2019 KITH Treats (cereal and ice There are now eight KITH cream bar) was established locations, with the London from the founder's childhood store that opened on April 5th, love of cereal. 2019. First Women's retail location is Extensions to three shop-in- opened in December in shops at Bergdorf Goodman, Manhattan. Hirshleifers, and Selfridges. EXECUTIVE POSITION CEO: Ronnie Fieg (Founder) OPERATES ON TWO PLANES Multifunctional lifestyle brand for Men, Women, and Kids CURRENT Progressive retail establishment ORGANIZATION & OPERATION PRODUCT CATEGORY & PRICE ZONE Product Category: Men's, Women's, and Kid's Casual Streetwear Price Zone: Various items ranging from $50.00-$200.00 R e a d y - t TARGET CONSUMER PROFILE o - W DEMOGRAPHIC e a Age: 20-30 r : Income: middle to high K I T Gender: men and women H Education: college education PSYCHOGRAPHIC Fashion image: trendy, futuristic, street style Fashion feeling: urban, bold, edgy Fashion adoption: early adopters and fashion leaders Shopping orientation: brand conscious and fashion forward Lifestyle: Always looking for a new opportunity to try the next best thing SOCIO-CULTURAL BACKGROUNDS Highly involved in various areas where an edgy style is accepted Always plans to include a budget for new clothes, but may exceed that limit if their favorite brand is having a great sale or if they are getting ready for a fun event GEOGRAPHICAL LOCATIONS New York, Miami, Los Angeles, London Online PERSONA #1 LISSA SMITH AGE: 22 HOMETOWN: ROANOKE, VIRGINIA JOB: STUDENT, SELLS CLOTHES ON POSHMARK PLACE TO LIVE: LA INCOME: N/A LIFESTYLE/HOBBIES: WORKING OUT, SPORTS LIKE SOCCER AND BASKETBALL, SHOPPING, TRAVELING CORE VALUE: LOVE YOURSELF AND BE YOURSELF FAVORITE BRANDS/STORES: NIKE, ADIDAS, LULULEMON, URBAN OUTFITTERS, ASOS, FOREVER 21 AMERICAN THREADS, VINTAGE STORES WHAT SHE WANTS IN CLOTHES: SPORTY AND TRENDY, COMFORTABLE, PIECES THAT CAN BE TRANSITIONED FROM DAY TO NIGHT, HIGH-QUALITY BUT STILL AFFORDABLE SHOPPING HABITS/BEHAVIORS: NORMALLY SHOPS ONLINE, SOMETIMES SHOPS IN STORES ESPECIALLY IF IN A NEW PLACE MONTHLY EXPENDITURE ON CLOTHING: DEPENDS ON THE MONTH AND WHAT EVENTS ARE HAPPENING, SPENDS MORE ON CLOTHES IN THE MONTHS THAT HAVE MORE EVENTS/TRIPS GOING ON PERSONA #2 KAITLYN RUTLEDGE AGE: 20 HOMETOWN: MONROE, GEORGIA JOB: STUDENT GOALS: SHE WANTS TO BE A CREATIVE DIRECTOR FOR A HIGH END FASHION BRAND. SHE ALSO WANTS TO HAVE A FAMILY AND LIVE IN A BIG CITY. PLACE TO LIVE: NEW YORK CITY INCOME: N/A LIFESTYLE/ HOBBIES: I AM A STUDENT AT UGA AND I AM INVOLVED IN MULTIPLE FASHION ORGANIZATIONS. I AM ALSO VERY INVOLVED IN MY SORORITY. I LOVE BEING WITH FRIENDS, TRYING NEW RESTAURANTS, AND WATCHING NETFLIX. CORE VALUE: FAMILY, FAITH, FRIENDSHIPS FAVORITE BRANDS/STORES: TJMAXX, NASTY GAL, PRINCESS POLLY, GUCCI, CHANEL WHAT SHE WANTS IN CLOTHES: HIGH QUALITY, UNIQUE PIECES, GOOD FIT SHOPPING HABITS/BEHAVIORS: BUYS THE MAJORITY OF HER CLOTHES ONLINE, ENJOYS BOUTIQUE SHOPPING, ONLY BUYS SOMETHING IF SHE REALLY LOVES IT MONTHLY EXPENDITURE ON CLOTHING: ABOUT $75 A MONTH PERSONA #3 KEEGAN WALSH AGE: 20 HOMETOWN: ALPHRETTA, GEORGIA JOB: COLLEGE STUDENT GOALS: GROW A FAMILY AND BE ABLE TO GIVE THE BEST LIVES FOR MY KIDS PLACE TO LIVE: NEWPORT BEACH, CA INCOME: N/A LIFESTYLE: SHOPPING, WORKING OUT, HANGING OUT WITH FRIENDS, EATING OUT CORE VALUE: HARD WORK PAYS AND DEDICATION PAYS OFF FAVORTIE