ART DIRECTION

1st semester:

- focusing on analysis of a specific brand (theoretical part)

Teoria online il martedì

Revisione a lezione il mercoledì

>> 1st December review of the project developed till that day

2nd semester:

- focusing on a project for the brand we analyzed in 1st semester

BRANDING (Brand management & design)

Basic concepts:

- fashion & communication: convey a style, a brand or final product

- It is also a marketing strategy, that thru styling takes forms such as: fashion collection,
photoshoots, publishing …

Evaluation of course:

- methodological consistency

- deepen of research & project

- rhetorical and relational skills

- critical thinking skills

- active & accurate participation

- ability to visualization & presentation

Art Director

- building brand and products mise-en-scene

- Create a clear visual language

- You can communicate: brands, products, collections (something that is part of the brand, but
changes every 6 months)

Communication (BRAND)

- brand is a perception (mood), not a logo nor a product

- brand identity (visual identity)

- product

- retail experience (physical design of space, attitude of sales assistance, music background of
store, services, smell in the store, physical & digital aspect)

- advertising (shooting, videos, ..)

- media (conferences & being part of society - ex. Stella McCartney and sustainability)

- events (ex. Fashion shows or something that involves customers and PRs)

A BRAND IS A COMPLEX SET

OF DIFFERENT ENTITIES
(TANGIBLE AND INTANGIBLE)
THAT CONTRIBUTE TO
BUILDING THE PERCEPTION
THAT CUSTOMERS HAVE OF
THE COMPANY. BUT NOT
ONLY

IDENTITY LEVELS
- corporate identity: the “persona” or identity/essence that represents the brand - the corporate
identity represents the philosophy and the personality of the brand

- corporate branding: multiple touch points of the brand (ex. quality of services, visual identity,
logo, events, packaging, … ) any tool by which the customers come into contact with the brand
constitutes a touchpoint that can affect perceptions of the corporate branding

- corporate design: visual identity, colors, typography … all the elements that represent the
official graphic design of the company

CORPORATE IDENTITY

CORPORATE BRANDING

CORPORATE DESIGN

BRAND

- mark+product+perception

- It is not only a visual sign, trademark, logo … it is WHAT PEOPLE EXPECT

- brand expresses the identity of the consumer

KAPFERER

ex.

IMPORTANT x BRAND
- work FROM LOGO TO BRAND IDENTITY

- and FROM VISUAL COMMUNICATION TO COMMUNICATION

- Definition of a strategy + development of concepts + project

- THE STRATEGY: definition of personality + mission + values

the creation or the selection of signs placed on a surface to communicate an idea

>> visual communication is everywhere

What is used for visual communication?

- to identify -
1. Establish the identity of

2. recognize or select by analysis

3. (identify someone/thing with) associate someone or something closely with. (identify with)
regard oneself as sharing the same characteristics or thinking as (someone else)

- to inform -
1. Give information to

2. (inform on) give incriminating information about (someone) to the police or other authority.

3. give an essential or formative principle or quality to: religion informs every aspect of their lives

- to advertise -
1. publicize ( product, service or event) in order to promote sales or attendance

2. Make - something - known

3. Archaic notify

ELEMENTS OF VISUAL COMMUNICATION:

- Images

- typohgraphy

- Signs

- Symbols

- Colors

- Space

>> all together create the perfect communication to send a message

BRAND ANALYSIS

Noi dovremmo progettare l’identità del brand con cui andremo a lavorare

(nel secondo semestre quando lavoreremo con i designer sarà questo il nostro compito)

Immagine coordinata - tema visivo che racconta attraverso un segno, una tipografia, oggetti,
immagini, personalità quella che è l’identità di un brand

>> watch logorama - win the Oscar for best cortometraggio 7 years ago

- Riuscire a traslare il linguaggio visivo come personalità di un marchio

- Tutto ciò che rappresenta l’aspetto visivo è ciò che permette di creare una connessione
immediata tra pubblico e marchio - al livello cromatico i colori aiutano a rafforzare l’identità del
brand, i colori sono molto più diretti e restano facilmente più impressi

L’unica cosa che fa distinguere i brand è la loro etichetta, quando si parla di falsi si tratta di
falsificazione del logo non del prodotto in quanto non è registrato come ex. T shirt - viene copiata
l’estetica

Ex. Chloe campaign : total look not only Chloe but also ysl

(STUDIARE COLLEZIONI VECCHIE)

Spesso vengono acquistati prodotti solo per il marchio visibile

NAMING

LOGO / LOGOTYPE - non dimenticare i cliché

- Trovare nomi facili da pronunciare, da ricordare e che da lingua a lingua non cambi troppo >
fare ricerca sul nome che viene scelto perché può avere un significato differente > ex. Algida ha
un nome diverso da pese in paese

- SIMBOLI : richiamo al prodotto - possono essere usati sia associati al logo che no

- ELEMENTI ICONICI : non rimandano ad un oggetto sono solo elementi iconici astratti > ex.
Nike: movimento dinamico

- ELEMENTI ASTRATTI : nike ex.

- COLORI : fondamentali per il rimando immediato al marchio > ex. IKEA: colori della bandiera
svedese

- TIPOGRAFIA : ho nome, simboli, colori, come unirli coerentemente? Si può creare un font
iconico da associare immediatamente

- 5 ELEMENT : oggetto, segno, simbolo che non sono parte del logo ma che possono essere
associati ad esso > Michelin, Disney, Twitter

- BRAND ID / TYPES :

ID STATIC > logo standard ex. Mitsubishi

TYPES > identità del prodotto sposata all’identità del marchio > ex. Nestle, Nesquik

ex. Adobe - uguale per tutti i programmi, cambiano i loghi e i colori in base al prog.

