José Teunissen|Typography
April 21, 2016
Fashioning Type
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Fashion is not obsessed with the body but with the “letter,” the inscription of signs on the body in a systematic space, wrote Roland Barthes in 1982. “The fashion body, like the Erté letter woman, demands to be read.” With this intriguing assertion Patrizia Calefato made clear in 2009 that fashion (and clothing, too) is essentially linked to communication. We use our appearance to convey who we (as individuals) want to be and to what social group we belong. On the whole, fashion has been functioning like this for a very long time, but over the past century and a half the communicative value of fashion has grown much more complex and versatile, with the emergence of graphic design in fashion playing a crucial role.
What was both striking and innovative about Chanel when you compare her with contemporaries like Paul Poiret and Jeanne Lanvin was that she took garments from the world of sports and men’s fashion such as the jersey, the beret, the cardigan, and the suit and introduced them to women’s fashion, where she made them practical and functional. In doing so she created a new feminine identity during the 1920s that was mainly indicative of a social change. Classics like the Chanel suit and the petite robe noire (little black dress) were symbolic of emancipation: they could be worn to work as well as at home, so that women no longer had to change clothes five times a day. So while there was something very liberating about the Chanel look—some of the garments were symbolic of the new age—brand recognition was also increased by means of refined graphic additions, such as the piping and the buttons, which were featured on all the products. In this way Chanel, who worked on building up her empire until the early sixties, showed what a “fashion grid” or a Total Look might look like long before such a thing became commonplace.
During the 1990s, the classic French couture houses Dior, Givenchy, and Louis Vuitton (until then a brand of luxury bags) also began large-scale image renovations. They attracted young fashion designers to breathe new life into the ailing haute couture with spectacular, experimental collections. Alexander McQueen and John Galliano managed to put Givenchy and Dior back on the fashion map and to make them more appealing to a larger, younger public. Soon art directors were also taken on board and were told to “modernize” the brand’s visual image: their job was to change the image, which traditionally had been aimed at a small, older elite who could afford the product, and to make it widely accessible to a younger clientele. The Burberry brand of classical coats hired Christopher Bailey to rebrand the label without changing the product itself. By means of “advertorials” and campaigns, the brand acquired a whole new image.
The Louis Vuitton brand of bags (1858) hired Marc Jacobs in 1997 to develop a matching clothing line, but it didn’t really catch on until the designer called in graffiti artist Stephen Sprouse in 2000 to rework the logo. Sprouse restyled the classic LV monogram by spraying a “Speedy” bag with graffiti. It became the beginning of a long experiment in which the classic logo was reinterpreted by a series of different artists into monograms that were recognizable as Louis Vuitton yet always seemed new. A combination of “heritage” (the brand is attractive because of its long history and high quality) and “modern visual language” (which artists introduce by means of graffiti and other visual treatments) have made Louis Vuitton one of the most popular brands of the twenty-first century.
Thus fashion today is increasingly choosing to communicate the brand instead of the products, and as a result fashion labels have become status symbols more than they ever were before. Rather than showing off the wealth of the buyer, labels mainly demonstrate that the wearer is a member and fan of the brand’s “community.”
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The Triumph of Typography is edited by publisher Henk Hoeks and design critic Ewan Lentjes, and includes contributions from: Peter Bil’ak, Petr van Blokland, Hans Rudolf Bosshard, Paul van Capelleveen, Roger Chartier, Paul Dijstelberge, Yuri Engelhardt, Willem Frijhoff, Christof Gassner, Michael Giesecke, Britt Grootes, Gerard Hadders, Henk Hoeks, Ralf de Jong, Ewan Lentjes, Ellen Lupton, Lev Manovich, Jack Post, Rick Poynor, José Teunissen, Wouter Weijers. The book is designed by Patrick Coppens, and published by TERRA with ArtEZ Press. It can be purchased here.
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Observed
By José Teunissen
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