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Nisiland.Pdf Estudiante: Nisreen Satouri B. Asesor: María Paz Velez. Tema: NISILAND Marca de ropa enfocada en la moda alternativa japonesa. Harajuku Fashion - Lolita Fashion. DISEÑO DE LA COMUNICACIÓN VISUAL Pontificia Universidad Javeriana Cali 1 CONTENIDO 2 1. INTRODUCCIÓN.................................................................................................04 1.1 Objetivos del proyecto.....................................................................................................04 1.2 Contexto de la necesidad...............................................................................................05 1.3 Justificación........................................................................................................................06 1.4 Audiencia objetivo............................................................................................................07 2. ESTADO DEL ARTE...............................................................................................08 2.1 Historia del Harajuku..........................................................................................................09 2.2 Harajuku como movimiento.............................................................................................10 2.3 Brands vs Offbrands...........................................................................................................11 3. BENCHMARKING.................................................................................................14 3.1 Marcas colombianas.........................................................................................................15 3.2 Marcas internacionales.....................................................................................................17 3.3 Historia del Lolita.................................................................................................................21 3.4 Subestilos del Lolita............................................................................................................22 4. MÉTODOS, TÉCNICAS Y HERRAMIENTAS..........................................................30 5. RESULTADOS.......................................................................................................32 6. NISILAND............................................................................................................36 6.1 Historia................................................................................................................................37 6.2 La marca............................................................................................................................38 6.3 Diseño de las prendas......................................................................................................41 6.4 Fashion Show.....................................................................................................................45 7. CONCLUSIONES.................................................................................................48 8. AGRADECIMIENTOS..........................................................................................50 3 INTRODUCCIÓN: OBJETIVO GENERAL: Para este proyecto se busca contextualizar Desarrollar una investigación que permita sobre los orígenes y el impacto que ha teni- crear la identidad gráfica de la marca y sus do la moda Harajuku en Japón y en Colom- aplicaciones. bia, y posteriormente se hace una investiga- OBJETIVOS ESPECÍFICOS: ción que pretende dejar ver la posibilidad de crear una marca de ropa especializada Hacer un estudio del mercado local que sir- en el Lolita Y Boystyle; uno de los estilos más va como base en la etapa de creación de populares del Harajuku dentro de la comuni- la imagen de la marca. dad Colombiana. Se realizaron encuestas, entrevistas y salidas Vincular diferentes áreas del diseño para ge- de campo a eventos nacionales para obser- nerar una identidad y una experiencia más var el comportamiento de los consumidores completa y cercana con el usuario. de las diferentes modas y tendencias japo- nesas alternativas. Generar máximo 5 prendas que reflejen el concepto de la marca. La parte creativa del proyecto se divide en dos partes; la aplicación en el diseño gráfi- co, y la aplicación en el diseño de modas, para finalmente obtener un producto sa- tisfactorio que vincule diferentes áreas del diseño y funcionen como un todo. 04 CONTEXTO DE LA NECESIDAD: La globalización en la información y co- municación ha cambiado radicalmente la forma de percibir el entorno por parte de los individuos en la actualidad, ahora se puede contar con una gama casi infinita de posi- bilidades de interpretar un hecho según los aspectos culturales particulares de las nacio- nes alrededor del mundo, incluso la globa- lización han permitido a cualquier persona identificarse con aspectos culturales diferen- tes de los autóctonos, es más dichos aspec- tos se encuentran constantemente en cam- bio gracias a la exposición a otras culturas. La idea surge de la necesidad que tienen las personas que siguen modas y tendencias alternativas japonesas de una marca local donde encontrar sus prendas y accesorios. Se hace necesario una marca que además se ajuste a las necesidades locales, como la cultura, tendencias, clima, etc. También es una oportunidad de abrirse a un mercado que no necesariamente conoce de estas tendencias y que pueden sentirse identificados y/o cómodos usando las pren- das marca. 