Unilever (azienda) : logo costruito con tutti i simboli dei marchi che possiede senza
mai andare ad intaccare l’identità dei relativi brand

LOGO - riesce a comunicare qualcosa, rappresenta un’identità (tutte le scelte devono essere
coerenti tra di loro, dai colori alla costruzione grafica al font)

“A LOGO IS LESS IMPORTANT THAN THE PRODUCT SIGNIFIES; WHAT IT MEANS IS MORE
IMPORTANT THAN WHAT IT LOOKS LIKE.” - Paul Rand

Un logo non vende DIRETTAMENTE MA LI IDENTIFICA - il brand

Il brand deriva il suo significato dalla qualità dei prodotti ai quali è associata, non viceversa

LOGO - deve essere semplice e facile da ricordare, il più possibile timeless, appropriato al
mercato di riferimento e all’azienda che si vuole trasmettere

K.I.S.S. PRINCIPLE - KEEP IT SIMPLE, STUPID!

Un logo per essere efficace deve comprendere determinate caratteristiche efficaci ed imminenti -
se all’interno del logo ci sono troppi elementi diventa confusionario

La pepsi a differenza della coca cola manca di identità di brand, la coca cola è riuscita ad
adattarsi ai tempi

Logo deve essere ADATTO (PROPER) al marchio e al prodotto

Qual’è il significato del simbolo relativo al prodotto? Lo deve rappresentare

ATTRIBUTES OF QUALITY

Solid compact:

1. simplicity

2. regularity

- contrast

DECLINATION

Creativity

FROM MONOGRAM TO ALL-OVER - succede spesso nella moda

Louis Vuitton - 2 anni fa ha cambiato packaging e lo ha trasformato in un elemento di

comunicazione

Sulle shopping bag si usa il nome non il monogramma - di solito -

Classico pattern Louis Vuitton con fiori orientali non fa parte del logo ma diventa l’elemento di
associazione al marchio - nel momento in cui si arriva ad ottenere il 5 elemento così valido e
riconosciuto a livello mondiale si può giocare con esso facendolo arrivare ad essere un elemento
di comunicazione : logo + monogramma > elemento narrativo: pubblicità 10 anni di collab tra
Murakami e Vuitton

Fendi da 3 anni a questa parte ha aggiunto un nuovo logo: the circle F, spesso usato negli occhiali

Il logo non deve essere sempre presente nel prodotto o avere sempre la stessa importanza

LOGO TYPES:

Che tipo di loghi si possono realizzare o esistono:

1. la parte testuale si equivale al riconoscimento del nome del brand - è difficile scorporare il
simbolo dal testo

2. Peso tra oggetto/simbolo e testo sono simili

3. Il simbolo è più importante del testo - diventa più riconoscibile

4. Il testo è preponderante a differenza del simbolo che diventa il dettaglio negli accessori per
esempio

5. Loghi dove il contesto scenografico può essere usato da solo per rappresentare il prodotto
ex. Martini

6. Elementi di testo che rendono riconoscibile il brand ex. Pirelli

7. Loghi descrittivi: fanno capire che tipo di prodotti vendono

8. Loghi simbolici: non necessariamente legati a ciò che si fa, sono più astratti

9. Quelli dove la tipografia è caratterizzante ex. Stussy: scritto in maniera street esattamente
come il brand per renderne l’idea

BRAND MANUAL

Regole grafiche del brand

Bibbia dal punto di vista grafico dell’identità visiva del marchio all’interno del quale ci sono le
regole che devono essere seguite per poter creare e strutturare un giusto logo:

- Spiegazione logo

- Come è nato

- Quali sono i colori da associare al logo

- Il font da associare al logo

- Cosa si può fare e cosa on si può fare, ex. dimensioni in base al luogo in cui va inserito

ex. Skype parte digitale 3D parte stampata più piatta - offre due font differenti per la versione
online e offline, non tutti i sistemi usano gli stessi font

Va definita la palette dei colori e che spazio deve esserci tra il logo e i testi - viene definito a livello
progettuale lo spazio che va usato - conseguentemente si sceglie il layout

Elementi secondari: Skype > nuvola - che ha definito il logo - sempre da definire la forma

Declino il linguaggio delle illustrazioni in base allo scopo: area studenti, famiglia, geografica

Definisco come inserire elementi di collegamento tra nuvola e illustrazioni e come poterli
associare, ogni servizio ha una palette di colori che vengono associati all’arcobaleno - con
determinate regole cromatiche

Bisogna far vedere come unire tutti questi elementi insieme: linguaggio fotografico

ART LOGO

Andy Warhol ha usato più volte vari loghi come espressione artistica

Massimo Gammacurta x Gucci

Tom Sachs x Prada

Fratelli campana x Lacoste

Meryl Smith x Vuitton

NEXT WEEK:

Dedurre le regole grafiche e di utilizzo del logo: VISUAL IDENTITY

- creare una timeline del marchio - storia del brand > come è nato, quando, come si è evoluto

- lavorare sull’analisi visiva: analisi logo, corporate colors, (corporate) font primario e secondario
se esiste: come e dove è utilizzato

- analizzare come e dove il logo è utilizzato : accessori, abbigliamento, scarpe, negozio,

shopping bags, biglietti da visita, immagini di inviti, sfilate, campagne pubblicitarie

BRAND: JIL SANDER

Iniziare l’analisi del brand dal sito

Cercare bibliografia

Presentazione : less is more - let it check to someone that does not even imagine what we are
talking about

Prima le regole dopo le applicazioni

Non inserire i fallimenti

Review

TELL a critic positive or negative

ASK a question

GIVE a suggestion

Io devo fare: come è utilizzato il logo all’interno degli adv + logo invitation

Venerdì ci si vede tutti insieme per briefing alle 15.30

20/10/2020

BRANDING
PRODUCT VS BRAND

Product identity - is real nowadays crossmedia

Talking about product : different types of elements > products, elements and experience

