Tag Archives: Fashion Marketing

What’s in a Name?

Is YSL the same with the Y? Is Maison Martin Margiela the same without the Martin? How does a luxury fashion house stay current and new without sacrificing their age-old legacy? ID Magazine takes a dive into the dubious issue of rebranding the luxury name:

“Unless you’ve been living under a WiFi-less rock for the past six months, you’ve probably noticed a few changes at Margiela. At creative director John Galliano’s debut show in London—itself a change from the house’s usual Paris slot—the designer made waves when he removed models’ customary masks and came out for a bow following the finale walk. Amidst all these shocking switch-ups, it was easy to miss one other change: Galliano quietly dropped “Martin” from “Maison Martin Margiela,” ushering the avant-garde house into a new era.

An overwhelming majority of fashion’s top labels still bear the names of their founders, but what happens when times change: the designer leaves or the name just sounds off? Of course, Galliano isn’t the first to play the name game: everyone from Hedi Slimane to Ralph Lauren has tinkered with titles. In the wake of MMM’s streamlined new moniker, we did a little digging into the histories of nine other brand names.

SLP

Saint Laurent Paris
Hedi Slimane is no saint, but when the designer decided to drop “Yves” from YSL following his appointment as the storied house’s creative director back in 2012, he became fashion’s biggest sinner (Colette even started selling an “Ain’t Laurent Without Yves” T-shirt before the house requested a cease and desist, then promptly cancelled the boutique’s order of their spring/summer 14 collection.) Amidst cries of blasphemy, Slimane explained the name change was actually inspired by one of Yves’ own: in 1966, the designer launched the ready-to-wear line as “Saint Laurent Rive Gauche.” Slimane’s rebranding also pulled from this era visually, opting for a sharp Helvetica inspired by the original logo’s sleek typeface.

MbMJ
Marc Jacobs is never short on a sense of humour, especially when it comes to names: the designer’s “Jacobs by Marc Jacobs for Marc by Marc Jacobs in Collaboration with Marc Jacobs for Marc by Marc Jacobs” tote (seriously) puts a much needed satirical spin on the endless splintering of diffusion lines. In the spring of 2001, Jacobs debuted his secondary line, Marc by Marc Jacobs, one of the most successful diffusions of its kind. Following Katie Hillier and Luella Bartley’s creative takeover in early 2014, Jacobs opted for a streamlined new look, re-dubbing his youthful label simply “MbMJ.”

prada

Prada
Although the ready-to-wear empire has remained all in the family since its founding in 1913, the house originally opened its doors as a leather goods firm named “Fratelli Prada,” or “Prada Brothers.” Although it’s unsure when the name was changed, it probably happened around the time that Mario Prada’s daughter Luisa took the house’s helm (despite the fact that Mario did not believe women should have a role in business.) After taking over for her mother, Miuccia again played the name game in 93 when she launched Prada’s sister brand Miu Miu, its title taken from her own childhood nickname.

Ralph Lauren
Ralph Lauren is undoubtedly one of the most iconic names in fashion, a paragon of Americana since the label’s debut in 67. So it’s the ultimate irony that Lauren’s actual last name was something different entirely: Lifshitz. Having made the switch when he was just 16-years-old, the designer once told Oprah: “My given name has the word ‘shit’ in it.” “When I was a kid, the other kids would make a lot of fun of me. It was a tough name. That’s why I decided to change it.” The rest is seersucker history.

Yohji Yamamoto
Before the Japanese designer debuted his eponymous collection in Paris in 1981, Yohji Yamamoto had already produced under the line “Y’s” as early as 1977. These early designs were launched in Tokyo, before the designer—alongside Rei Kawakubo and Issey Miyake—took the fashion world by storm with their anti-fashion avant-gardism.

burberry

Burberry
Founded in 1856 when Thomas Burberry opened his own shop in Hampshire, “Burberry” actually was the store’s original name. Because so many customers around the world kept referring to it as “Burberrys of London,” the company switched to “Burberrys.” When the brand’s Knight Logo was later developed in 1901, the Latin word “Prorsum,” meaning “forward,” was added to the trademark, and has since become the name of the house’s high-fashion division headed up today by Christopher Bailey.

Acne Studios
Originating in Stockholm back in 96, Acne Studios was initially conceived as a branch of the creative collective ACNE, an acronym for “Ambition to Create Novel Expressions.” The original collective focused on film, production, advertising, and graphic design, but in 2006, the coalition branched out into separate entities, including Acne Film, Acne Advertising, and of course, Acne Studios. Despite the confused reception of such an outlandish name at its outset, the industry’s embrace proves that the product speaks for itself. Jonny Johansson’s modest denim project has since become a global fashion powerhouse, presenting menswear and womenswear at Paris Fashion Week.

