Fashion Media and Communication - Essay Example

Fashion Media and Communication. al Affiliation) Key words: Post-Digital Communication, Culture Industries, Global Fashion. Fashion Media and Communication. Evidently, the fashion and the media industry have over the recent years taken a leap from just an art to business circles. On the same point, it has in every way modified itself to make the necessary improvement as an industry. Furthermore, fashion as an art has been recognized as a platform for advertisement. Apparently, the creativity surrounding the fashion industry though has largely been ignored, while in actual fact, the form of communication to enhance it has not been fully understood. Therefore, in a bid to investigate the fashion media and its complexity, we have to check the following topics (Flew 2012) 1. Post-Digital Communication Essentially, for my investigation, I’ve decided to focus on the dazed vision described as the “in house video arms”. Notably, dazed vision came to being in December 2012. Most notably, the Vise Media; a globally recognized digital media; acquired the British style bible i-D. It is worth noting that this move took the online world by storm and established a new experience in the digital communication through video-driven experiences. Apparently, this innovation was brought about to counter the changes experienced in the young fashion industry. In addition to that, the fashion industry has been crowded with more than enough outdated media used in communicating with the consumers. Notably, the new launches thus demonstrate how the media landscape is radically reshaped each day by the dynamics of the internet. Furthermore, these dynamics have modified the content and how it is being advertised to the targeted consumers (Flew 2012).It is important to note that the industry, especially the fashion industry, have to change their ways of staying competitive in the market. On the same point, this competition has therefore brought about innovation in a manner that the most innovative company attracts both the investors and the large base of customers. On the contrary, there are several important factors that can be used to give a detailed definition of the dazed vision, namely: It is Video-driven Statistical evidence shows that by the year 2017, the online video interaction will be attributed to about 70% of the total internet traffic (Book 2009). Apparently, the online video consumption gets to advance each day as the spread of broadband internet, wireless interactive platforms and sites like YouTube where the consumers are able to share videos and get advertisements all through. Going by this, the dazed vision launches are both centered on the video interaction. Furthermore, Jefferson Hack, founder of the i-Dazed group said that “video is the future...” He essentially meant that video is the form at which the modern word is able to convey its stories. Notably, when they launched their video strand called the ‘Visionaries,’ a strand that will be running through 1 year, their main purpose was to give the videographers a chance to achieve recognition. Initially, the privilege was on the magazines and photographers whom in the 1990s and 2000s enjoyed their art and reaped the benefits due its handsome payout. Evidently, since the generation is changing and the technology advancing, video is beginning to take the place of print and photography. Consequently, this has been noticed as evidence shows that since the launch of the program by Dazed Vision it has attracted over 525,000 active users monthly (Book 2009). In addition to that, this video art has focused not only on music but also sports, arts and technology. In line with its potential value, 5% of the company has already been bought by 21stcentury fox for 1.4 billion dollars (Book, 2009). Rupert Murdoch, the owner of the 21st Century fox quickly pointed out that through video one can get more time to interact with people through telling stories. On the other hand, the potential value of the video for marketing and advertisement in the Fashion industry has not been a great beneficiary. In actual fact, this has largely been blamed on the poor distribution strategies and the onset politics surrounding the industry. Moreover, the industry has failed to capitalize on the video advertising opting to photography as their mode of advertising. However, uncompelled and inexperienced photographers are further hindering their progress in the market (Breward, 2003). Furthermore, in fashion the use of video has to be one-dimensional and the artistry isn’t really conveyingthe stories that people can relate to and talk about. On the same note, the video is a differentiator and has thus experienced difficulties in its success. Apparently, the fear of failure to take risks has been the main source of the industry’s failure to embrace the technology. In addition to that, the industry has focused on the protectionism where they protect the magazine business and the incurrent cost though on a smaller scale. It’s Branded Content and Distribution Deals Apparently, the brands i-D and Dazed Group aim at reaching the young customers whom nowadays spend their time online. In addition to online marketing, both current and traditional, the group plans to monetize by mixing branded content and content licensing deals. Essentially, they aim to capture the emotions of the young through the video and genuinely connect with them. In fact, Amaratunga confirmed that they are working with an agency called White label to enable them to improve their video standards on both white label and co-branded projects. On the