What market offers to the consumer

PRODUCTS ARE:

- Tangibile goods > like prods in a supermarket

- Intangible services > ex. Delivery for free - everything that is not bought by the consumer but
what can he use

Analyze the product offer by brand also looking at services or intangible types of aspect that can
be offered by the brand to the consumer

CONSUMER GOODS CLASSIFICATION:

1. Convenience goods > we shop very frequently - something we need and cost less,
widespread distribution - easy to find everywhere , mass promotion by producer - ex. Pasta,
soup or fashion industry underwear

2. Shopping goods > something we don’t need but we want - higher prices, selective distribution
- we buy it just cause we like it or we want it like shoes

3. Speciality goods > something we buy for our personal well being - exclusive distribution,
focus on a specific target, high price - ex. Luxurious car

PRODUCT DIFFERENTIATION:

- Product uniqueness and novelty - make our product different from the one of our competitor

ex. Hermes bags > uniqueness // Prada > novelty prods // Apple > stressing the identity of the
product to be always the best

- Product quality - ex. Chianti from Tuscany region

- Product design and attractiveness

- High performance to cost ratio - we can not define the quality with the price, ex. h&m jeans
quality and duration

- Form - size, shape, physical structure - ex. Hip hop swatches and swatch > one is working on
finishing and material while other on color and shape - try to develop your personal identity to
have a clear space in the market

- Features - supplements basic function - ex. Waterproof

- Conformance quality - each identical prod meets the promised specification and performance

- Durability - expected operating life > how long I will use that product without any problem

- Reliability and repairability

- Style - aesthetics > look and feel distintive and difficult to copy

PRODUCT BASED COMPETITION

FIVE BASIC STRATEGIES

ex. Honda > motos examples

2. VALUE

- new quality and values

ex. Apple - stress the market with something new

3. DESIGN

- aesthetic > Prada always propose new designs.

4. INNOVATION

- Technological and marketing innovations

- Either market pioneers or fast-followers

- utilize both radical and incremental innovation

ex.

5. SERVICE

- customer relations

- Physical distribution

- After sales service

ex. IKEA > always available for their consumers

THE LOGO IS THE REPRESENTATION OF THE BRAND

THE PRODUCT IS MADE IN A FACTORY A BRAND IS BOUGHT BY THE CONSUMER

A PRODUCT IS QUICKLY OUTDATED A BRAND IS TIMELESS

Important to understand the difference between the markets in the fashion system

FASHION PYRAMID:

Five levels of market segmentation

1. Haute couture - small number of consumers, high segment of fashion market, small
production > ex. Hermes, Valentino

2. Result of Italian creativity or poet a porter - brand of accessible luxury, use local supply > ex.
Prada or Chloe

3. Younger audience, affordable prices, second lines > ex. MIU MIU

4. Brand focusing the link between luxury and mass market segment, high level of quality and
design but cheaper > ex. Max Mara

5. Fast fashion , huge network supplier, they don’t produce their-self, they copy trends and focus
on services and distribution > ex. Zara, H&M, Gap

COLLECTION AND PRODUCT IDENTITY:

A brand has to be defined also for the product and the characteristic that make the brand
recognizable

Style of the collection - different occasion of use ( by the brand vision ) define the style of the
occasional use - the formal so work , the occasion so causal and the events so evening or
cocktail party > not all the brands are approaching the occasion of use in the same way > ex.
Prada different from Balenciaga

Day/work - Events - Casual >> has different patterns, shapes, texture:

ICONIC PRODUCTS:

A product that I am sure to find every season in different variations in each collection

ex. Max Mara > iconic coat that is always the same

ex. Stella McCartney > men suit - change season by season in terms of finishing or fits but they
are always present

ICONIC FIT/SHAPES:

- Over ( structure or unstructured )

- Loose - large

- Sartorial - fits perfectly the body

- Slim - almost a second skin

ICONIC COLORS:

ex. Stella McCartney white color

White palette always present

ICONIC MATERIALS:

If the brand use always the same type of wool or the same finishing of wool

ex. Missoni’s knitwear is iconic

- FUR FREE FUR iconic for Stella McCartney

ICONIC PRINTS:

If there are flowers or a specific print in particular

If they use the prints all over or placed

PRODUCT PORTFOLIO:

If the brand is producing ready to wear, bags, accessories, shoes, home stuff, …

All the products offered by the brand

NEXT WEEK:
Definition of stylistic and products codes:

Define: iconic products, fit/shapes, colors,

materials, prints, product portfolio

From each collection take the best

representation of what we are looking for,
take pictures from all over the collections

BRANDING
SPACE ID

Retail - luogo dove far vivere un’esperienza ai clienti

Esperienza: design dello spazio, interazione tra digitale e reale, servizi offerti: personal styling,
attitudine dei commessi, musica o profumo del negozio

Negozio > interfaccia fondamentale per il brand

SPACE AS A PRIVILIGES TOOL TO COMMUNICATE

Spazio > primo contatto di comunicazione con il consumatore

ex. viktor&rolf store in via della spiga a Milano - cambiava dal giorno alla notte

Esposizione negozio ispirata alla collezione “upside down”

Passava da negozio ad esposizione artistica

L’architettura e l’elemento dello spazio diventa un elemento riconoscitivo del marchio

- brand statement

Middle East > hanno la possibilità di sviluppare un edificio simbolico per il brand - è più
importante l’aspetto esterno che quello interno

Anni ’70 si è iniziato a capire l’importanza dello spazio esterno equivalente a quello interno

> ex. BEST us - 1972 collabs con Sydney and Frances Lewis + James Wines — non render tutti
gli spazi uguali, definire un’identità diversa città per città — ha alzato il livello culturale dell’azienda
in quanto aveva coinvolto designer
e architetti per la crescita
professionale della catena