Balenciaga
Although Balenciaga has kept founder Cristobal Balenciaga’s name intact all throughout its 100 year history, former creative director Nicolas Ghesquiere was one of the first designers to insist on adding his name to the brand. However the days “Balenciaga by Nicolas Ghesquiere” are certainly no more, as the designer still finds himself squaring off against the house. Current creative director Alexander Wang doesn’t insist upon the same personalisation, so for now it’s back to good ol’ Balenciaga.

tiffany

Tiffany & Co
Although the American luxury jeweller did undergo a name change from its original 1837 moniker “Tiffany, Young and Ellis” to “Tiffany & Company” when Charles Tiffany established the firm’s emphasis on jewellery in 1853, that’s not what landed the iconic blue box on our list. Because Tiffany is one of the first American luxury brand names, it sparked a wave of status-seeking parents (including Donald Trump) actually naming their babies Tiffany in the 80s. This yuppie staple demonstrates just how powerfully luxury brand names can infiltrate mainstream culture.

Credits Text Emily Manning
Photography Marshall Astor of Prada, Marfa by Elmgreen and Dragset”Original post: http://bit.ly/1zD5L8i

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Who Wears the Pants?

Dockers          Dockers

In order to understand the world and the endless amount of information we take in every second, the human brain has developed the use of ‘schemata’ or categories which are used as frameworks so that information can be easily and quickly filed away to help us interact appropriately in different situations. Everyone has their own set of schemata influenced by background, upbringing, experiences and relationships. Yet, there is no doubt that everyone uses them. They have to, as some scholars say, or else there would be information overloads and no interaction would be able to take place. Some schemata are shared by the general populous, such as gender schemata. The female schema contains characteristics such as nurturing, facilitating, polite, dependent, and unaggressive. The male schema says men are dominant, aggressive, stoic, successful, independent, and the breadwinners. There are also other schemata that go along with race/ethnicity, class, religion, occupation, national identity, and sexuality.

These universally accepted schemata can be easily discovered by simply looking at the media and advertisement portrayals in how the represent their markets. It seems that Dockers has very different schemata traits when it comes to gay and straight men which we can see in their most recent advertising campaign. This campaign began a in early December of 2009 which called for men to go back to their roots, to act more manly, and to ‘Wear the Pants’.

Most of the ad’s have the same general format; a man standing in front of a plain background, the top half of him is a saying and he is wearing Dockers pants. What is interesting is the difference in the word choice given the context the ad will be seen. Can you guess which one of the above ads I found in Out magazine, the national gay fashion and lifestyle magazine for the US? Without getting into the phrases used, you could probably tell just by the style and fit of the pants. The ones on the left are an orange/pink and the fit is much tighter than the khaki’s on the right which are looser, wrinklier, and a dull tan. Even the stance of the two are remarkably different. We have one who is almost posing sexually, looking to the side, or behind him as if looking for someone to make a connection with, versus the other man who seems to have no interest in what is going on around him, rather he is looking out with his hands on his hips as if he just accomplished a trying task or is contemplating the meaning of life. Getting down to the more obvious of differences, we see what the Dockers advertising campaign sees as the difference in priorities between gay men and straight men through the phrases they chose to make up the body (in both sense of the word) of their ad. ‘Behold the Second Dawn of Man’ goes along with the main theme of the Dockers new ad campaign which, in summary, claims that our society has become genderless, and is therefore crumbling.  It calls for men to drop their non-fat lattes, put on their pants, be men and help little old ladies cross the street, discipline misbehaving children, and of course, buy Docker’s pants. It is easy to see the sexism in this campaign, but further drudging of the advertisements brings to light more prejudice ideals. First of all, the ad I found in Out is much harder to track down in other outlets. In fact, it doesn’t even appear in a Google search. Does Dockers not want to be identified with the gay community,? if so, why advertise in a gay magazine?

The phrase used for the advertisement placed in a gay context states, ‘Attract the touches of friends, boyfriends, and even the occasional stranger’. So, straight men wear their pants to maintain order in society, gay men wear pants to be promiscuous and attract attention from occasional strangers. Though it seems trite to take such a critical view of these two seemingly unimportant advertising images, it does bring light to how mainstream corporations view different subcultures and instill representations and reinforce stereotypes. As the introduction to Erving Goffman’s book Gender Advertisements says, “Advertisements depict for us not necessarily how we actually behave as men and women but how we think men and women behave. This depiction serves the social purpose of convincing us that this is how men and women are, or want to be, or should be not only in relation to themselves but in relation to each other” (Gornick, 1979).

It is important to understand the implications and affects these representations have on our culture. From creating unfair homogenous stereotypes of a group to instilling an unattainable body and lifestyle ideal people try to live up to.

