Alexandra Gibbs

Lead makeup stylist for NARS, Jane Richardson, gave an inspiring talk at Ravensbourne, where she shared her journey to knowing her passions, and how she pursued them. The talk was in correlation to our Fashion Retail & PR brief, in which we're focusing on a chosen beauty brand. Although NARS is not my focus, I still learnt about an industry I lack knowledge on.

The panel discussion at Ravensbourne, focusing on the concept of 'Design as Collage', may have failed to actually discuss collage entirely, but still was an interesting talk. Being able to hear experiences and insider industry knowledge from people working within fashion is always going to be valuable, whether it's on topic or not. Speakers included design consultant Lucy Norris, author Katie Baron, stylist Anders Solvsten Thomsen, and designer Jenna Young. The mix of various job descriptions meant we could hear different viewpoints on the topics discussed. I say topics, but it was more like general chit chat with a bit of direction from Norris; which wasn't necessarily a negative thing, just difficult to keep track on what was actually being discussed.

There was a solid attempt at the beginning of the panel to talk about gender fluidity as a form of collage, mostly focusing on Alessandro Michele for Gucci. Learning that Michele does all his own styling made me respect him further as a creative director. He has his own vision and sticks to it. The discussion then turned to designers letting go of control when it comes to stylists using their designs. The relationship between the two can't be too close, as it's difficult to be brutally honest, yet they need to have similar ideas so they can create something both are happy with. Young commented that sometimes, as a designer you have to step back and lose control. Thomsen's view was that "business is built on relationships". Thomsen also revealed instances where large brands, such as Louis Vuitton and Balenciaga, will only let stylists use the whole look in editorials, rather than selecting certain pieces to create an alternative vision. I agree with Thomsen in his belief that this restricts creativity and looks too sponsored, defying the point of styling. Having a clear vision but with room for customisation and interpretation seems to be the best way for brands to grow.



Near the end of the discussion, the topic of appropriation came up. You could feel the whole audience tense, worried one of the panelists will say something too controversial and not politically correct. Initially, the conversation was about class appropriation, with Blackpool-born Jenna Young saying she doesn't like luxury brands using trackie bottoms to sell a working class image, which is understandable. She then went on to discuss the idea that you can 'work your way up, but not your way down'. The audience was perplexed by this, and the panel failed to really elaborate what they meant. While Thomsen seemed to take himself out of the argument, the other three went even further to discuss racial appropriation; an important topic which should be handled carefully with respect. Marc Jacobs' recent collection using multi-colour dreadlocks on white models came up, and the panel had the opinion that it's all about the "creative image", Jacobs wasn't looking to offend, it was all about the visuals. However, they took this one step further by saying that they clearly saw the Cyberdog rave-scene references, and other people should too. The conversation veered dangerously close to the classic "everyone is too politically correct" stance, as the idea that maybe 'because we're Londoners we see that it's not a racial thing' came up, and was quickly dismissed by panel leader Norris. I agree that I, and many others living in large cities, live in a bit of a bubble when it comes to politics, as everyone I talk to and associate with day to day are left-wing, creative people. Maybe this can come across as ignorance; it certainly did when one of the panelist insinuated that Londoners are more cultured, therefore understand the Marc Jacobs reference. I think the panelists needed to step back and understand that the whole world is viewing these images, who may not be as privileged and as clued in on pop culture as they are.

As is probably clear, this review/summary of the panel was rather difficult to write, as the conversation shifted so often it was hard to keep up. Collage may not have been really mentioned, and controversial opinions aired which perhaps needed clearer thinking through, but overall I learnt some valuable knowledge on styling and industry relationships. The speaker's anecdotes and personal experiences made the evening worth-while, I just wish a form of structure had been included.

image credits go to vogue.com, anderssoelvstenthomsen.com, danzigergallery.com, and theguardian.com

When finding my tribe, I was instantly drawn to 'Scenester' due to the description that suited how I feel about my own style "Setting themselves apart by creating new trends by co-opting fashion and music from accross the Tribal map and blending it with their own individual attitudes. Ever difficult to pin down, they move at lightning speed through youth culture." I often take inspiration from film and sub-cultures from the past, and mix it with more contemporary brands. I sometimes think that you can't really categorise every person's style by these tribe guidelines, but after reading through them it's more likely you could. Personal style is such an interesting topic, as everyone has different views on what it means to them, and have a huge range of inspirations across all media that influences this. I like to think of it as curating yourself through your image; dressing as the person you wish to be, which subsequently tells others your interests and who you are, as well as the more obvious of what tribe you relate to.



 With social media making it so easy to blend and alter distinct styles into your own, sartorial taste is even harder to pin down. For my own inspiration, I look to Patti Smith and her feminine take on menswear, Anna Karina in Jean-luc Godard's films, and I always find myself going back to the staple of style that is Alexa Chung. Over the past year I have definitely been more drawn to uniform dressing. A Man Repeller article called it "personal style nirvana - that rare, unshakable understanding of who you are and the outfit that expresses it". It isn't just for ease in the morning when picking out an outfit, it's more about feeling comfort in knowing your style and feeling comfortable, without falling into repetition. I don't think I'm completely there with my uniform, as some days I will switch it around and lean towards different decades or styles, but I definitely know what works for me and what's a safe option. For me, a jumper, culottes, dr martens, and a fur coat is playful and contemporary, but comfy and safe enough to get on with the day ahead without worrying about what I'm wearing. Then we have the final touch; what tote bag I will be using that day. My 'Shakespeare & Co' if I want people to know I wish I was Parisian, my 'Velvet Underground' if I want to jazz up a dull outfit by reminding the world I like good music, or the fail-safe 'Beyond Retro' that half the population of Brighton also owns, but still says something about me nonetheless. I think I definitely fall into the 'Scenester' tribe due to this mixing of media and interests, to remain 'fashionable', but not focusing on whether it's 'trendy'. 