> INTERVENTI: dai meno invadenti

ai più visivi e impressivi

( Margiela anni 90 - dipinse tutto di

bianco )

Fiorucci - no identità fissa: doveva cambiare di volta in volta in base al cambiamento che il brand
aveva

Fondamentale studiare la strategia di presentazione del negozio

ESTETICA:

- Total look : identity chiara e fissa in ogni nazione > Armani

- Personality : il negozio assume caratteristiche diverse di luogo in luogo

- Global : IKEA

- Neutral stage : apple > il prodotto è il focus dell’esposizione

- Entertainment : piccoli luna park - si vive un esperienza > Disney store

- Temporary : occupa uno spazio esistente cambiando il set up

- Pop up : creato ex novo

GUERRILA STORE

Realizzata da Comme des Garçons a inizio 2000 - occupavano spazi periferici lasciandoli come li
avevano trovati cambiando il set up utilizzando i materiali già trovati li per cambiarne appunto il
set up >> creava quello che oggi è definito HYPE x lo streetwear

> cambiava sempre in base al concetto

MOSCHINO:

irony words black/white game

Cliche degli italiani, manifesto di Moschino
legato alla ricetta

Elementi iconici: denim, righe, occhiali ray

ban, tema surrealista : mattoni con suit

Ironia tipica di Franco Moschino, usata

dagli inviti al coinvolgimento del
consumatore

Logo usato ovunque - dai tappi delle

bottiglie di profumo alle cinte alle shopping
bag

Simboli usati molto - quasi iconici : smile,

cuore - parte del prodotto come gli
occhiali a cuore, simbolo della pace

Lettering bianco e nero - altro elemento

iconico sul prodotto e sul packaging

Bon ton - headquarters > palazzo classico e antico: armonia spezzata dal portone e le tapparelle
rosse - elemento decontestualizzato tipo mucca o peluche posto all’ingresso

Negozi: elementi tipici, iconici, senza senso - decontestualizzato, fuori scala : ludici e giocosi

> colori: rosso, bianco, nero

— cuore elemento tipico

— rosso quasi disturbante

Elementi tipici realizzati in

grande scala, in particolare in
quello che era l’hotel una volta
esistente a Milano

Negozio oggi: shopping bag in

grande scala usate come
espositori, grucce giganti che
fanno da rella per reggere i
vestiti

Lo spirito del marchio è attualmente riconoscibile

Le vetrine di Moschino erano organizzate in collab con una designer coreana - Jo Ann Tann

Andare a vedere la vetrina quale tema rientrava all’interno del progetto Moschino, non sempre
raccontavano il prodotto — le vetrine sono diventate cosi iconiche e importanti che anni fa a
Mosca è stata realizzata una mostra celebrativa delle vetrine di Moschino che di stagione in
stagione erano cambiate - IDENTITÀ IRONICA

NEXT WEEK:

Analizzare spazi del marchio: retail - materials/colors/finishing

Concept del marchio

Elementi di arredo: shapes/design elements

Come sono usate le vetrine

Service/attitude del personale

Strategies/types : quante scale il nostro brand ha? Corners, pop up stores, temporary store —
come sono state fatte, se sono state fatte, in che modo, dove, con quale concept

BRANDING
ADVERTISING & WEB

How fashion brand:

- build the communication looking at the adv/visual identity of the brand

- Use the web to introduce the costumer

WHAT IS ADVERTISING?

Tool to open che target of the brand to new consumers

Send a message: stye of the brand or a product

ADV USE:

- to inform people about products and services

- To make brand names familiar > recognize the brand name to a specific product

- To give the company a “personality” > different types of testimonials

- To reinforce costumer confidence in his/her purchase > which will be the strategy to
communicate the collection, it will help the buyer to purchase a certain type pf product and
reinforce the brand identity — allow the costumer to trust the purchase

- To tell the public about improvements in products

Adv

PARTS/TOOLS

What we need?

- Topic around the product or service that will be advertised

- Images

- Copy > written explanation of the product

- Brand > name symbol whatever can help t show the brand identity — attitude of the brand or
the model’s

- Slogan > to involve the costumer in the brand > catchy phrase about the product

PRINCIPLES OF EFFECTIVE ADV:

Some concept that we can add one by one or mix them in different ways

1. Grab people — attention : keep the attention focused on the adv : some poses or story telling
that can be attractive

2. Be clever and creative : attract people

3. Speak loudly : the louder you talk, the more people hear you

4. Don’t make people think too much : show easy references, working on cliches — get the
message cross in a clever way, but it should not make people think that much. A person
should know what the adv is saying as soon as they look at it

5. Colours > that underline the identity, that make sense

6. Be informative — make up world

7. Stand out and memorable > adv should be unique, different from anyone alse — something
that people can easily recognize

8. Give off a feeling — what we can communicate : someone should be able to tell the
company’s tone by looking at an adv

9. Show not tell > try using a more visual of representing a concept instead of text

10. Use humor: use a metaphor > humor is a useful technique for attracting people to an adv /
metaphors can be a great way to add humor

Market by market the adv campaign should be changed

STYLES FOR ADVERTISING:

- slice of life : tell a daily lifestyle, quite normal and near to the final costumer

- Lifestyle : shows how well the product will fit in with the consumer’s lifestyle

- Spokesperon/testimonial : famous people that can be ambassador for the brand — features a
celebrity, company official, or typical consumer making a testimonial or endorsing a product

- Fantasy : no sense, humor, fantasy

- Real/animated product: make the product of the brand speaking for the brand (m&ms)

- Symbols : representation of a brand that become cult classics — diesel ex. Fake newspaper
with scandals focus on Joanna the protagonist choose as a tool to create new ways of adv

