Colette, Paris Shop Report

By Gabriella Collins

When walking down Rue Saint-Honoré, in Paris, you would not necessarily notice Colette by the building Its set within; unlike with many of Paris’ famous department stores. Colette instead, is rather noticeable by both the cluster of excited people hanging around outside of it as well as inside of it; and perhaps with a few high end Parisians snickering at both these excitable tourists and fashion students eager to investigate.

Before visiting Paris however, I had imagined Colette to be a much larger store than it actually turned out to be. To be honest, I did not know what to really expect as I had never been to Paris before, although from my experience of department stores in England as well as a few other countries, I was not expecting one like this.

Nonetheless, its seemingly limited space, I found added to its quirky, uniqueness and I felt keen to explore.

As soon as I walked through the doors, the smell of coconut took me to a place of sand, sea and sun. This was maximised by the calm yet eccentric and upbeat music playing, which also reminded me of summertime and youth. The whole ambiance created within the first entrance of this store brings people immediately back to their youth, and with the simplistic white walls and glass fixtures; the bright energetic colours from the knickknack products displayed are made centre of attention. Books, magazines, hats and accessories at the front of the store are conveniently displayed there so that tourists are able and can afford to purchase something to feel a part of Colette.

The store showcased select items, alike with the male clothing rails on this entrance floor which adds the feeling of desire to purchase something from this famous and one of a kind store.

One thing however, I did find slightly bizarre, was when there seemed to be quite a large queue of people, queuing down the stairs to the lower floor. Although I then found out that there was a restaurant on the lower floor, which made the place seem more like a department store, however still feeling fairly cramped and overcrowded. The queue, in my perspective, made the store feel more exclusive and desirable.

Eventually on my way upstairs, I was surprised to find that people were unable to take items around to other floors, as a friend was stopped by one of the assistants whom said he could keep it back for him until he returns to the floor. This to me, made what I thought a youthful, and energetic place slightly more sour and restrictive. I began to think to myself; Is Colette a youthful, up beat store with parental control and supervision?! If so, then it’s not working well for their customer service skills.

The music continued from this floor up to the third floor, which kept the place up beat compared to the service, I particularly admired the layout and the way in which designer collections were displayed in rows on white mannequins. I enjoyed looking closely at the amazing detailing in the clothes as well as working out the designers inspirations. We were able to take photos however, we were told (yet again by the shop assistants) not to take photos of detail and close up, which again was quite uncomfortable. But fortunately the clothing shone through, acting more like an exhibition for designers rather than a department store. From Givenchy, to Mary Katrantzou, I was fascinated by the fabric usage, silhouettes, shapes and techniques used in these garments and collections.

The one item per garment on the rails made like a flip book of clothing which made it quicker to absorb the styles and elements on more garments than looking through garments in a high street store.

Colette, in comparison to the Moschino store in Paris, produced a very different experience, as with the amazing service we had in this designer store instead. The assistants in Moschino were eager to help and provide information for us as soon as we entered the store, which was similarly set up to Colette, but with more bold and energetic colours of the Moschino collections. Admittedly, the store however to me, did not create the same ambience, as there seemed to be no music and we were almost the only customers there at that time (which may have been why we had such good service) although I did feel much more welcomed within this store.

Despite the service within Colette, by it being more of a small museum of a department store, the products were the main attraction and by having such strong, developed branding, people all around the world want to become a part of it.

G-star Raw Brand Analysis

By Gabriella Collins

G- Star Raw is a brand that introduced the concept of ‘luxury denim for the streets which awakened the fashion world towards both the functional and symbolic nature of jeans’.

Founded in 1989 in the Netherlands, G-star was the first brand to unleash ‘raw denim’, completely untreated and straight out of the factory. It has been continuously influenced by military uniform, which had inspired the brand to create special cell phone pockets and zipped arm pockets on jackets, to not only give a feel for military chic, but also responding to modern day conventionality.

Jean trends today emit a very ambiguous style. They’re worn and distressed, but still uphold all the qualities of being brand new to the consumer. People want to buy jeans that are pre- broken into because not only are they more comfortable to wear, but they also fit the idea behind what jeans are about.

Within the 1800 jeans were used for work, and their durability for American gold miners. To meet the demand of the miners, Levi Strauss came about, supplying clothes to the people that required it. The popularity of jeans started to escalate more around the world, when Cowboys in the movies were seen often depicted to be wearing jeans, leading to a huge increase of people wanting to purchase jeans.

This concept and idea of jeans being a symbol of work and durability is almost nostalgic. Today, both men and women wear jeans as it has become an androgynous piece of clothing which can be both feminine and masculine from skinny jeans to the baggier, loose fitting boyfriend jeans; both sexes can wear either and the idea behind them stays the same.

I feel G-star raw, has a style which directly reflects its ideas and concepts as well as disclosing it’s manufacturing process. The logo design is very simplistic and the font transmits a sense of mechanical machinery. It could be argued that it is quite a stereotypical masculine font style that provokes you to read it quickly and with a deep voice. There is something very serious about the logo design, font style, as well as provoking a sense of haste and suppressed energy.