BRANDS/ STORES: LULULEMON, RALPH LAUREN, LOUIS VUTTION, JOHNSON & MURPHY, ADIDAS WHAT HE WANTS IN CLOTHES: COMFORT, STYLE, FASHIONABLE SHOPPING HABITS: NO SELF CONTROL MONTHLY EXPENDITURE ON CLOTHING: $250 PERSONA #4 JULIA VON BEBERSTIEN AGE: 20 HOMETOWN: ATLANTA, GEORGIA JOB: STUDENT ATHLETE GOALS: SUCCESSFUL BUSINESS WOMAN, ASPIRING CEO PLACE TO LIVE: NEW YORK, CITY INCOME: N/A LIFESTYLE: SHOPPING, EATING AT NEW RESTAURANTS, SWIMMING, BAKING CORE VALUE: FAITH, L OYALTY, DO NOT GIVE UP IN PURSUIT OF SOMETHING, EOULD HAVE A FEW STRONG CARING FRIENDS THAN HAVE MANY SURFACE LEVEL FRIENDS FAVORITE BRANDS/ STORES: LULULEMON, FOREVER 21, AMERICAN THREADS, PITAYA, NIKE SNEAKERS, URBAN OUTFITTERS WHAT SHE WANTS IN CLOTHES: HER CLOTHES CONSIST OF WORKOUT LOUNGE WEAR AND THAT IS TO MAKE HER LOOK SKINNY AND ATHLETIC. HER GOING OUT CLOTHES ARE MORE CHEAPLY MADE, DOESNT CARE IF GETS RUINED SHOPPING HABITS: LOOKS FOR SALES, ONLY BUYS NICE CLOTHES WHEN SHE KNOWS SHE HAS A PLACE TO WEAR THEM TO OR WIL WEAR MORE THAN 5 TIMES MONTHLY EXPENDITURE ON CLOTHING: $70 PERSONA #5 MAGGIE MACDONALD AGE: 22 HOMETOWN: BOSTON, MASSACHUSETTS JOB: FASHION/BEAUTY INFLUENCER PLACE TO LIVE: NEW YORK CITY INCOME: $25,000 LIFESTYLE (HOBBIES): EXERCISE, SHOPPING, COOKING, HEALTH/WELLNESS CORE VALUE: FEELING YOUR BEST FROM THE INSIDE, OUT FAVORITE BRANDS/STORES: ARITZIA, LULULEMON WHAT SHE WANTS IN CLOTHES: HIGH QUALITY VERSATILE BASICS FOR THE PURPOSE OF MIXING AND MATCHING FOR DRESSED UP AND DRESSED DOWN LOOKS SHOPPING HABITS/BEHAVIORS: MID-RANGE TO HIGH-END BRANDS WITH OCCASIONAL LUXURY PURCHASES (LULULEMON AND ARITZIA TO BALENCIAGA AND LOUIS VUITTON) MONTHLY EXPENDITURE OF CLOTHING: $500 MORE OR LESS PERSONA #6 SULLI GUILES AGE: 20 HOMETOWN: FORSYTH, GEORGIA JOB: STUDENT PLACE TO LIVE: LOS ANGELES, CALIFORNIA INCOME: STILL RELIES ON PARENTS FOR BASIC NECESSITIES WHILE IN COLLEGE LIFESTYLE: SHE IS A GIRL OF FAITH, BUT SHE IS ALSO INTERESTED IN MOVIES, CREATING VIDEO CONTENT FOR HER YOUTUBE CHANNEL, AND RUNNING. CORE VALUE: LOVING HER FRIENDS WELL FAVORITE FASHION BRANDS/STORES: LUCKY, STEVE MADDEN, CONVERSE, LEVI’S, PLATO’S CLOSET, AND MARSHALL’S FASHION ORIENTATION: GRUNGE, HIPSTER, A TOUCH OF A PRETENTIOUS FILM STUDENT SHOPPING HABITS/BEHAVIORS: SHOPS ONCE A MONTH OR WHENEVER NEEDED MONTHLY EXPENDITURE ON CLOTHES: $50+ R e a d y - t o - W BRAND CONCEPT/ IDENTITY e a r : K I “A multifunctional lifestyle brand T H for men, women, and kids” BRAND CONCEPT/ BRAND IMAGE IDENTITY & Functional, Urban, Versatile, Athleisure and Comfortable, BRAND IMAGE Modern and Edgy T-SHIRTS/ SWEATSHIRTS LOGO the KITH logo is noticeable for all their products. They are almost always located on the left side or directly in the middle SHOES the logo is located on the sole of the shoes, and look a version of converse PANTS The KITH logo is a bit more hidden on the pants but it is swen into the left side of the pants under the pockets KIDS CLOTHES Also located directly in the middle of the clothes or on the left side, either sewn in or ironed on R e a d y - t o - W D e E a r C : K E I T N H N O C COMPETITIVE F O G N I ANALYSIS N A E Bold, Fashionable, High-Quality Street-Wear M E U R T E H T H T I K : r a e W - OFF-White o t - y Where luxury meets streetwear, Off-White d a e has been making waves on the couture R runways as well as streets since being founded by Louis Vuitton’s artistic