- Mood or image : builds a mood or image around the product

- Musical : conveys the message of the adv through song

- Scientific : to promote and explain the people the content of that specific product

ADV TYPE:

- product : where the product is the center of the concept

- Mood : storytelling type of approach

- Narrative : in the way that every season they add a slogan — new narratives to the already
existent philosophy

- Shock : ex, Benetton or Tom Ford

3 LEVELS OF ADV

Line between official and unofficial

1. Above the line — ATL

2. Below the line — BTL

3. Through the line — TTL

ATL

BTL

TTL

HOW AN ADV AGENCY WORKS:

STORYTELLING COLLECTION — FROM CATWALK TO ADV:

Fashion show: different types of product, host before the campaign comes out

When u start from the collection u have almost 40/50 outfit, you need to select them to
understand which garments and accessories u will feature in the adv

1. Represent the brand identity

2. Which products are the best seller x the buyer

3. Feedback from the press > which type of clothes or prod the press like cause they will use the
prod chose in the campaign

moodboard + styling + hair&make up + casting + photographer

3 types of shooting :

1. Ready to wear > dresses are the main protagonist — tell the mood of the camp

2. Accessories > bags and shoes

3. Eyewear/foulard

In which market the adv will be publicized — the shooting must satisfy all the request of the
market

LAYOUT : square or horizontal/vertical — singolar or double page

Possibility to divide the shooting in 1 or 2 pages

>> ex. Prada storytelling collection :

Wallpaper art project

Some mood video or mood catalogue called real fantasies - not existing anymore but part of the
brand identity

SS 2009

SS 2010 - fashion show background has been recreated in scale on the shop window

FW 2010/11 - background music was jazz that became the light motive of all the communication
tools of this collection

SS 2011 - Josephine Baker part of the inspiration for the styling of the collection - in the adv
models were asked to perform as they were Josephine Baker to re create the mood — it was the
prime narrative of the adv (shoots and fashion video)

SS 2012 - 50s mood almost like Grease vibes — adv: how they create a connection between the
period and the style of the collection also mixing with the use of the music that became
fundamental

WEB COMMUNICATION

Years required to reach an audience of 50 million people:

- radio /38

- Tv /13

- Internet /4

- iPod /3

- Facebook /2

New technologies — social media > most relevant channel to consider

Old media + mass media + self media - nowadays is a mix of all this elements

The internet makes people discover a new rate of exchange of information and new ways of
sharing knowledge

With web 2.0, users assume a new role: to users of information to stakeholders involved in the
generation of the information

New market due to social media

From the product to the consumer :

Product > packaging > distribution > advertising > consumer

From the consumer to the product :

Consumer > adv > distribution > packaging > product

The internet is the prime source of information for buy and sale a product

Internet is useful for a brand:

- generate new leads

- Expanding markets

- Creating loyal costumers

- To offer a better service

- Reinforce the branding

- Increase visibility

How to involve people/costumer:

Offer services or products not available in stores > ex. Customized prod

WEB EXPERIENCE:

- Express the history of the brand, the knowhow of the brand > how many sections there are?
Which is the first I will look at

- Quality of services : if and which types of services the brand offers and how the offer it

- Customization > exclusive online

- Celebration of the product > if the do a specific promotion for a product and how

- Exclusive experience > personal shopper, gifts…

- Membership > offering special offers, special products in this type of close costumers

- 3D effects

- Efficiency - nowadays is possible to have an open store 24h

NEXT WEEK:
Timeline of the most relevant adv campaigns - pictures

Attitude of the model > acting or just in pose

Elements that are always the same - colors, attitude, location neutral or not, one model or more

Which type of adv strategies are used by the brand - BTL / TTL / ATL

Create the perfect manual of the adv campaign

Online strategy:

looking at which type of channel the brand uses and how

Services > which and how

Social strategies > which type os style, narrative, …

FASHION STYLING AND COMMUNICATION

BRAND MANAGEMENT AND DESIGN: FASHION SHOWS as storytelling channel

to sell and promote a collection is necessary to see the clothes on someone, how they fell on a
body

Fashion show > fashion + art > performative art — people acting, people viewing, stories that are
narrated during the shows

COLLECTION - identity of the clothes > we need to involve journalist, buyers and so on in the
story telling of the collection

To do a fashion show there is the need of people and the receivers — we need to align the
message not only for our costumer bur also in general

THE SPACE for the fashion show became something important - it is about architecture, visual
spaces > background, digital narratives, scenography > a space created for the show especially,
archeological cites

FASHION SHOW : PEOPLE + SPACES + PERFORMANCES + TOOLS

— FASHION + ART > (ART)IFACTS

Soundtrack > relevant part in the design of an effective event such as fashion show, music can
involve more people

Lights > fundamental to see the clothes, make up, hair

Brand identity MUST be recognizable always, each brand has it is own personal way to present
their collection it can be with a particular background, a strong music, a theatrical fashion show

Which type of fashion show is typic for Jil Sander?

Analyze:

Set up - neutral, same location, they use scenographies, which type of connection there is
between location used and collection?