*Re-post from last year in honor of #ThrowBackThursday

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ZegnArt – Mixing Business with Pleasure

zengart 1

Gildo Zegna, marketing genius and CEO of successful menswear brand Ermenegildo Zegna, has found a way to mix his brands business agenda with his love for art and culture. Spearheading the collaboration called ZegnArt, Zegna makes transnational connections, explores the culture of other countries, and promotes emerging artists through global exposure. The “visionary project” uses the sisters of fashion; art and design, to connect and communicate cultural differences between nations.

zegnart 2

ZegnArt is a long term project composed of commissions and residencies based on a principle of dialogue and reciprocal exchange between countries with emergent cultural programs and institutions. Through the combination of public artwork commissions and a research residency grants, Public promotes a new method of cultural confrontation and contamination through the platform of contemporary art.

Starting with the identification of a partnership country each year, the project activates a single vision divided into two fronts: from one side, the realization of a public artwork commissioned to a mid-career artist from the guest country, in collaboration with a local institution of international reputation; and from the other, the financing of a four month research residency at MACRO, Museum of Contemporary Art, Rome, Italy offered to a young artist from the guest country.” -(http://www.zegnart.com)

zegnart 3

From a fashion marketing perspective, Zegna is brilliantly weaving the name of the brand into the collective consciousness of nations with soon-to-be large luxury markets. Instead of focusing resources on creating storefronts and distributing merchandise, brand emersion and integrity are being delicately and brilliantly promoted through this collaborative project. Zegna will become known as a leader, an innovator, for supporting local and emerging talent in the very communities they will be selling their brand to in a few years to come.

Kudos, Zegna, for pioneering a culturally and socially conscious project while cleverly building brand awareness abroad. Oh yeah, and the artwork isn’t bad either!

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Who Wears the Pants?

Dockers          Dockers

In order to understand the world and the endless amount of information we take in every second, the human brain has developed the use of ‘schemata’ or categories which are used as frameworks so that information can be easily and quickly filed away to help us interact appropriately in different situations. Everyone has their own set of schemata influenced by background, upbringing, experiences and relationships. Yet, there is no doubt that everyone uses them. They have to, as some scholars say, or else there would be information overloads and no interaction would be able to take place. Some schemata are shared by the general populous, such as gender schemata. The female schema contains characteristics such as nurturing, facilitating, polite, dependent, and unaggressive. The male schema says men are dominant, aggressive, stoic, successful, independent, and the breadwinners. There are also other schemata that go along with race/ethnicity, class, religion, occupation, national identity, and sexuality.

These universally accepted schemata can be easily discovered by simply looking at the media and advertisement portrayals in how the represent their markets. It seems that Dockers has very different schemata traits when it comes to gay and straight men which we can see in their most recent advertising campaign. This campaign began a in early December of 2009 which called for men to go back to their roots, to act more manly, and to ‘Wear the Pants’.

Most of the ad’s have the same general format; a man standing in front of a plain background, the top half of him is a saying and he is wearing Dockers pants. What is interesting is the difference in the word choice given the context the ad will be seen. Can you guess which one of the above ads I found in Out magazine, the national gay fashion and lifestyle magazine for the US? Without getting into the phrases used, you could probably tell just by the style and fit of the pants. The ones on the left are an orange/pink and the fit is much tighter than the khaki’s on the right which are looser, wrinklier, and a dull tan. Even the stance of the two are remarkably different. We have one who is almost posing sexually, looking to the side, or behind him as if looking for someone to make a connection with, versus the other man who seems to have no interest in what is going on around him, rather he is looking out with his hands on his hips as if he just accomplished a trying task or is contemplating the meaning of life. Getting down to the more obvious of differences, we see what the Dockers advertising campaign sees as the difference in priorities between gay men and straight men through the phrases they chose to make up the body (in both sense of the word) of their ad. ‘Behold the Second Dawn of Man’ goes along with the main theme of the Dockers new ad campaign which, in summary, claims that our society has become genderless, and is therefore crumbling.  It calls for men to drop their non-fat lattes, put on their pants, be men and help little old ladies cross the street, discipline misbehaving children, and of course, buy Docker’s pants. It is easy to see the sexism in this campaign, but further drudging of the advertisements brings to light more prejudice ideals. First of all, the ad I found in Out is much harder to track down in other outlets. In fact, it doesn’t even appear in a Google search. Does Dockers not want to be identified with the gay community,? if so, why advertise in a gay magazine?

The phrase used for the advertisement placed in a gay context states, ‘Attract the touches of friends, boyfriends, and even the occasional stranger’. So, straight men wear their pants to maintain order in society, gay men wear pants to be promiscuous and attract attention from occasional strangers. Though it seems trite to take such a critical view of these two seemingly unimportant advertising images, it does bring light to how mainstream corporations view different subcultures and instill representations and reinforce stereotypes. As the introduction to Erving Goffman’s book Gender Advertisements says, “Advertisements depict for us not necessarily how we actually behave as men and women but how we think men and women behave. This depiction serves the social purpose of convincing us that this is how men and women are, or want to be, or should be not only in relation to themselves but in relation to each other” (Gornick, 1979).

It is important to understand the implications and affects these representations have on our culture. From creating unfair homogenous stereotypes of a group to instilling an unattainable body and lifestyle ideal people try to live up to.

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