director, Virgil Abloh. Price Point: $$$$$ Target Market: 18-34, artistic, free lance workers. They enjoy skating, videography, fashion, and music Brand Concept: Urban, Cool, Fashionable BRAND #1 R e a d y - t Supreme o - W Makes sellout collections season after e a r : season, each with new ideas or reworked K I concepts inspired by everything from politics T H & music to high & low art. Box logo has become one of the most recognizable among streetwear brands. Price Point: $$$$ Target Market: 18-34, Skaters, punks, hip-hop heads – the young counter culture at large. Brand Concept: Elevated street style in luxury fashion BRAND #2 H T I K : r a e W - Nike o t Credited with thr rise of the sneaker culture, - y d Nike has become a full-fledged streetwear a e R brand. The most successful and recognizable activewear brand in the world. Price Point: $$ Target Market: 15-40, athletes or individuals who value fitness or simply desire comfortable active wear. Brand Concept: To bring inspiration and innovation to every athlete* in the world. *If you have a body, you are an athlete. BRAND #3 R e a d y - t Adidas o - W e a The German Sportswear label is responsible r : for gifting us Kanye West’s Yeezy line of K I T sneakers amongst many other celebrity H collaborations. Price Point: $$$-$$$$ Target Market: 14-29 athletes or people who are passionate about sports. Brand Concept: authentic sportswear, from street fashion to high fashion, all uniquely inspired and linked to sports. BRAND #4 H T I K : r a e W Vetements - Recognized for its innovative and highly o t - y diverse designs, Vetements has taken runway d a couture and brought it to streetwear chic. e R Known for causing a stir with its application of broader culture in ironic designs. Price Point: $$$$$ Target Market: wealthy upper/middle class or even celebtrity status due to exclusivity of price zone Brand Concept: Rare and valuable, transforming from one basic throwaway item into another.
Recommended publications
  • Swagger Like Us: Black Millennials' Perceptions of 1990S Urban Brands
    Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2018 Swagger like us: Black millennials’ perceptions of 1990s urban brands Courtney Danielle Johnson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the American Material Culture Commons, and the Fashion Design Commons Recommended Citation Johnson, Courtney Danielle, "Swagger like us: Black millennials’ perceptions of 1990s urban brands" (2018). Graduate Theses and Dissertations. 16600. https://lib.dr.iastate.edu/etd/16600 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Swagger like us: Black millennials’ perceptions of 1990s urban brands by Courtney Danielle Johnson A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Major: Apparel, Merchandising and Design Program of study committee: Eulanda A. Sanders, Co-major Professor Kelly L. Reddy-Best, Co-major Professor Tera Jordan The student author, whose presentation of the scholarship herein was approved by the program of study committee, is solely responsible for the content of this thesis. The Graduate College will ensure this thesis is globally accessible and will not permit alterations after a degree is conferred. Iowa State University Ames, Iowa 2018 Copyright © Courtney Danielle Johnson, 2018. All rights reserved. ii DEDICATION This thesis is dedicated to Black folks.