contrary, the ability to work across the branded and editorial content gives this group the output uniqueness necessary to reach greater audiences across the globe. Furthermore, the group has also been able to work with TV stations like Channel 4 and Arte (Germany) broadcasting, in publishing and distributing for them. In addition to the standard advertising, the dazed group and the i-D are focusing on reaching out to the fashion industry as it is relevant to the young community. This evidently is a target they desire to place much of their focus. Evidently, among many other brands, the company is working equally placing efforts on Nokia, Mercedes-Benz and Kenzo where i-D is debuting MIA’s new video for Y.A.LA. It is worth noting that the i-D is also focused on generating revenue by licensing its video contents. On the same point, Mr. Creighton of i-Dazed says that the company is also focused on starting other platforms when they succeed on the current one (Posner 2011). The Platform-thinking Notably, the sole purpose of i-Dazed is currently reaching out to the consumers. On the same point, headed by the Alastair McKimm, a company is to be opened in the US as a start of the expansion project by the I-Dazed. Owing to the fact that the group is focusing on the future, i-dazed is constantly on the lookout for new trends and fashion, researching on consumer as well as taking note of future eventualities and acting upon it in the present. It is clear that one may ask how this project differs with other media like magazines. Incidentally, the media acts like pipes feeding information from a source to the audience. On the other hand, the platform is a level ground where the consumers and the producers are on the same level.It is also economical as the staff is lean and depends on the contributors and freelancers to extend the domain in a larger scope (Posner 2011). Apparently, one of the best ways to understand the magnitude of the platform is that it might be able to explore magnificent photography. This is in reference tovideos that have been lying around for decades. Notably, this is possible because rather than looking for information and advertisements, it’s brought to them through contribution and research. Subsequently, evaluating the Dazed Vision strategies, we can say that the achievements obtained are beyond measure. Incidentally, considering the fact that it is a strategy that is new in the market. Consequently, those willing to take the risks are the ones able to rip the benefits in a good way. It’s one of the best ways to explore the market. 2) Culture Industries Apparently, in my investigation of the ICA, I came across the interview of the president of marketing, Adrian Joffe. On that note, the interview was to state the importance of the ICA, the site and the methods employed to reach their audience as well as the techniques employed they act to bring to the market closer(SAGE, PR. 7). An in depth analysis of the interview reveals the following intricate point. Foremost, ICA said that the creative synergy was important in enhancing the idea behind Dover Street Market. In this regard, he goes ahead to say that the 18 years that the building has been occupied by the ICA confirms how important it is to the history of the ICA. In addition to that, Rei Kawakubo mentioned earlier that the underlying ethos of Dover Street was a ‘beautiful chaos’. In response to that, Adrian Joffe stated that the project fits the quote perfectly. In explaining that fact, he stated that the work ethic of ICA as a company involves risk taking. Furthermore, they don’t entertain unethical behavior nor do they practice it. On the other hand, Adrian answers the question on the Comme des Garçonsposition on fashion as an art and what they have in common. In response, he states that the company is just a fashion creation company. Moreover, the company doesn’t see the space between art, design and architecture. In fact, the main borders between these categories have always been manmade but those exploring them seem not to see the difference. Bearing in mind that an artist does not create art by concerning himself with definitions or the boundaries,it therefore results into an excellent end product On answering a question about contemporary inspirational art, Adrian declined to name any. He otherwise named the different masterpieces around cities like Miami and Gstaad as some of the most exciting. What’s more, he says that there are more arts in the world to be explored. For instance places such as the backstreet in Istanbul, Johannesburg and Valparaiso have more to offer in terms of exploration. Notably, every business has a futuristic idea, but according to Adrian,DSM is already attending to theplan. After opening their New York branch, their foremost plans will be towards it stabilization before deciding on where to venture out next. He points out London as the only city they might want to explore. In his mind, he imagines that attracting customers in London is easier due to the cultured population. Furthermore companies such as ICA spent their time and resources in London and a year after they are enjoying their success story.