Music - which mood: rap, hip hop, techno

Invitations - are they particular, always the same

Storytelling VS product . Product oriented so classic fashion show

SHOW EVERYTHING WE FIND IN PICTURES to show him that is true

To understand how the fashion show is structured nowadays is important to understand how they
developed in years

FASHION DOLLS / PANDORA : fashion houses used to sent this dolls to the costumer with
clothes on scale to let them chose the way they wanted the dress : the material, the finishing, the
shapes

WORTH: uses his wife to show the models of the clothes to costumer

MANNEQUINS started to grow

POIRET: it was not anymore a small exhibition, he was showing clothes in his atelier creating
events, parties, theatrical events

G.B. GIORGINI: end of II WW - VILLA TORRIGIANI 12/02/1951 > fashion show was a sale and a
promotional event for buyers and journalist - the first to do a fashion show how is known today -
from Giorgini fashion shows grown day by day

’60 > THE EXPERIMENTAL FASHION

’70 > THE DEMOCRATIC FASHION - fashion as a democratic industry, location was more or less
one, everyone was showing in the same place

’80 > THE STAGING OF FASHION - the show was turning into something unique, spectacular,
involving special locations

’90 > FASHION PROFESSIONALS: fashion show became professional not naive anymore as
thought before - people could buy tickets to assist the presentation of the collection

— YSL fashion show presented in 1998 became worldwide known

TODAY WWW FASHION: fashion show are still relevant, they are not private anymore, they are
exclusive but democratic because you as spectator have the opportunity to follow the stream of
the show online

Fashion is part of the performance, fashion is the main actor of the performance that can guide
the collection

REAL SPACES: we need to improve the communication about the event - the connection
between collection and space chose to present the event is fundamental

ex. Fashion show 2007 by Fendi in the Great Wall > they showed, as they did also in Rome, the
power they achieve in terms of performance and on terms of evolution

ex. LV miho museum Kyoto / Rio de Janeiro

SCENOGRAPHIES: ex. 2013 Marc Jacobs “the weather project” or Chanel in the Grand Palais,
always the same space but changing for each collection the background

“PHYGITAL” SPACE: mix between digital and physical - ex. Viktor&Rolf or OFF-WHITE men’s
fw19/20 with green screen as background and physical objects in the scene, the show was
different for who was there attending it and who was attending it via socials

People: ACTING - performative or narrative

ex. Moschino theatrical fashion show, in the invitation there was the plot of the show

ex. Alexander McQuenn ss2004 recall an old movie of 1969 - it was understandable by the
attitude of the models and by the garments

More ex. Antonio Marras ss2010 / Alexander McQueen 1999 / Rick Owens / Kenzo 2011 40th
anniversary

VIKTOR&ROLF

Couture is not about to create beautiful clothes but meta-clothes

- big use of pandora dolls

- Scenographic and conceptual project

Fw 2010 collection - model stand in the middle and they were changing the shapes of the clothes
during the show to let people understand how suitable could be one garment - they wanted to
play with different fittings

BRANDING

EVENTS

Used by everyone - each type of market

Event is something that allow to implement the communication and open to a new type of
consumer while creating a deep connection with the consumer already known

PR — allow the brand to build and create a very clear communication > connecting the brand
with journalists, platforms but above all a connection between brand and final consumer

WHAT IS AN EVENT?

How we can define an event

It is an experience : it involves music, space, people, location, lights

We talk about the design of an experience — is a general term indicating the coming together a
number of people in one place, to confer or carry out a particular activity

> designed experience : created to achieve a given purpose or objective

Event is very important from the business point of view to spread the information about the
products and services to reach the target audience — through social medias it is way more
possible

EVENT OBJECTIVES

- Size of audience reachable

- Ability to reach the market

- Brand recognition levels

- Potential sales - BTL adv activity to sell if not directly but to improve the sales of the brand

Common characteristic:

- events has limited duration (few hours or days)

- An event must be unique - it does not happen often, it creates an attraction to the brand, it
creates a reason to be there

- An event need a purpose - to show something, to celebrate

- Events - complicated organization is required

- An event happen with a live audience

- People is the core of an event it is not just invited to be there, they have to take actively part in
the event - it is an opportunity to have fun, to connect with new people, to have something to
remember and talk about, to learn something, to experience a new situation

- A great event needs to be immersive, engaging and memorable - something that makes the
event unique and desirable

BRAND - A very clear visual identity must talk about the brand

Name, logo, color and image

Event needs a consistent look

Create immersive environments

Create something that is more an exhibition, not covering the wall with logo > using it in a more
sophisticated way

BRAND / OFF LINE

ex. Flower by Kenzo

They created an installation in different cities where people could take flowers from the field they
installed

BRAND / ON LINE

BRAND

Use visuals and environment to delight attendees and establish a mindset for the event

ex. BMW 7 series hourglass Moscow

BRAND

Great visuals can also live on long after the event is over

ADVERTISING STRATEGY

Message and media strategy - on line and off line - to create interest and reach target group
effectively

- How we can promote the event to the target, looking at the different types of consumers we
want to achieve

An event that gets talked about is an event people want to attend > ATTENDANCE=MONEY

MEDIA & PR STRATEGY

Media, press releases and conferences in pre-event stage

A conference to present the event, organizing the different aspects

TYPES OF EVENTS

1. FEW : According to the number of participants - defining it by the country, the situation, the
product promoted and so on

2. MANY as fashion shows

3. MOLTITUDE as maratons

4. ACCORDING TO FREQUENCY : one time - ex. Prada 24h museum for the Miu Miu fashion
show in Paris > they develop a system of event that can be both exclusive and open - they
used that space to do exclusive private dinners and parties and as a museum open to
everyone

5. MONTHLY OR QUARTERLY

6. SEMESTRAL such as fashion shows - as a commercial type of event

7. ANNUAL OR BIENNIAL ex. Biennale di Milano

Why create an event ?

ACCORDING TO PURPOSE

ex. Bastille Day parade created by artist Jean Paul Goude

PRINCIPLES TO CERATE AN EVENT

- 5 W AND 1 H CONCEPT

Why - reason that confirm the importance of the event

What - event objectives

When - determine when the event is appropriate to be held

Where - define where the event will be host > determine the appropriate location for the targeted
audience

Who - who are the consumer and the stakeholders of the event that can be internal or external,
who need to build the set up, the catering and so on
How - the organization resources to produce the maximum benefit for the brand

EVENTS LIFE CYCLE

1-

2-

3-

4-

NEXT WEEK

Define language and type of event Jil Sander does

If they do some particular events - did they take part of salone del mobile?