    [Show full text]
  • The Evolution of Streetwear
    The Evolution of Streetwear The newfound reality of Streetwear and its luxury-like management Trabalho Final na modalidade de Dissertação apresentado à Universidade Católica Portuguesa para obtenção do grau de mestre em Marketing por Miguel Lobo de Macedo sob orientação de Professora Doutora Joana César Machado Universidade Católica, Faculdade de Economia e Gestão, Maio de 2015 Acknowledgements Máximo 1 página (facultativo) Abstract Purpose: To explore the critical dimensions of successful streetwear brands and how they garner customers’ attention, devotion and regard for the brand. Ultimately, the goal is to compare the anatomy of a streetwear brand to that of a luxury fashion brand and analyze the main differences and similarities between the two in order to understand how a streetwear brand, Supreme, operates in its niche market. By using a case study approach, this study plans on analyzing the newfound reality of streetwear, the reasons for its unprecedented consumption and what the biggest brands in this industry do in order to appeal, constantly, to different crowds: the devoted followers and the fashion-driven consumers. With this in mind, the study intends to validate the relevancy of these streetwear labels in today’s luxury fashion markets. Findings: The aspirational consumer of today’s streetwear will be the aspirational consumer of the eventual luxury market of tomorrow. I understand that there is still a lot to be studied within this streetwear industry but believe to have validated the importance of these brands in the purchasing intention of today’s consumers, by deconstructing the brands. Three important levels of analysis cement my study.
    [Show full text]
  • How Fashion Erased the Politics of Streetwear in 2017
    City University of New York (CUNY) CUNY Academic Works Capstones Craig Newmark Graduate School of Journalism Fall 12-15-2017 Mask On: How Fashion Erased the Politics of Streetwear in 2017 Frances Sola-Santiago How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gj_etds/219 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Mask On: How Fashion Erased the Politics of Streetwear in 2017 By Frances Sola-Santiago Hip-hop culture dominated the fashion zeitgeist in 2017. From a Louis Vuitton and Supreme collaboration to Gucci’s support of Harlem designer Dapper Dan’s store reopening, the fashion industry welcomed Black culture into the highest echelons of high fashion. Rapper Cardi B became the darling of New York Fashion Week in September after being rejected by designers throughout most of her career. Marc Jacobs traded the runway for the street, staging a show that included bucket hats, oversized jackets, and loads of corduroy on a large number of models of color. But while the industry appeared to diversify by acknowledging the indomitable force of hip-hop culture, it truly didn’t. The politics of hip-hop and Black culture were left out of the conversation and the players behind-the-scenes remained a homogeneous mass of privileged white Westerners. Nearly every high fashion brand this year capitalized on streetwear— a style of clothing born out of hip-hop culture in marginalized neighborhoods of New York City and Los Angeles, and none recognized the historical, cultural, and political heritage that made streetwear a worldwide phenomenon, symbolizing power and cool.