(Gurevitchn,1982). Fig 1.1 and 1.2: showing the ICA and the DCM creations. Shifting focus on another culture industrialist, we investigate Justine Simmons. He is the mayor of London and also a cultural enthusiast. In her project ‘One & Other’ where she worked with Antony Goumey, he describes her as ‘glowing’. He goes ahead to postulate that she is fresh of ideas in addition to the zeal to work hard and fulfill her goals. Evidently, hers is a story of enthusiasm because at a certain time in her career she spent 6 years building the British Fashion Council. Earlier in her life, she had always been a dancer. All through primary school, she had been dancing in events and parties. Coincidentally, it is through dancing that she earned her first job at Nottingham Playhouse in the early nineties. Ruth, the director of the 2012 Olympiads, confirms that Justine had written a brilliant application despite the fact that she wasn’t a dancer. After she was picked to join the group of dancers, she worked harder than anyone else. Years later she is the senior events officer of the one of the largest cities in the world. She has been able to replicate her passion by proposing the building of The British Fashion Council. Furthermore she is passionate about the London culture and some time back she opened the Pearls exhibition. On top of other jobs, she has a100 euros project of building a Garden Bridge complete with trees and flowerbeds (Gurevitchn 1982). To make sure that funding the Garden Bridge won’t be dished from the taxpayer’s money, Justine has to advertise through campaigns and wait for funds. The bridge is an icon of their culture and the revenue that would be collected after its completion would surpass the efforts that have been placed on it (Hunter 2012). It is worth noting that, some of her other projects was staging the London 2012 festival. Incidentally, it was the most ambitious outdoor festival London had seen. She tirelessly promoted the art abroad and locally redefining what the public thought of culture. With her budget of 11 million dollars, 9 million dollars goes to the museum and she has to budget to acquire the height she aspires (Flew 2012). By analyzing the two cases, were can be able to understand the effect of culture to the society. Taking for instance the ICA project, it’s a project concentrating on culture. On the same note, the Adrian project has been around for decades. By perfecting the art, they are able to bring smiles to people as they pay to watch the pieces of arts. On the success of the arts and culture, talent is essential. In summation, the project is executed in the London squares and do not cost the same amount as the dividends it is going to accrue in the long run (Hunter 2012). In Justine’s case, the championing for development of culture is her sole course. She has been developing the city’s culture and arts. Moreover, the success of London 2012 tells everything about the benefits of advertisement and effort. As a result, the city of London would be proud of her and the efforts and what she has done for the city in the years to come. London Fashion Week Theodore Eylett Collection: In the wake of the British Fashion Council’s London Fashion Week, the organizers IMG had already marketed and advertised the Show worldwide. The worldwide promotion was done through social platforms including Twitter, Facebook and Google+. Additionally, Vine, a twitter application available for IPhone and IPad made a strong introduction to the fashion industry last winter was also on the ground with colorful pictures (SAGE 2014 Pr. 9). This year fashion show was able to benefit from the new ‘pop up’ app that was launched the previous week. It is an interactive app for the mobile user where one is able to hover the mobile phone camera above a picture of the human being in a magazine. By doing so, the pictures URL is imprinted into your web browser and you are able to watch the video and interact with the person in that picture (SAGE 2014 Pr. 13). Further advantage to the fashion designers was the Vogue Magazine presence in the area with their journalist all over the place to capture the amazing fashion designs. And talking of journalists, the BBC and the CNN crew were also present and broadcast the events live. During this year’s London Fashion week, a new fashion designer had emerged and stood tall above the rest. Theodore a Bahamian designer had a brand that was not so much recognized in London, therefore presenting it in London was the perfect way to get his brand in town. So what was so distinctive about his product? Well for according to the judges, it was the most original masterpiece with a pinch of genius in it. He named his collection the Orchidnized Chaos collection, but don’t be fooled it wasn’t chaotic. On the contrary, this collection comprised of a vivid colorpallet that was in his words ‘inspired by Yoruba Egungun masquerade’. In addition to that, there was a bright cobalt, aurora and a crimson red as well as a mauve mist piece dominating the collection. To top it off, the collection was curated in an expertly manner to reflect the dichotomy of the orchid-not only delicate but structured as well. Moreover, all these color and material combined the juxtaposed patterns, prints, colors and texture to make them resemble an organized chaos. “Theodore knocked it out of the ball park, it was by far the best collection around” claimed Derona Moss a London resident who attended the show (SAGE 2014 Pr. 14). “Theodore stole the show like it was a breeze. I’m proud of him. He is going places for sure. He only needs some big investor and soon he will take the next big step” said Keneea Linton-George, a Mission Catwalk Executive Producer. Well in a fashion show like London, one gets the opportunity to show case his/her brand. This is usually one of the places where the media coverage is at an all-time high in regards to fashion. Furthermore, the event is populated by big T.V stations such as CNN and BBC who broadcast the events live. In addition to that, magazines such as Vogue presently take photos up-close for the magazine customers (Flew 2012). Theodore said that he just has a high-end boutiques in Jamaica and two in Bahamas who are interested in his collection. This is a step towards the right direction and sooner I bet his collection will be in the UKs best boutiques. There are several advantages of brand recognition in London and Europe in general. First and foremost, people in London are fashion crazy, by this I mean that they love fashion. It has been known that any new trend in fashion is going to be appreciated in London. This is an opportunity, as Theodore puts it, to present the collection to the world. The population in London is large in comparison to that of the Bahamas and Jamaica. With this therefore, if just a small number adopts this collection, then the profits will be better than what he anticipates back home. Besides that, the London’s culture of trendy fashion will boost his collections value. Apart from the fan base in London, the advertisement opportunity cannot be ignored. With live TV crews and respected magazines present in the fashion show, the opportunity to attract investors is high (Flew 2012 pg. 74) Photos: models posing the Orchidnized Chaos Collection. Personal and Professional Development (PPD) Throughout the research, I have been able to learn the various forms of art and their modes of translation to the public. First and foremost, I studied the digital communication, a modern art of relaying information. In this forum, I would like to point out that digital communication is the most complex medium of communication. Besides, the method is defined by the kind of audience one is aiming reach. When you are addressing the youth, you have to use a more exciting mode of communication that is modernized better than when addressing the old. As a result, the artist has to have the mental creativity of when and where to use a certain method to maximum effect (Gum Brecht, 2003 pg. 9). Walking through, I studied the culture industry; one of the most appreciated topic in the globe. When going through the ICA, the artistic portraits are unique and those who appreciate it are those who have been affected by it emotionally and psychologically. The artist works in a way that only he understands to convey what is on his mind. Apart from that we can also see how wide the culture industry is by pointing at the works of Justine in the London 2012 and also the Garden Bridge. It requires both money and effort to accomplish such tastes. The perfect work of art requires both time and space. Apparently, the uniqueness of existing works determines the history of the piece of art. Moreover, it’s the organizational mode of assignment that makes the people in the earlier years that determined how those pieces are viewed today. Take for instance the ‘Mona Lisa.’ It is a unique piece of art that took a lot of time to perfect and its magnificence known to this date(Gum Brecht, 2003 pg. 7). Evidently, throughout this report, I have been able to bring out the several topics in the culture and art territory. In addition, the various modes through which the art is advertised are unique and distinct. For instance during the nineteenth century, there was a dispute between painting and photography with people claiming one is more superior to the other. Coincidently, in this century there is a dispute between photography and videography.Even though both are unique, there is no denying that both are magnificent pieces of arts in their own ways. As an artist presents his design, the way he presents it is what defines the art.Taking the case where an actor is on the stage; he tries to define his art of acting. When a painter is drawing, he presents his art in a different approach (Gum Brecht, 2003). In my opinion, there are many other forms of art that can be mounded to perfection. In this generation, it is possible for one to draw via the digital gadgets like the computer. It’s also possible for one to use different ways to market the arts after they are through. Nowadays one can involve a work shop to introduce his works of art to the market. In conclusion, I believe that as long as there are people existing in this world, then art will live among them and evolve every day. Work cited Gum Brecht, H. U., &Marrinan, M. (2003). Mapping Benjamin: the work of art in the digital age. Stanford, Calif.: Stanford University Press. Flew, T. (2012). The creative industries: culture and policy. Los Angeles, Calif.: SAGE. Breward, C. (2003). Fashion. Oxford: Oxford University Press. Hartley, J. (2005). Creative industries. Malden, MA: Blackwell Pub Book, I. (2009). The arts. Chicago, IL: World Book. Benedict, R. (1934). Patterns of culture. Boston: Houghton Mifflin company. Seitz, W. C., & Price, M. (1992). Art in the Age of Aquarius, 1955-1970. Washington: Smithsonian Institution Press. Meyer, L. B. (1967). Music, the arts, and ideas; patterns and predictions in twentieth-century culture. Chicago: University of Chicago Press. Hunter, N. (2012). The 2012 London Olympics. Chicago, Ill.: Heinemann Library. Hughes, R. (1997). American visions: the epic history of art in America. New York: Alfred A. Knopf. Riello, G., & McNeil, P. (2010). The fashion history reader: global perspectives. Milton Park, Abingdon, Oxon: Rutledge. Gurevitchn, M. (1982). Culture, society, and the media. London: Methuen. Ess, C. (1996). Philosophical perspectives on computer-mediated communication. Albany: State University of New York Press. SAGE: Current Sociology0011-3921, 1461-7064. (n.d.). SAGE. Retrieved March 13, 2014, from http://www.sagepub.com/journals/Journal200820 Posner, H. (2011). Marketing fashion. London: Laurence King. Read More