When doing research on some of the best Fashion Campaigns I discovered that their success lay in either the celebrity endorsement or the value/ethos advertised.
As seen on the websites below:
Celebrity endorsed campaigns such as Chanel no5 with Nicole Kidman or Kate Moss for Calvin Klein draw a huge market because their fans are drawn to the brand. So that usually bring success for fashion campaigns.
Campaigns like United Colors of Benetton that sometimes completely remove the fashion aspect from their storytelling to simply focus on social matters.
‘The brand’s strategy has been criticised for its shock value, but at the same time it has been praised and awarded for bringing attention to important social, environmental and political issues.’ – Meyer-Delius (2017)
Eight: 18 especially and unknown/ new brand I believe will finds its marketing strength in promoting value. Shedding light on hot topics such as feminism and the strength of a woman. It could be a great USP to start on.
- Meyer-Delius, H., (2017). 10 fashion advertising campaigns that made jaws drop [online]. Available at: https://blog.printsome.com/fashion-ads/
My client called me and told me she had found decided that name of her brand and how to incorporate her religious element. Eight:18 derived from the bible verse, Romans 8:18 which states “For I consider that the suffering of this present time is nothing to be compared to the glory that shall be revealed in us.”
The addition of this verse to the creative direction gave a full scope of what the brand stood for and helped for better idea generation. She mentioned that wanted the religious temperament to be subtle, drawing audience curiosity.
The design method most efficient for this campaign would be transmedia storytelling or through multiple proscenia.
Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes it own unique contribution to the unfolding of the story. –Jenkins (2007)
In this case the story of this brand will be told through the photography and film. Whilst the film would share the story and give the audience a concrete idea of the brand, the photographs and music would be a medium that gives a constant reminder of the context and strength of a woman.
A transmedia text does not simply disperse information: it provides a set of roles and goals which readers can assume as they enact aspects of the story through their everyday life. – Jenkins (2007)
Because transmedia storytelling requires a high degree of coordination across the different media sectors, it has so far worked best either in independent projects where the same artist shapes the story across all of the media involved or in projects where strong collaboration (or co-creation) is encouraged across the different divisions of the same company.- Jenkins (2007)
In this case, with the client and myself working as a tight team and share the same vision. The audiences would therefore experience synergy across all channels all the way to store.
The obvious giants of transmedia storytelling are Star Wars, Disney etc. And even though transmedia usually tailors to fiction, tapering its elements to non-fiction could be a strong digital marketing strategy and fashion leaders like Burberry are joining in the idea.
The client’s target audience was very specific. She created her fashion for women between 18-25 who have a love for urban culture, hip hop and grime. Women who are bold, outspoken and want to make a statement of empowerment with what they wear.
To tailor to this audience, it was my goal to make sure that the photographs and film, through poses, script and location, offered that culture that is loved by that particular audience.
With reference to the client’s initial mood boards. We sat down to clarify her ideas and what she wanted.
Her designs were inspired by a poem by hip-hop artist, Tupac Shakur:
This poem specifically inspired her design prints found on the initial mood board she sent. She wanted her designs to to be a symbol of women empowerment and strength. The idea of a woman that rises from the ashes, that triumphs through her struggles, to be that rose that grew from the concrete. That’s the story to she wanted to share throughout her designs. The culture influence would be grime culture. She also wanted a Christian influence although she wasn’t quite sure yet how to implement this. The most she had was the idea of what music she wanted:
This gave me good insight into what she wanted to achieve.
To get the best out of our team, I decided to follow The Drexler-Sibbet Team Performance Model.
I chose to go with this model because it offered different stage markers for team and project development. It also illustrates the positive and negative outcomes of each stage. This meant that throughout the project, I could keep referring back to it to make sure things are running in accordance.
The model is split into two phases, the creating phase and the sustaining phase. At this stage of the project I only focused on the creating phase with the intent of referring back to sustaining phase at a later stage. Throughout out this workbook I will be making reference to this model.
Stage 1- Orientation [Why am I here?]
My purpose in this in team is to offer and execute creative intellect by visually representing the story and branding of my client’s fashion product. I will working together and for my team member to best achieve this.
Stage 2- Trust Building [Who are you?]
‘Studies have shown that team members spend almost 70 per cent of their time running down other colleague’s suggestions.’ (Pricken, 2008)
With that in mind, I will be following the DreamTeam Framework by Pricken (2008) to make sure that I am the best me for the team.
- Choose the right moment for criticism
- Ping-pong with ideas
- Prevent idea killers by avoiding mental censorship (putting a halt to my creative instincts)
- Eliminating idea killers such as “Forget it, it doesn’t work!” and turn them to positives.
