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The Role of Visuals in Defining Fashion Lifestyle Brand Identity Sophie Taylor Ryerson University

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The Role of Visuals in Defining Fashion Lifestyle Brand Identity Sophie Taylor Ryerson University Ryerson University Digital Commons @ Ryerson Theses and dissertations 1-1-2012 The Role of Visuals in Defining Fashion Lifestyle Brand Identity Sophie Taylor Ryerson University Follow this and additional works at: http://digitalcommons.ryerson.ca/dissertations Part of the Fashion Business Commons, and the Marketing Commons Recommended Citation Taylor, Sophie, "The Role of Visuals in Defining Fashion Lifestyle Brand Identity" (2012). Theses and dissertations. Paper 922. This Major Research Paper is brought to you for free and open access by Digital Commons @ Ryerson. It has been accepted for inclusion in Theses and dissertations by an authorized administrator of Digital Commons @ Ryerson. For more information, please contact [email protected]. THE ROLE OF VISUALS IN DEFINING FASHION LIFESTYLE BRAND IDENTITY by Sophie Taylor B.A. German Studies, University of California, Davis, 2008 A major research paper Presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Fashion Toronto, Ontario, Canada, 2012 © Sophie Taylor 2012 AUTHOR’S DECLARATION FOR ELECTRONIC SUBMISSION OF A MAJOR RESEARCH PAPER I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. ii Abstract The Role of Visuals in Defining Fashion Lifestyle Brand Identity Sophie Taylor Master of Arts in Fashion, 2012 Ryerson University Fashion brands continue to diversify their product lines into other markets, including beauty, homegoods, interiors, and architecture. Using symbolic preference formation theory, this study analyzed several successful fashion lifestyle brands’ visuals in order to identify required elements of cohesive branding systems, starting with Paul Poiret and Jeanne Lanvin, leading up to Diane von Furstenberg (DVF), Marchesa, and Ralph Lauren. Consumers express their personal identity through apparel and home décor, and brand visuals are created to influence purchasing decisions by depicting products as fitting with a desired lifestyle. Case studies focused on how fashion brands have evolved to represent lifestyle and examined the role visuals play in defining a distinctive, cohesive identity across a constellation of products. The research utilized two types of secondary sources: printed and digital. Media such as advertisements, websites, packaging were examined in order to compare product categories, theme, motif, style and colour use in order to create guidelines for creative brand visuals. iii Acknowledgments Heartfelt thanks to those who offered me guidance and support during this process: whether you helped me with my research and creative work, or lent me an ear or a shoulder when I needed one, I am forever grateful. Professors: Tasha Lewis Joseph Medaglia Family and Friends: Clinton “Butch” G. Taylor, III and Gisela D. Tomppert Taylor Samara Azam Mayan Rajendran Caroline Czajkowski Lauren Petroff Victoria Pratt Becker Nadine Nevitt Rosalie Francis And, of course, my Thesis Advisor, Sandra Tullio-Pow iv Table of Contents Page Abstract...................................................................................................................... iii Acknowledgements.................................................................................................... iv List of Tables ............................................................................................................. v List of Figures ............................................................................................................ vi Introduction................................................................................................................ 1 Research Questions.................................................................................................... 3 Literature Review....................................................................................................... 3 Identity and Brand Personalities....................................................................... 4 Emotional Connections and Status Symbols.................................................... 8 Into the Home................................................................................................... 9 Methodology.............................................................................................................. 11 Design Process.................................................................................................. 12 Results: Lifestyle Brands From Poiret to Polo .......................................................... 13 Paul Poiret ........................................................................................................ 13 Jeanne Lanvin................................................................................................... 17 Dianne von Furstenberg (DVF)........................................................................ 21 Marchesa........................................................................................................... 23 Ralph Lauren .................................................................................................... 27 Summary of Results................................................................................................... 32 Comparison Table ............................................................................................ 32 Development of Brand Visuals ........................................................................ 34 Limitations of the Study............................................................................................. 36 Conclusion ................................................................................................................. 36 Future Developments ................................................................................................. 37 Appendix I: Grand Reverie Creative Component...................................................... 39 Appendix II: Description of Figures .......................................................................... 40 References.................................................................................................................. 44 v List of Tables Table Page 1: Comparison of the Three Brands Evaluated ....................................................... 33 vi List of Figures Figure Page 1: Paul Iribe: Les Robes de Paul Poiret............................................................... 16 2: Poiret: Rosine Maharadjah Perfume ............................................................... 16 3: Poiret: Rosine Aladin Perfume ....................................................................... 16 4: Poiret: Poster for Rosine Maharadjah Perfume............................................... 17 5: Poiret: 1002nd Night Garment ......................................................................... 17 6: Poiret: Interior ................................................................................................. 17 7: Lanvin: Black Evening Dress ......................................................................... 20 8: Lanvin and Rateau: Interior ............................................................................ 20 9: Rateau: Lanvin Logo....................................................................................... 20 10: Lanvin: Resort 2011 Advertisement ............................................................... 20 11: DVF: Feel Like a Woman, Wear a Dress ....................................................... 23 12: Sears: Diane von Furstenberg Bed and Bath Advertisement ......................... 23 13: DVF: “Miro Flowers” Dress ........................................................................... 23 14: DVF: “Miro Flowers” Bedding....................................................................... 23 15: DVF: “Miro Flowers” Tablewares.................................................................. 23 16: DVF: DVF Home Advertisement ................................................................... 23 17: Marchesa: Embellished Dress ......................................................................... 26 18: Marchesa and Lenox: Advertisement for Marchesa by Lenox China............. 26 19: Marchesa: “Palatial Garden” Inspiration, Pattern, and Place Setting ............. 26 20: Marchesa: “Spring Lark” Inspiration, Pattern, and Place Setting ................... 26 21: Ralph Lauren: Polo Logo................................................................................ 32 22: Ralph Lauren: Footwear and Hosiery Advertisement..................................... 32 23: Ralph Lauren: Fall 2008 Dress ....................................................................... 32 24: Ralph Lauren: “Glen Plaid” Place Setting and “Equestrian Braid” Flatware ... 32 25: Ralph Lauren: “Cottage Hill” Bedding ............................................................ 32 26: Ralph Lauren: Advertisement for Homegoods Line....................................... 32 vii Introduction The past decade has seen an increase in
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