What makes jail sander events unique ?

EVENTS : ON LINE AND OFF LINE, TYPE, STYLE

+ foto set up artistic fashion shows - piante, calendule, coreografia sedie

BRANDING
STEP III

Dobbiamo creare un evento dove il marchio è presente come identità ma non come prodotto

Mettere il marchio al centro a livello empatico

Scegliere una di queste opzioni

come “tema”

Scegliere un’artista che rappresenti il

marchio, che sia in linea con la sua
identità

>> dovremmo decidere come e dove

verranno posizionati gli artwork
dell’artista

CREATE A BRAND EVENT :

- AN ART EVENT RELATED TO THE BRAND AND ITS STYLE

- FROM AN ARTIST AND HIS WORKS TO THE BRAND DNA

> 5 to 10 works from the artist must be selected according with the brand dna

Location : Hangar Bicocca

SPACE:

- Setting

- Light

- Finishing

- Colors

- Materials

CATERING: stile con il quale il cibo verrà messo in scena

Table setting

Finishing

Colors

Material

>> design oggetti — posate, bicchieri, divise camerieri (coerente con l’evento)

COMMUNICATION TOOLS:

Invitations — on / off line

Menu

ATL / BTL / TTL ??

EXTRAS:

- Music

- Gift + packaging

- Merchandising

FINAL PRESENTATION:

- pdf di tutto il progetto

- Book in line with the brand ID — graphic/material/finishing

1st STEP:

Brainstorming of the project

- define a moodboard that represents our vision of the event

- 5 keywords that synthesize the ID brand

- Propose 5 different artists that could be in line with the brand > search contemporary artists
starting from 1950s max — pittore, sculture, performance

- Show each artist in 2 slides (one as an overview and one selecting some artworks which could
be in line with your brand - from a visual, meteoric, chromatic point of view, and that could
express the keywords of the brand)

ex. artists —> Anish Kapoor, Tom Friedman, Yves Klein, Frank Stella, Eva Vessel, Tom
Wesselman, Tony Crag, Agnes Martin, Richard Serra, Lucio Fontana, Yayoy kusama, Damien
Hirst, Jeff Loons, Ian Flavin; Tom Sachs; Giulio Paolini, Vettor Pisani, Barry Mcgee, William
Kentridge

— percorso espositivo che racconti il marchio : parte allestiti fondamentale

STORYTELLING
Through various aspects

How a brand can create his identity and how to transmits this identity through an event

1997 first ss collection

1998 launch of bags and footwear collection

2000 first open flagship in London

2001 first flagship in Milan + launch of jewelry collection

2002 men collection

2013 joint venture with Renzo russo

2016 Francesco Risso new creative director

Marni can be defined as a brand made for independent, cultural, luxury people

Use of fur or leather is predominant — the study

behind these materials is really high and deep

TEXTILE RESEARCH AND FINISHING +

SPERIMENTATION are fundamental parts of the
brand identity

Traditional material in an innovative way >

They started doing adv in their 20 years of

anniversary

Marni communicates through:

- stores (100 in the world) with strong

design concept

> art gallery approach in each store they

own — always same metal element to show
clothes - changing always the finishing

- marni.com a unique website with marni

vision that includes both shopping and an
overview information about the brand

- Anticamera

- Events

- Innovative use of traditional materials +

art collaborations

- Fashion shows - very well known for the

 sophisticated and simple set up (always on point)

- Special projects - special issue for le figaro

- Adv: model’s face almost never shown , don’t want to connect a specific face to the brand

Salone del mobile

2012 > l’arte del ritratto

2013 > in collab with castello di rivoli - 100 sedie

2014 > animal house

2015 > mercado de paloquemao

2016 > ballhaus

2017 > playland

Engaging people in different ways

20th anniversary : Marni prisma — celebrated marni’s costumer

Main event :

1. Flower market - one day event in September 2014 in rotonda della Besana, Milano

No product of the brand were sold - they wanted to involve people and let me experience the
marni vision

2. Roof market - Hong Kong 2015 - something special but informal and not too complicated

3. Blossom market - Tokyo apr. 2015

4. Becoming marni - Venice may-sept 2015

Marni market transform into a marketing strategy that was available also on the website

5 P’S OF ORGANIZATION EXHIBITIONS

- place > not all the events are for all the cities

- People > all the people we need to organize the event from inside to outside people

- Partnership

- Promotion

- Price

DEVELOPING THE CONCEPT

Define an event that must be unique in its style

Something that involve the consumer such as the people attending the event

A good exhibition project is such a project if it is:

1. Distintive

2. Different

3. Focused > which is the topic of the event?

4. Understandable > perceive a different level of content from a simple to a more complicated
level of contents

5. Clear > the concept, the content, following a story telling that makes clear the exhibition

6. Coherent > to the identity of the brand

7. Adeguate

8. Well communicated

4 things to consider:

- Audience

- Teamwork

- Creativity

- Collaboration

Project objectives :

- mission > celebrate the identity of the brand in the most unique way

- skills

- Uniqueness > memorable, not easy to repeat, express in a clear way the identity of the brand

- Target > which type of people, day or night event

- Tone of voice > serious, fancy, are they using official or unofficial channel

- Communication

- Extras

Exhibition structure

Type of narration/disposition

AUDIENCE AND COMMUNICATION

Target?

How many people?

Which structure : formal or informal?

Seat dinner or buffet?