- Look for the positive in my client and team member’s ideas
- Develop a sense of humour and experience ‘A Fool’s Freedom’- the ability to laughing at one’s self and mistakes.
In the future, this is a model I would definitely consider using in a much larger team if working for a company or for myself. Being able to use this model at this stage will offer good training for future employment.
- Krogerus, M., & Tschäppeler, R., (2008). The Decision Book: Fifty Models for Strategic Thinking. London: Profile Books Ltd.
- Pricken, M., (2008) Creative Advertising: Ideas and Techniques from the World’s Best Campaigns. London: Thames & Hudson.
I spoke to my client about co-driecting and my concerns, however they were unwarranted. She mentioned that although she’s currently working in Fashion Product Design, she seeks trajectory in Fashion Communications and Branding/Promotions.
Fashion communications as defined by Nottingham Trent University, one of the top five best fashion schools in the UK :
…focuses on the visual communication of brand, product and service in the global fashion industry; how the message and image of the fashion brand or product is best communicated to the consumer.
This meant that she had to lead the creative direction, sharing the story and concept of her design and I would bring those ideas to life. I would find locations for shooting, create the film script and concept and edit in in accordance with her direction. We would be working as a team, bringing each other’s expertise to the table to create the best final product.
The ideal scenario would have been: the client needs photos for a look book and a film. She hands over the creative direction and authority to me. She gives me an idea of what she wants and I deliver. However things went a bit differently.
Something that came up in the beginning stages of this project was whether I was going to have full creative direction with regards to ideas, technicalities, edits etc or whether I would be co-directing with my client; as she also had ideas about how final results should turn out. I was worried about the idea of this as I could only foresee conflict and compromise. I usually prefer to work on my own when it comes to idea development. This is because I usually see the end at the beginning and don’t want compromise.
I did some research about co-directing. Although not a very popular subject, I found these two articles that gave me insight about how best to go about things:
Common themes that emerged from both articles were:
- Having trust between each other
- Leaving ego at the door
- Flexibility without compromise
Needless to say, I slightly warmed up to the idea of co-direction, should those tips be implemented.
When the first email was sent about my client looking for a photographer and filmmaker, she sent a mood board across for the ideas she wanted for her lookbook and her film:
A few things stood out:
- Photography Reflective Elements
- A grainy “home-movie”/Kodak effect
- Glitchy effect
- Tupac’s poem – “The Rose That Grew From The Concrete”
These are some of the requests she made on the mood-board. Although I had an idea of what she wanted, I was still quite unsure. A grainy “home movie” effect and Kodak effect are two very different things and coupled with glitchy, I was left quite confused.
To gain a bit more clarity, I sent her a few edits I had done in the past to see if she wanted something along those lines:
Her response was that these pictures were along the lines of what she wanted. However my attempt to clarify things made things worse as now there was a collection of edits she wanted with no actual specifics.
This also raised the question about my creative capacity with regards to the project. Would I have full creative scope to create and deliver from beginning to end, what I see best or would I be joining in a creative idea to see it delivered?
I decided to have a meeting with her to clarify things.
Before the beginning of project 5, my lecturer had informed me that the Aesthetica Short Film Festival was open for entries and we discussed that I should submit a film. Upon receiving this brief and finding my client, I decided to submit the short fashion film to the festival.
What was important to me was the client’s approval to have the film submitted to the festival. In our first meeting I discussed my intent of usage:
- Submission to the Aesthetica Short Film Festival
- Use of the film and photos on my website and other Social Media Platforms
A contract was signed agreeing these terms. I felt it important to do this at the very beginning, to not only secure myself but to build trust and openness in our working relationship.
So the deliverables expected by my client were:
- 25/30 Photographs for her lookbook
- 5 minute max short fashion film, explaining the story/ concept behind her brand
A provisional timeline was set during the first meeting:
- Date 14/04/17 Deliver mood board for photos and film
- Date 4/05/17 Provisional date for 1st photoshoot
- Date 11/05/17 Outdoor photoshoot
- Date 15/05/17 Deliver photographs for look book
- Date 16/05/17 Film
- Date 23/05/17 Deliver film to client
They timeline was set to be provisional because both the client and myself were open to possible mishaps i.e.
- Bad weather
- Models unavailable on certain dates
- Locations unavailable to book etc.
The next step of the process was to agree the terms and conditions with the client.
This was done in our very first face to face meeting before any other decisions were made.
The document below details what was discussed and agreed.
It is important to have these terms agreed in the beginning to avoid any confusion between parties and for the most effective smooth process.
NegotiatedClientStudentBriefingDocument – CHRISTINE & ELLIE