Designer Fashion Brands From Independent Designers
Brands and Labels
Brands developed as a ways of commercial stardom within the marketplace in the mid-to late-nineteenth century. The process of branding begins with the attachment of a name to a business, product, or a family of products, and involves the cosmos of an image for that business which sets it apart from its competitors. Brand image is usually disseminated through advertising, just the value of a brand generally resides in its reputation and the level of loyalty or desirability it can generate amongst consumers. In the fashion industry, a desirable make proper noun allows companies to bridge the gap between expensive, high-fashion garments and affordable mass-market goods such as perfumes, accessories, and prepare-to-wear diffusion lines.
Copyright, Patent, and Trademark Legislation
The emergence of brands is closely linked to the establishment of copyright, patent, and trademark legislation in the nineteenth century, as this immune companies to legally protect their names, and seek redress from their imitators. Many other factors afflicted the emergence of modern brands, such every bit the growth of new distribution and retail networks; the increased dominance of fixedpricing, the concomitant growth of the advertising and packaging trades, and the shift from local to national (and international) markets for consumer goods.
The way industry can seek legal protection for designs through patents legislation, which protects the unauthorized use of original designs for manufacture. It too benefits from complex trademark legislation, which protects the words, names, symbols, sounds, or colors that are used to distinguish appurtenances and services. Finer, this covers the use of a company'due south logo and make identity from both counterfeit and "look-alike" appurtenances, where the visual identity of brand is suggested rather than exactly copied.
Levi Strauss and Co.
One celebrated early example of branded clothing is Levi Strauss and Co., who incorporated many trademarked features into their garments (such as rivets and stitching) and gave proof of authenticity in the class of a patent and trademark "certificate" with each garment (later to be sewn on as a label). Authenticity is a central promise of branded goods, and the manner manufacture has used information technology to generate loftier cultural value in a world of rapid turnover, fluctuating consumer loyalties, and the seemingly ceaseless demand for novelty. Fashion branding has become synonymous with a late-capitalist consumerist civilization where it is the experience rather than the product that drives demand.
Developing a Make
Many fashion houses developed as brands through the do of franchising and licensed copying. In the period 1880-1914, couture businesses such as Worth and Paquin sold through an international network of department stores. In their attempts to cutting downwardly on illegal copying, they also sold reproduction rights to individual dressmaking salons. The copying of models was a fundamental part of the nineteenth century way merchandise, and designer "names" such every bit Worth would produce models specifically for copy by retailers in both Europe and America, in lodge to gain some financial benefit from this exercise. By the 1860s information technology was necessary for Worth to incorporate a house label into products, carrying the Worth name and address either stamped or woven into garments (labels were in plow copied by counterfeit producers).
This two-tier system of couture models and more accessible ready-to-wear lines bearing the same label was exploited by successive generations of designers, including Paul Poiret and Coco Chanel, who used it to build their international reputations. The "signature label" became a defining characteristic of twentieth-century manner, allowing fashion houses and named designers to attach their names to goods including mode, perfume, cosmetics, and fifty-fifty household products in guild to give these goods distinction. In this way, mode branding moved across the "naming" of a product into the creation of desirable lifestyle scenarios, which could supposedly be replicated by consumers purchasing even the smallest named item. During the 1930s, almost of the major couture labels including Elsa Schiaparelli, Coco Chanel, and Jean Patou successfully marketed their signature perfumes well beyond the market for couture.
Franchising
Franchising became a more widespread activity in the postwar period. Designers such equally Dior used the success of franchise agreements in the 1940s to underpin the more risky business of couture. In the 1970s and 1980s designers such as Paco Rabanne, Pierre Cardin, Calvin Klein, and Ralph Lauren capitalized on the value of their brands by franchising their names to the producers of housewares, accessories, and beauty lines. Some labels chop-chop became debased by the lack of quality control, and crossed the fine line from exclusivity to down-market ubiquity. Now that the practice is more than commonplace, it is also more heavily controlled by the presence of major global conglomerates such equally LVMH and the Gucci Grouping. Many brands, such as Donna Karan, have successfully created a family of brands or diffusion lines, each of which has a specific graphic symbol and target marketplace (Donna Karan and the various DKNY lines including Kids, Urban center, Sport, and Pure).
Influence of Sports and Leisure
Aside from the diversification of fashion houses, make culture has as well been driven by the expansion of the sports and leisure sectors into fashion. Despite its claim to be motivated simply by the needs of athletes, the global sportswear brand Nike has become synonymous with street fashion since its diversification in the mid-1980s. Nike's phenomenal expansion was besides due to its straight entreatment to a sense of personal achievement through its "Just Practice Information technology" slogan and highly emotive advertising. It also fueled overt make loyalty on the part of its wearers. The popularity of branded goods amongst closely defined "way tribes" has resulted in a profusion of goods where the logo is prominently displayed.
Building a Portfolio
By the 20-first century, investment in brand building has reached unprecedented levels, with many familiar make names reinventing themselves by the hire of celebrity designers and radical company overhauls. Fashion and luxury brands have been most affected, equally brands known for a particular product category (such equally leather goods) launch couture and ready-to-clothing collections. With a combination of business acumen and designer credentials, brand "auteurs" such as Tom Ford have transformed the fortunes of a company such equally Gucci in a few short years. Many private designers now work in several capacities at one time: creating their own couture and gear up-to-wear collections, producing a collection for another fashion house (John Galliano and Alexander McQueen accept both held this mail at Givenchy) and peradventure interim as consultant to a department store's own label (Betty Jackson for Marks & Spencer, Jasper Conran for Debenhams in the United Kingdom). These designers may take a chance their individual reputations on the success of named collections, just the companies backside them are at present multinational conglomerates, each with a huge portfolio of brands.
See besides Logos.
Bibliography
Clifton, Rita, and John Simmons, eds. Brands and Branding. Princeton, Due north.J.: Bloomberg Press, 2004.
Mendes, Valerie, and Amy de la Haye. 20th Century Fashion. London: Thames and Hudson, 1999.
Pavitt, Jane, ed. Make New. London: V & A Publications, 2000.
Troy, Nancy J. Couture Civilisation: A Written report in Modernistic Fine art and Style. Cambridge, Mass.: MIT Press, 2003.
White, Nicola, and Ian Griffiths, eds. The Fashion Business organization: Theory, Practice, Image. Oxford: Berg, 2000.
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