    [Show full text]
  • Urban Representation in Fashion Magazines
    Chair of Urban Studies and Social Research Faculty of Architecture and Urbanism Bauhaus-University Weimar Fashion in the City and The City in Fashion: Urban Representation in Fashion Magazines Doctoral dissertation presented in fulfillment of the requirement for the degree of Doctor philosophiae (Dr. phil.) Maria Skivko 10.03.1986 Supervising committee: First Supervisor: Prof. Dr. Frank Eckardt, Bauhaus-University, Weimar Second Supervisor: Prof. Dr. Stephan Sonnenburg, Karlshochschule International University, Karlsruhe Thesis Defence: 22.01.2018 Contents Acknowledgements ................................................................................................................................. 5 Thesis Introduction .................................................................................................................................. 6 Part I. Conceptual Approach for Studying Fashion and City: Theoretical Framework ........................ 16 Chapter 1. Fashion in the city ................................................................................................................ 16 Introduction ....................................................................................................................................... 16 1.1. Fashion concepts in the perspective ........................................................................................... 18 1.1.1. Imitation and differentiation ................................................................................................ 18 1.1.2. Identity
    [Show full text]
  • Innovating a 90'S Streetwear Brand for Today's Fashion Industry
    FOR US BY US: INNOVATING A 90'S STREETWEAR BRAND FOR TODAY'S FASHION INDUSTRY A Thesis submitted to the FAculty of the Graduate School of Arts and Sciences of Georgetown University in partiAl fulfillment of the requirements for the degree of MAsters of Arts in CommunicAtion, Culture And Technology By Dominique HAywood, B.S WAshington, DC May 26, 2020 Copyright 2020 by Dominique HAywood All Rights Reserved ii FOR US BY US: INNOVATING A 90'S STREETWEAR BRAND FOR TODAY'S FASHION INDUSTRY Dominique HAywood, BS Thesis Advisor: J.R. Osborn, Ph.D ABSTRACT This thesis is a cAse study of how a vintAge fashion brand cAn be innovated through humAn centered design for the current fashion industry. IDEO, global design and innovation company, has clAssified humAn centered design as A method for identifying viAble, feAsible and desirable solutions with the integration of multidisciplinary insights (IDEO). For this thesis, the brand of focus is FUBU, for us by us, a 90’s era streetweAr brand that is a product of New York City hip-hop culture. A succinct proposAl for FUBU’s resurgence in the fashion industry will be designed by first identifying the viAbility of the fashion industry and feAsibility of the brand’s revival. ViAbility will be determined by detAiling the current stAte of the fashion and streetweAr industries. This is to estAblish the opportunities and threAts of new and returning entrants into the industry. FeAsibility will be declAred by reseArching the history and current stAte of the brand, its cultural relevancy, and its strengths and weAknesses.
    [Show full text]
  • Accumulation and Avant-Garde Apparel
    Confente 1 Oriana Confente Accumulation and Avant-Garde Apparel In his essay, “A Marginal System: Collecting,” French sociologist Jean Baudrillard writes: “Let us grant that our everyday objects are in fact objects of a passion – the passion for private property, emotional investment in which is every bit as intense as investment in the ‘human’ passions… they become mental precincts over which I hold sway, they become things of which I am the meaning, they become my property and my passion” (Baudrillard 259). A leading theorist on the discussion of consumerism, Baudrillard uses a semiotic analysis to explore the materialistic nature of contemporary culture and the integral role of object ownership in the lives of human beings. Accumulating items offers purpose and can contribute to an individual’s security as a person. This can be tied to the fashion industry, with a focus on clothing and dress. Fashion has been long understood to have a sociological function as “a social process of mutual adaptation” wherein “actors are free to decide if and to what extent they will adopt a new object, practice, or representation” (Aspers and Godart 185). The meaning behind choices of apparel influences the consumption of this aspect of culture, as Roland Barthes (a contemporary of Baudrillard who was at the forefront of semiotics) suggests “there is a ‘lexicon and syntax’ in clothing that resembles the structure of language” (Aspers and Godart 183). The desire to speak through the items one wears only heightens the urge to collect particular objects which would open those lines of communication. This is especially true in the realm of current high fashion – “expensive, fashionable clothes produced by leading fashion houses” which are not to be confused with the cheaply constructed, mass-produced items of the fast fashion world (“High Fashion, noun”).
    [Show full text]
  • The Deconstruction of Fashion Through the Creative Process of Music Vittorio Linfante* Published: July 29, 2020
    Essays – peer-reviewed ZoneModa Journal. Vol.10 n.1 (2020) https://doi.org/10.6092/issn.2611-0563/11090 ISSN 2611-0563 Fading, Mixing, Slicing, and Looping: the Deconstruction of Fashion Through the Creative Process of Music Vittorio Linfante* Published: July 29, 2020 Abstract Fashion as mirror of socio-cultural evolutions. In light of the ever-increasing plurality and hybridiza- tion of languages, fashion change, through disassembling and reconstruction actions according to creative processes capable of generating new design approaches. The creative process, having passed the phase of revival, rediscovery and re-proposal of styles, today acts more and more according to an approach far from citationism. A method that deconstructs and reassembles products, materials and styles, in a mash-up, generating new signs, meanings and shapes, that recall, but do not refer di- dactically to precise references. Shapes, symbols, textures are thus deconstructed and recomposed according to logics and approaches that generate a multiplicity of meanings. Brands such as Vetements,Off-White, United Standard, Marcelo Burlon borrow from music notonly cultural references but also a design approach. There is a form of deconstruction that looks more like a music mix using techniques such as Fading, Harmonic Mixing, Slicing, Swap or Looping. Thus a new identity of contemporary fashion takes shape: we witness to a meta-design process that, thanks to a group of emerging figures hovering between DJs and fashion designers, defines an idea ofdecon- struction according to approaches that owe much to consoles, mixers, and synthesizers. Keywords: Deconstruction; Design processes; Creative industries; Fashion Branding; Music. * Politecnico di Milano (Italy); [email protected] Copyright © 2020 Vittorio Linfante 79 The text of this work is licensed under the Creative Commons BY License.
