Products environment E-Book

Armelle Claudé

• Herausgeber: ESMOD
• Kategorie: Lebensstil
• Serie: The fashion design process
• Sprache: Englisch

Seitenzahl: 84

Veröffentlichungsjahr: 2021

Beschreibung

Fashion Marketing Strategy Book.

Identity and design of a brand, graphic design process and visual identity tools. This book analyzes and helps conceive the identification codes a brand will use on all its communication grounds - logos, signage and packaging - without forgetting its marketing and merchandising strategies.

ABOUT THE AUTHORS

After studies in graphic design in Maryse Eloy school of arts, Armelle Claudé also study interior design in Camondo. There, she discover a passion for fashion and graduate from ESMOD, ready-to-wear course. She start as assistant for Nathalie Garçon during 3 years and then work for brands like Bill Tornade ; Gérard Pasquier ; 1, 2, 3 or Ellesse as freelancer. In 2001, she found, with Éric Rabiller, a creation and consulting agency Rose pour les filles, bleu pour les garçons ... She also share her passion with the new generations, teaching in parisian fashion schools.

Éric Rabiller discover his fashion passion through architecture. Graduated from ESMOD he worked for luxury haute couture and leather goods for brands like LVMH, Rihcemont or The Limited in the USA. He also designed ready-to-wear men's accessories. In 2001, he found, with Armelle Claudé, a creation and consulting agency Rose pour les filles, bleu pour les garçons ... He also teach fashion drawing.

Internet businessman, Thierry Petit has almost 20 years of experience founding start-up.
Founder of the first price comparison website (toboo.com), he also co-found showroomprive.comin 2006 and managed to impose the website as a e-shopping leader in France.
In 2010, he achieve a found rising of 50 million dollars thanks to the American investment fund, ACCEL Partners. This will allow showroomprive.com to become international and to improve its mobile offer. Thierry Petit is also the vice president of France Digitale.

Leseprobe

The fashion design process

Identity and design of a brand

Graphic design process

Visual identity tools

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Products environment

Armelleclaudééric rabiller

Thierry PETIT

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Table ofcontents

7 Introduction

Identity and design of a brand

10Brand identity

11VISUAL IDENTITY

12STYLE BOOK

13BRAND IMAGE

Identifying tools

16 SALES POINT (POP)

16STORE SIGN

17STORE WINDOW

19IN-STORE MERCHANDISING

20An architectural vision for the POP

22Architectural trends

23The commercial vision of a POP

23Techniques for setting upthe POP

25Visual store zoning

26 PACKAGING

28 HANG-TAG

30 DIGITAL PRESENCE

31Brand strategy in the digital era

333 keys for a successful digitalstrategy

33Creating traffic at the digital sales point

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Identifying codesof fashion worlds

72 IDENTIFICATION and definitions

72DEFINITION FOR EACH GROUP

72Haute couture

73Luxury fashion

73Affordable luxury

74Designers

74Young Designers

74Street leaders

75Mass market fashion

75Particular distinctions

75Jeanswear

76Streetwear

76Sportswear

76Active Sports

76Children and layette

76Junior

76Lingerie

77 Ideas for uses in different sector

96 METHODOLOGY FOR DEVELopment

96The right questions to ask a client

10Brand identity

11VISUAL IDENTITY

12STYLE BOOK

13BRAND IMAGE

Identifying tools

16 SALES POINT (POP)

16STORE SIGN

17STORE WINDOW

19IN-STORE MERCHANDISING

20An architectural vision for the POP

22Architectural trends

23The commercial vision of a POP

23Techniques for setting upthe POP

25Visual store zoning

26 PACKAGING

28 HANG-TAG

30 DIGITAL PRESENCE

31Brand strategy in the digital era

333 keys for a successful digitalstrategy

33Creating traffic at the digital sales point

Principles of graphic conception

37 COLOR

37symbolism and psychology

52Graphic function

52Colorimetric systems and terminology

54Readability

55Harmonies

56 TYPOGRAPHY

56Characters

58Accentuation and prioritization

59Readability

60The selection

60Graphic value

61 LOGOTYPE

62example for constructing a logo

63 COMPOSITION

63Format and space

64Composition parameters

64Figure and ground

65Field

65Out of frame

65Structure

69Illustration typography

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Principes de communication

Principles of communication

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Today in our urban environment, modern consumers are exposed on a daily basis to almost 150 brands, 800 words, 2000 images and 20,000 visual stimuli.

We are approaching a limit for tole-rance and efficiency!

The increasingly aware consumer expects brands to speak with him intelligently.

It is necessary not only to enter his visual field, but to touch and move him since communication styles today are changing.

Certain brands now base their ad-

vertising on “entertainment“, giving the consumer a sensory experience so he becomes a “consumer-actor“: in this case we “market“ the senses.

This emotional information re-mains in our unconscious and is ready to jump out at the slightest provocation!

To confront this over-exposure of signs and symbols – and commu-nicate their uniqueness – brands must develop a strong, global pac-kaging which focuses on a visual identity.