I spoke to photography student Elspeth Vincent about how she views her own personal style. Elspeth has over 40,000 followers on Instagram, so knows how important social media can be in influencing style. Elspeth gets most of her inspiration through Instagram, due to the ease of gaining ideas from other bloggers. Although social media is a huge factor, Elspeth still understands the impact going in-store and seeing window displays has, as well as fashion & culture magazines like Suitcase, which show a fresh take on style through editorials. In relation to her time on Instagram, Elspeth says "you get immersed in it, because it's so interactive through talking to other bloggers and exploring other people's styles". The communication that's found on Instagram is what makes it the forerunner in influencing consumers. When asked if she also relates to the Scenester tribe in terms of music and film influencing her style, Elspeth says "It's more of a passing influence. My whole identity doesn't drastically change, but listening to certain music or seeing a film set in a different era will make me think differently about what I'm wearing that day". Elspeth is interested in Art History as well as photography, which gives a unique element to the thought behind her style. Being a fan of Abstract Contemporary art, "I'm more aware of how important visual impressions are, and to look for upcoming trends." We then talked about uniform dressing, agreeing that it's more than being physically comfortable; "It makes you mentally comfortable in yourself, which makes you feel confident". Elspeth's uniform tends to be a variation of loafers, skinny jeans, an oversized top, and a statement bag, which keeps it open for alternative styling without losing the essence of her own identity. Much like associating yourself with a tribe; it's the foundation of your personal style, while leaving room for your own personal influences and interests.

montage images are from observer.com, rebelcircus.com, and huffingtonpost.co.uk

With social media becoming the major way brands communicate with their customers, omnichannel retailing is now more important than ever. It allows brands to give more precise content to suite each customer's needs. For example, the older demographic will be more likely to want information in newsletters about events and sales in store, and the younger generation are all about social media.

However, some brands have met this in the middle by going into publication, as all generations are fans of magazines. For example, Harrods publish a range of catalogues and magazine-style look books, which are available in store, as well as often being sold inside Vogue. Net-a-Porter has also launched a similar concept, but on a larger scale. Porter magazine has now branched out from the online department store and stands more on it's own as a reputable source of info on all fashion related news. As the store stocks the majority of designers you could think of, it's easy for them to create editorials and look books. Although they aren't especially ground-breaking, it does create a new competitor for the classic, older generation mags, like Vogue and Harpers. Having a physical copy of a magazine to hold does give a new element to a brand, as it feels more special and personal. I'm a huge fan of magazines and would love to go into the industry in the future, so to me it makes a lot of sense for brands to incorporate this into their marketing strategy. It allows the brand to show off their aesthetic and their products in action, in a way that customers can really immerse themselves in.

Although social media is very important, the physical store is still a huge factor in whether a brand can still expand their number of loyal customers. Harrods is well-known for their impressive window displays, featuring designer collaborations throughout the year, all building up to the Christmas theme. People often visit Harrods purposely to see the window display, without the intention of buying anything. Harrods is so famous already that they don't need to focus as much on gaining more customers (although it's always important), it's more about sustaining the reputation they already have. Apple is another company where you could argue that they don't necessarily need to focus on visual merchandising or store concepts. However, as Apple products have now become such a fashion item in themselves, the stores need to reflect this. Similar to Harrods, many people will be visiting the new Regent Street store just to see it's new design, without the intention of buying anything. Apple creating such an aesthetically pleasing store, with the high ceilings and outdoor greenery brought inside, a retail trend that's been going on in stores for the past year, cements them as being the most in-fashion technology available, almost monopolising the industry.

It will be exciting to see how brands proceed with omnichannel retailing in such a fast paced environment. Companies can no longer get away with having physical shops and an online store; consumers want more, in ways that will continually evolve the way we look at retail.

image is from dressful.com

When looking at designer clustering, it's interesting to consider Dover Street Market, for it's recent unexpected move to Haymarket, and the way brands are laid out in-store. The old location on Dover Street has become crowded with designer stores like McQueen and Stella McCartney, which isn't really what DSM is about. The move to Haymarket could be a way to distance the store from more mainstream brands, and go back to the individuality that it's so well known for. Also, in an interview with the vice-president Dickon Bowden for the Financial Times, he states that the Mayfair rent was too much, and although the Piccadilly Circus rent is just as bad, you get double the floor space. Rei Kawakubo and DSM are known for breaking rules and taking risks, so the move does make sense. The store is so well respected, and seen as a place not only to buy from, but to experience. It's almost turned into a social activity, just popping into Dover Street Market for some inspiration. I always feel inspired when I visit, in my own work and to boost my creativity. Also, seeing all the amazing clothes really makes me want to work hard so I can one day walk around head-to-toe in their brands.

This admiration means the customers are loyal enough to travel to a less fashionable area just to go there. In the Financial Times article, Adrian Joffe, president of CDG, says that the Westminster council didn't want it to look like a shop from the road, so they switched the entrance to the side; blocking the front with white egg sculptures. Those in the know, know that it's a whole other world in there, and others will be none the wiser that it's a store.  The building also used to be Burberry's headquarters, so there is some fashion history there. I think the new store is definitely more welcoming in it's atmosphere. I remember going into the old location with the intention to buy a CDG top, and having to be buzzed in, which really intimidated 17 year-old me.


https://www.ft.com/content/55c2141e-b488-11e5-b147-e5e5bba42e51 - Financial Times article, a really interesting read!

all images from london.doverstreetmarket.com