However in keeping the cultural significance of jean history, G-star raw, stimulates an image of futurism and industrialisation. In doing this, it delves into the past in connection with our future, perhaps hinting at the idea of jeans being constant and never changing. This can also be seen in the brand style of G-star raw which seems to have not ever dramatically changed.

From Miner, to Cowboy to Urban street, jeans have been adapted to suit all. G-star Raw boasts intricate cuts and style features, modernising jean culture to emulate the idea of working chic.We are invited, when purchasing a pair of G-star raw jeans, to create our own worn marks, in order to give our jeans character and a story of our active lives.

Compared to Levi’s, G- star raw is less provocative of jean history. For example, Levi logos have an image of working cowboys on horses, whereas military influences are subtly weaved through the cut, style and features within G-star. In this sense, it could be seen that G-star is a more modernised brand, that gives a masculine edge to both men and women, empowering them in an androgynous style and aspect.

Overall, I feel G-star raw, as well as many raw denim brands, invite the consumer to create their own story within their denim. Denim is a material that becomes ever the more beautiful with its wear and tear, and upholds a history that is timeless and symbolic of denim jeans. References:

Lorna. (2010). The History Of The Wonderful Fabric, Denim!. Available:http://www.denimblog.com/2010/02/the-history-of-the-wonderful-fabric-denim/.Last accessed 2015.

elly0c. (2012). G-Star Raw. Available: http://www.slideshare.net/elly0c/gstar-raw. Last accessed 2015.

Shanna McKinnon. (2008). G-Star Raw Humanitarian. Available:http://www.denimhunt.com/denimhunt/2008/08/super-cool-deni.html. Last accessed 2015.

LEO. (2012). G-STAR RAW FALL-WINTER 2012-2013 MEN’S CAMPAIGN.Available: http://thebestfashionblog.com/mens-fashion/g-star-raw-fall-winter-2012-2013-mens-campaign. Last accessed 2015.

Georgia Dunn. (2011). 2012 Resolutions and 2011 Highlights!.Available:http://www.georgiadunnstudio.com/2011_12_01_archive.html. Last accessed 2015.

Minza Siddiqui. (/). G-Star Raw Fall/Winter 2012 campaign featuring Arizona Muse Read more: http://www.myfacehunter.com/2012/07/g-star-raw-fallwinter-2012-campaign.html#ixzz3RGN0m7N4. Available:http://www.myfacehunter.com/2012/07/g-star-raw-fallwinter-2012-campaign.html. Last accessed 2015.

Katie Jones Talk

By Gabriella Collins

Katie Jones is a sustainable knitwear designer who studied both her BA and MA in knitwear design at Central Saint Martins in London. Once finishing her MA, she continued to work with designer Mark Fast (who came out around the same time as designer Mary Kantrantzou) as to which Jones had previously gained connections with and worked alongside during her BA. Working with Fast, as Katie Jones explained, has generated a valuable connection as well as being one of the greatest influences and experiences throughout her career.

Initially, Jones did not think she would go on to create her own brand of knitwear range. However, whilst working as a production knitter, she discovered and established her own individual identity in the fast –paced industry. From crochet, to hand embroidery, industrial machining and domestic machining techniques, Jones has accomplished a broad range of skills that continuously support her work, which is all too often a labour of love through long hours, to get pieces completed within certain time restrictions.

Unlike fashion using secondary fabrics, Jones’ main focus is textiles and creating the material while simultaneously designing it to fit the body; demonstrative that it takes a much longer time to complete. She often works directly on the mannequin in order to create shape and pattern, rather than working on a flat design as it easier and a more realistic way to visualize and manipulate textiles to suit the body.

Many of Jones’ starting points for her collections originate from a wide range of sources that are not always fashion related. For example, Jones has used references from Native American fables sourcing inspiration from the characters in these stories, as well as from interior and historical costume and in her MA project; a Frida Kahlo Black and white book. She also revealed that she was given a broad itinerary of films to watch while studying at Central Saint Martins, to increasingly broaden her knowledge of the wider world, and develop an understanding of the connections between artists and designers filmic influences.
In my opinion, Katie Jones; designs and influences are inspirational; up-cycling is quickly becoming a major factor within the fashion industry, as sustainability is becoming a prime element. Jones’ designs are a twist of eras, the 70’s in particular, and the colours she explores and interweaves throughout her designs are edgy, bright and visually stimulating. Ultimately, her collections are incredibly diverse and enriching. 

Top tips from Katie Jones:
-Don’t have unnecessary research in order to bulk out portfolios.
-Photo document if your drawing and sketching skills are not so good.
-Make sure specific important photos are annotated.
-Your work must tell the story of your thought process visually.
-Use simple templates of the body to draw designs onto, so that you can get an idea of proportions as proportions are FUNDAMENTAL to design realisation.

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