    [Show full text]
  • How Can Luxury Fashion Brands Use Hip Hop Artists to Mix and Master Their Influencer Marketing Campaigns?
    28th of June, 2019 How can luxury fashion brands use hip hop artists to mix and master their influencer marketing campaigns? With the rise of hip hop’s popularity in pop culture and influencer marketing as a strategy adopted by companies, how can luxury fashion brands employ both to market their products? Student: Karl Huggenberger S1832832 Supervisor: Ruud Jacobs, PhD Program: Communication Science Abstract Influencer marketing is now an integral part of successful marketing campaigns, with companies across all markets adopting this strategy. Luxury fashion brands have been using various personalities to market their products for years, and are also aligning their strategy to current trends. The rise in popularity of hip hop personalities sees a growing trend of luxury brands working alongside them. Endorsements from these celebrities vary from being included in adverts by the brand, receiving products from the brand and putting them up on their social media account, and wearing them to public events. This research aims at clarifying which method appeals to the consumer the most and could possibly lead to an improvement of brand behaviour, recognition and intention among consumers. A sample of 107 respondents were subjected to a survey showcasing three posts of a single type of endorsement, traditional, active, or passive depending on the group they are in. Then the effect of these influencer marketing efforts on the respondents’ intentions concerning the brand in question was measured. Results showed that the difference in groups only had an effect on brand recognition, as participants were more familiar with the brands presented by traditional and passive endorsements.
    [Show full text]
  • The Elegance of the Past
    Editor in chief Giuliano Deidda Issue #2 - Dicembre 2017 STYLE STYLE Q.&A. DIGITAL FASHION WHO READS You Love, It Lies GIULIANO GIOVANNI ITALIAN LINDA CALZA ALLEGRI THEY GO MESSERKLINGER Creative director of GCDS The debut of Major at Pitti The top influencers Fashion as expression of personality Page 14 Uomo Page 26 Page 62 Page 16 THE ELEGANCE OF THE PAST Total Look Prada An eclectic mix of cult pieces and contrasting prints and patterns. Page 44 TREND Ballet Rossorame Cloudlike dresses with showy tulles and crinolines Page 22 ACCESSORIES Luxury Athleisure Kate Winslet and Justin Timberlake in Wonder Wheel (Photo Courtesy of Lucky Red) Brimarts A selection of the most innovative sneakers, both for Woody Allen surprises us thought it would be a stimulating setting for a The same thing has been happening for years her and for him. once again. He uses the dramatic film.” It is no coincidence that most of in fashion, which continues season after season Page 52 Wpast to talk about contemporary neurosis and the films screened in the latter part of the year to bring past references up to date again. Thus, sets his latest film, Wonder Wheel, in Coney are set in the past. Nowadays, to turn to a past on the runway, the impeccable elegance of the Island in the fifties. “It always had a great effect which is more or less remote and more or less fifties meets the anti-fashion transgressions on me. There are a lot of colourful, quirky mythologized seeking that inspiration which our of the sixties and the excesses of the eighties people there and so much hustle and bustle digital reality is perhaps ever less able to give, is in a megamix which perfectly represents our that the atmosphere was particularly vibrant.