Introduction

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Identity and designof a brand

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Identity and design of a brand

With the massive amount of brands present in the market and the abun-dant product offers, identifying a brand has become increasingly difficult.

Developing a trademark is now an absolute necessity: a brand must mul-tiply the signals which set its message apart from everyone else.

The focus on international development also requires the imperative need to homogenize a company image.

We can understand the growing impor-tance of developing a brand identity and trademark.

Trademark design:a marketing technique that aims, in its design, to create and oversee a brand’s identity in the eyes of consumers.

We will address them in this order:

Brand identity;

Visual identity;

Brand image.

Brand identity

Identity:all data which determines each person and allows him to diffe-rentiate himself from others.

Trademark:a trace or sign allowing a brand to be recognized. A company’s distinctive sign.

A trademark must have its own identity for whch it can be known and recognized.

This identity is built on elements that make up the brand:

its name;

its market positioning;

its values;

its ethics;

its prices;

its retail distribution;

its target;

its product universe;

its communication axis.

The more these elements are strong, coherent and complementary, the more the brand identity will be clear, forceful, make an impact and help the brand stand out from its competition.

A clear identification of the brand’s code opens up possibilities for developing it.

Brand identity:the intrinsic, per-manent character of a brand… its culture, values and specific qualities.

This identity guarantees the coherence of actions undertaken by the brand over the long-term, for exemple the development of complementary lines or new products and the organization of special events…

To put in place this identity, Jean-Noël Kapferer, branding expert and profes-sor-researcher at HEC Paris (a school for advanced business studies), offers a 6-face-ted prism using the concept of personifying a brand.

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Identity and design of a brand

The visual expression of this image consti-tutes its visual identity.

Attention:brand identity is how a brand wishes to be perceived, contrasting with image, which defines the way a brand is perceived by the consumer.

VISUAL IDENTITY

The goal of a visual identity is to distinguish a brand and surround it with a specific universe. It creates coherency and syn-chronizes the signs it evokes to validate not only the product but its global universe.

Visual image:that which concerns the global view. All visible elements in a poster or image.

What is visual identity?

Visual identity is a graphic representation of an object or brand’s identity.

It is translated by:

a name;

a logo;

an emblem;

a label;

colors;

a font (or typography).

It must help recognize one brand rather than confuse it with another.

Visual identity:condensed visual image of a company, it leaves a trace of the brand in our visual field.

Prisme of brand identity, based on kapferer’s model

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Identity and design of a brand

What is it used for?

Visual identity must be an explicit repre-sentation of what the company stands for. The clearer and more precise the visual identity, the quicker the brand will be iden-tifed and remain in people’s minds.

It must:

convey the brand’s identity, showing its strong values and inherent charac-teristics;

provoke the phenomenon of instant recognition;

leave its mark and occupy the viewer’s visual field;

reinforce the brand’s positioning.

What are its uses?

Visual identity is present:

in all forms of the brand’s internal or external communications;

on its packagings;

on all its virtual products (Web)…

What are the tools used?

To establish a visual identity so as to put in place a company’s communication, we create graphic representations: logo, forms, typographies, colors, words and slogans which will be found in any elements which make up the product environment: labels, packaging, store sign, boutique…

To maintain coherence in a brand’s graphic realizations which are often developed by different people collaborating with the company (graphic designer, creative director…), we establish a house style book.

This defines the rules of use for all the company’s identifying signs in any medium.

STYLE BOOK

Style book:this is the work document which contains all fundamental rules for using graphic representations of the brand.

There are two reasons for realizing a style book:

It guarantees a strict respect of identity in all graphic realizations so the company speaks “with a single voice“. In English, this is referred to as Corporate Design.

It allows the viewer to easily identify the company and, when its coherence is respected, visually spot reference points in different products.

Note: a well-conceived style book must leave enough freedom by establishing supple “mega-rules“ which avoid restrictions and anticipate a maximum of contexts for using the graphic symbols of a company’s identity.

The style book will define:

The logotype

its colors on the Pantone color card;

its position on the page for all products (letterhead, official documents, brochures, files, folders, delivery trucks,…);

its area of exclusion (the minimum space left bare around the logo);

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Identity and design of a brand

its variations on white and colored grounds.

The style book can also define what is for-bidden: for example, it may be forbidden to set the logo on a black ground or re-proportion it without keeping a homothetic relationship…

The fonts used

to be able to create different sizes of texts;

to make it easy to read.

Typography is a vital component in a company’s graphic universe so it can be recognized. In certain cases, like Renault or Aeroport de Paris, a special font was created.

Color games

They should be able to be developed on different communication grounds.

Generally, the style book indicates the Pantone, CMYN and RGB values of each color.

Use of graphic elements

filigrees;

enlarged details of logo;

curves and lines specific to the company.

Principles for choosing images and illustrations

This visual representation constitutes the main support for putting the brand’s com-munication in place.

Developing it on different products