7 phases:

Clear press release > chose photos that journalist can use

Adv > which type of adv strategy will suit better for the event - ATL, BTL, TTL

Experience > how to use the set up, the colors , and so on…. to let the costumer enjoy at the max
his experience

Departure + memory > give something to the consumer to be remembered by

12/01/2021

Case history: PRADA

To understand a brand is necessary to start from the history

Prada was founded in 1913 in Milan started as a luggage and bags brand

Typical Milanese upper class type of brand

After II WW they turned into a Milanese brand, only for city wasn’t so famous around the world

Since Miuccia met Bertolli around 80s the brand changed route - the new approach comprends
the nylon mixed with leather, so mixing “cheap” product with an expensive one

1978 started with leather accessories and shoes collection

1983/86 new retails opened

1988 first woman collection

1999 they acquired church’s, car shoe, Jil sander

2005 first fragrance has been presented - their identity became strongest on the market only in
this moments a brand establish in more sectors

Being a lady is part of the identity of prada - also if the approach is always new and innovative

SKIRT one of the most important and ICONIC element in prada aesthetic

Iconic material is leather and color is black

Research of materials is fundamental in prada collections - creating always an unexpected

association of materials and colors

Prada can be defined:

TYPE OF COMMUNICATION STRATEGY:

Commercial - EPICENTERS are hybrid spaces > multifunctional types of stores, can be used for
exhibitions as happened when they collaborated for the costumes of the great Gatsby

> NY store as example or TOKYO where the facade is all in glass or LA, in Bergamo with the
collab of Tiziana Fausti where the shop has been open for 24h, Macau

Fashion shows - second level of event strategy used by Miuccia Prada

every time they try to connect the collection with the set up of the runway

Cultural - sometimes they focus only on exhibitions and cultural experiences

Such as:

- the Valencia party in 2007

- the 24h museum created during the Paris fashion week - cause has been used firstly as set up
for the fashion show but also for the dinner after the show and the day after turned into an open
museum to the public

- the transformer (cause changed shapes) a pop up building in 2009 in Seoul a 6 months event

- the Prada double club in Miami > involve people to tell something, through space, lights, music

SPACE SET UP AND STORYTELLING

Space and installation issues:

5 types of spaces, locations requires 5 different types of set ups

1. WHITE QUBE CONCEPT - freedom of content/design/concept

It is a neutral space, were modern or contemporary architecture is used

ex. Neue Nationalgalerie, Berlin

2. Limited freedom of content, design freedom

Neutral but prominent space, were modern or contemporary architecture is used

3. Freedom of content, limited design freedom

Space constraining pathway - historical, modern or contemporary

4. Freedom of content, limited design freedom

characterized space

5. limited freedom of content, limited freedom of design

characterized space, historical architecture

ex:

Hangar bicocca, Milan

Neue Nationalgalerie, Berlin,

Palazzo Grassi,

Sala delle Cariatidi in Palazzo Reale (almost destroyed after II WW - there was no restoration, the
idea was to leave everything as it was after the bombs)

Palazzo Fortuny, Venice

Which type of design, experience we want to create

Which type of element would be stressed for our exhibition

“Stressing” the concept focusing on the set up

Design a space to reinforce the story telling

How we can create as a communication tool

Savage beauty exhibition - celebration of Alexander McQueen

> set up was part of the story telling, each session was divided into each part of the path that
Alexander McQueen has developed in his life

EVENT VISUAL IDENTITY

Define:

Communication strategy - invitation > how I will communicate the event?

Storytelling that will developed through visuals

Communication event:

Different levels of
communication

INFORME

MOTIVATE

INVITE

Press release to
present the event to
the press so that it
can communicate
the event before and
after

Adv tools to
promote the event

ATL/BTL/TTL

Visual language of
the event

Case study 1

Valentino re-signify

In Shanghai

> mix of celebration of the brand in terms of product and defining a mix between art, fashion and
the brand itself

> red as main color (main color of the Maison but also for Chinese culture) + black, white

> diff experiences room by room - re calling the different inspirations of the brand

> 2 rooms - iconic elements of the brand

> always same type of font

Case study 2

Tiffany&co vision&virtuosity

In Shanghai

> promotion: short videos showing the concept and then the different areas of the event

> concept + work in progress + different rooms of the event

> entering the “color” and the world of Tiffany

From a strategy point of view also if it was a private event they did define a branded
communication so the focus was on the color, the diamond, and a very clean font

Case study 3

Chanel mademoiselle privè (still going on from 5 years)

In Shanghai and Tokyo

> adapting location by location to the place where the event has been set up

> storytelling almost the same - they changed the artist or the musician

> storytelling as iconic element of the brand

> entering following 3 different paths - haute couture, Chanel 5, artists

> red as part of the set up

Invitations:

Case study 4

Miu miu club

Paris 2016

Soon after the fashion show

Also to promote the new fragrance

> same location of the Prada museum h24

> disco type of font - 70s aesthetic

> also created the clothes x the staff

Case study 5

The Miu miu London

> Private event

> Woman club - talking with women artists,

designers and so on

> folder with invitation + explanation of the event

> pop up also online

COMMUNICATION STRATEGY

Tools (online/offline)

Timing (time table)

Create the brief

COMMUNICATION DESIGN

EVENT IDENTITY - graphic mood board of the event using references (starting from the brand and
the artist selected) and graphic element that can express our vision of the event

Example:

VISUAL ID
CASE STUDIES

Why we use visual communication:

To inform

To advertise

To decorate

ELEMENTS OF VISUAL COMMUNICATION:

Colors > most relevant element to take attention

Typography > font - how and when we will use the diverse fonts selected

Images

signs + symbols

Before create the general concept > then analyze it

Layout

LOGO:

attributes of quality

contrast

reproducibility

legible

reduction

Declination

DEFINE VISUAL RULES OF THE EVENT

Next semester:

PRESENTATION OF THE DESIGNER + 2 GRAPHIC MOLDBOARDS X EACH DESIGNER