05 JUSTIFICACIÓN: El Harajuku Fashion se ha convertido en una tendencia y un movimiento muy popular alrededor del mundo, y Colombia no se que- da atrás, sin embargo, es necesario resaltar que existen obvias diferencias en el entorno japonés (nación en la que se crea el Hara- juku Fashion) y el colombiano; por lo tanto, se hace necesaria una marca local que además se ajuste a nuestras necesidades, como la cultura, tendencias, clima, etc. El problema principal que encuentran es- tas personas es la dificultad para adquirir las diferentes prendas; la mayoría deben ser importarlas desde Japón o China y esto genera algunos inconvenientes: se requiere tarjeta de crédito, los interesados en adqui- rir mercancía están sujetos a altas tasas de cambio (entre el peso colombiano y el dólar y el yen), la posibilidad de pérdida del pa- quete, altos costos de las marcas principales, etc. Para este proyecto también existe una moti- vación personal, debido a que desde hace un par de años hago parte de la comunidad Harajuku y pude experimentar de primera mano todos los inconvenientes que los usua- rios tenemos diariamente. 06 AUDIENCIA OBJETIVO DEL PROYECTO: Jóvenes entre 15-30 años. Estratos 3, 4, 5 y 6. Interesados en moda y tendencias alternati- vas. Interesados en cultura oriental. Consumidores de arte y diseño. 07 ESTADO DEL ARTE 08 HISTORIA DEL HARAJUKU: Así cada domingo la estación de Harajuku se convierte en el punto de encuentro para Harajuku es un área que forma parte del dis- todos aquellos jóvenes interesados en expre- trito de Shibuya (Tokyo), la cual está situada sarse a través de la moda, creando estilos sobre la Línea Yamanote del mismo distrito, muy individualizados y originales, en un in- que se ha convertido a lo largo del tiempo tento de expresión y libertad para alejarse en un punto de referencia cultural en Japón radicalmente de los atuendos y estereotipos y actualmente es reconocido mundialmente tradicionales de la sociedad japonesa. por dar origen a diferentes tribus urbanas.1 En 1996, el fotógrafo Soichi Aoki lanza El fenómeno de Harajuku tal y como es “Fruits”, una revista de fans de este estilo, entendido en la actualidad tuvo su comien- que es adoptada inmediatamente como un zo al terminar la segunda guerra mundial, punto de referencia para las tribus urbanas cuando los americanos ocuparon Japón. japonesas, el reconocimiento que implica Harajuku fue una de las zonas donde los salir retratados en “Fruits” se convierte en soldados americanos y sus familias se esta- todo un logro para los seguidores, los atuen- blecieron y como consecuencia empiezan dos se vuelven cada vez más elaborados y a aparecer tiendas extranjeras por lo que los creativos y empiezan a surgir personalidades jóvenes japoneses, curiosos por conocer más que con el tiempo se convertirían voceros de otras culturas empiezan a frecuentar la de determinados estilos e incluso se convier- zona.2 ten en los creadores de las primeras marcas dedicadas a la moda Harajuku. Gracias a la influencia de la moda occi- dental en la cultura japonesa, un grupo de En la actualidad Harajuku significa una com- jóvenes rebeldes y vanguardistas empiezan pleta transformación del ideal de la moda a frecuentar esta zona comercial llena de y lleva a centenares de jóvenes a adoptar tiendas occidentales, vistiendo al estilo ame- una estética anti conformista e individual, ricano y llamándose a sí mismos como “Tribu convirtiendo al barrio de Harajuku en una Harajuku”. En los años siguientes fueron apa- meca para los street snaps más extravagan- reciendo más grupos o tribus urbanas que tes. seguían diferentes modas y estilos. Los seguidores de la moda Harajuku, cada Sin embargo fue en los ochentas, cuando la domingo invaden la zona para enseñar sus música y la moda verdaderamente se apro- mejores outfits, reunirse con amigos, bailar, piaron de Harajuku, como un lugar para la y por supuesto ver y ser vistos.4 Es imposible expresión de subculturas vanguardistas. Sin hablar de la moda japonesa sin hablar de darse cuenta Harajuku se había convertido Harajuku. en el distrito oficial de la moda japonesa 3 más
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