    [Show full text]
  • Platform Power Politics Facebook's Live Moment Vox's Platform Wrangler
    Spring 2016 A quarterly magazine on the future of media from Digiday FRENEMY Platform Facebook’s Vox’s Power Live Platform Politics Moment Wrangler P. 16 P. 22 P. 48 OPENING SHOT THIS Welcome to Pulse. he modern publisher is expertise. There's a pair of profiles of facing fast-changing and this new breed of platform experts, challenging times. The rise one about Vox Media's Choire Sicha AD of platform giants like Face- and another on a day in the life of book offer unprecedented Complex Media's chief content offi- ability to reach new audienc- cer. While Justin Smith, global CEO of PULSE POINT Tes, but content distribution and mon- Bloomberg Media, told the audience wwt etization is often outside publishers’ at DPS that publishers shouldn’t rush control. It’s enough to make you want in when it comes to platforms, Mic’s to crank up the printing presses. Cory Haik argues that publishers While Digiday is at its core a digital who build there quickly will be the media company, we thought the winners. We also wade into ad-tech's printed format was ideal for exploring midlife crisis, and why Facebook live IS FOR these critical issues in a thoughtful video is such a big deal. way. Pulse is our way of periodically At Digiday, we are optimistic checking the vital signs of the media realists. The shift to platforms is industry. neither good nor bad. In fact, the jury At the recent Digiday Publishing is still out about whether platforms Summit in Vail, Digiday brought to- will benefit the media industry in the gether leading publishers to discuss long run.
    [Show full text]
  • YOHJI YAMAMOTO Y-3 Y's Known for His Philosophical Approach To
    54 THE EYE YOHJI YAMAMOTO Known for his philosophical approach to YOHJI YAMAMOTO design, Yohji Yamamoto is one of fashion’s Y-3 most pioneering and idiosyncratic thinkers, Y’S often fnding lyrical parallels between cloth- ing and the curiosity of the human condition. “Just as man lives and grows old, so too does fabric live and age,” he theorizes in his poetic 2010 autobiography, My Dear Bomb. “When fabric is left to age for a year or two, it natu- rally contracts, and at this point, it reveals its charm,”. Alongside contemporaries including Rei Kawakubo, Issey Miyake and Keno Takada, Yamamoto was one of the leading proponents of the avant-garde design wave that emerged from Japan in the 1970s and ’80s. Artfully mixing high concept and traditional crafts- manship, they transformed global fashion with radical new ideas on gender, streetwear and contemporary garment construction. If it’s possible to defne the Yamamoto signature, it is perhaps his uncanny desire to design clothing that feels aged, preworn → and imperfect. “I think perfection is ugly,” Yamamoto says he can’t imagine himself retired. he stated in his 2002 publication Talking to “I also think it’s hard to Myself. “Somewhere in the things humans imagine my brand without make, I want to see scars, failure, disorder, me,” he told i-D. “I think Yohji Yamamoto will die distortion.” As such, his unstructured, with Yohji Yamamoto.” “anti-ft” silhouettes with their asymmetric 56 THE EYE 57 FASHION lines, distressed fnishes and raw seams historical design references and a decidedly create a masterful sense of dishevelment.
    [Show full text]
  • Overall Insight Into the Streetwear Fashion Business in the Past Decade
    Saimaa University of Applied Sciences Faculty of Business Administration, Lappeenranta Degree Programme in International Business Natalia Shukurova Overall Insight into the Streetwear Fashion Business in the Past Decade Thesis 2018 Abstract Natalia Shukurova Overall insight into the Fashion Business into the Last Decade, 73 pages, 2 appendices Saimaa University of Applied Sciences Faculty of Business Administration, Lappeenranta Degree Programme in International Business Thesis 2018 Instructors: Mr Jaani Väisänen Lecturer, Saimaa University of Applied Sciences The purpose of the thesis was to identify key aspects for establishing a successful fashion brand. The theoretical part concentrates on studying the general concept of fashion, consumer behavior and marketing methods. The first step of the empirical part of the study focuses on the analysis of fashion brands as examples of successful fashion brands. Which, it was followed by a survey implementation. A questionnaire was answered by 93 respondents and enough data to analyze was gathered. Enough empirical data was collected. As a result of this thesis, a set of suggestions and conclusions concerning aspects which needed to be highlighted in process of establishing fashion brand was created. It is supposed that having implemented outlined recommendations an imaginary creator of a fashion brand will eventually build a successful fashion brand. Keywords: fashion, consumer behavior, subculture, segmentation, brand, marketing, brand awareness, attitude 2 Table of contents Acknowledgements
    [Show full text]