RUNWAY SHOWS AND FASHION FILMS AS A MEANS OF COMMUNICATING
THE DESIGN CONCEPT
A thesis submitted to the College of the Arts
of Kent State University in partial fulfillment of the
requirements for the degree of
Master of Arts
By
Xiaohan Lin
July 2016
Thesis written by
Xiaohan Lin
B.S, Kent State University, 2014
M.A., Kent State University, 2016
Approved by
______________________________________________
Name, Thesis Supervisor
______________________________________________
Name, Thesis Supervisor or Committee Member
______________________________________________
Name, Committee Member
______________________________________________
Dr. Catherine Amoroso Leslie, Graduate Studies Coordinator, The Fashion School
______________________________________________
Dr. Linda Hoeptner Poling, Graduate Studies Coordinator, The School of Art
______________________________________________
Mr. J.R. Campbell, Director, The Fashion School
______________________________________________
Dr. Christine Havice, Director, The School of Art
______________________________________________
Dr. John Crawford-Spinelli, Dean, College of the Arts
2 REPORT OF THESIS FINAL EXAMINATION
DATE OF EXAM________________________ Student
Number_________________________________
Name of Candidate_______________________________________
Local Address_______________________________________
Degree for which examination is given_______________________________________
Department or School (and area of concentration, if any)_________________________
Exact title of Thesis_______________________________________
If master’s degree candidate elected an option not requiring a thesis, indicate which one and
briefly describe work done in lieu of thesis______________________________
Signatures of examining committee:
Name (typed or printed)
________________
Signatures
Pass
Fail
________________
________________
________________
________________
________________
________________
________________
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________________
________________
________________
________________
________________
________________
________________
Advisor
FINAL RESULT:
Pass □
Fail □*
*Attach comments or specified conditions if student fails.
_______________________________________ ____________________________________
Graduate Program Coordinator
Chair/Director
____________________________________
While (original):
Registrar
Yellow:
College
Gold:
Student
Pink:
Department/School
College Dean
3 TABLE OF CONTENTS
Page
LIST OF FIGURES
vi
LIST OF TABLES
vii
ACKNOWLEDGMENTS
vii
ABSTRACT
viii
CHAPTER
I.
II.
III.
IV.
V.
INTRODUCTION
9
LITERATURE REVIEW AND HYPOTHESIS DEVELOPMENT
Runway Shows
13
Models
15
Stage Setting
16
Media
18
Runway Show Videos
19
Fashion Film
19
Design Concept
20
Future Fashion Professionals
21
Summary
21
Hypotheses
22
FRAMEWORK AND MODEL
Communication Process Model
23
METHOD
Preparation
26
Participants
30
Procedure
31
Data Analysis
33
Hypothesis Testing
34
DISCUSSION AND CONCLUSION
Discussion
42
Conclusions
43
REFERENCES
APPENDIX
A. Questionnaire
47
53
4 LIST OF FIGURES
Figure
Page
1. The Communication Process Model
24
2. Communication Model as Adapted to Runway Show Video and Fashion Film 25
3. Group 1 and Group 2 Survey Process
32
4. Group 3 and Group 4 Survey Process
33
v LIST OF TABLES
Table
Page
1.
Expert Opinions of Design Concept
2.
The
29
Runway Show Was Creative, They Enjoyed Watching and
Were Interested
3.
34
Frequencies of Adjective Selection Among Participants Watching
Dolce & Gabbana Fashion Film (102 Participants)
4.
Frequencies of Adjective Selection Among Participants Watching
Dolce & Gabbana Runway Show (100 Participants)
5.
8.
38
Percentage of Participants Whose Perceptions of the Design
Concept Were Congruent with Experts’ Perceptions
39
Paired Sample t-tests for Differences Between Means
40
37
Frequencies of Adjective Selection Among Participants Watching
Givenchy Runway Show (102 Participants)
7.
36
Frequencies of Adjective Selection Among Participants Watching
Givenchy Fashion Film (100 Participants)
6.
35
vi vii ACKNOWLEDGMENTS
I want to thank my family for being wonderful. My parents have always stood by me
through all of the difficult days and nights. I want to thank the faculty in the Fashion
School especially Dr. Leslie, and Dr. Gargi who had a super positive influence during my
life at Kent State University. I would like to thank my committee member Professor Luke
Amour, who is knowledgeable and professional. I would like to express the deepest
appreciation to my advisor Dr. Nancy Stanforth who has patient and always helps me to
improve my thesis line by line.
viii Abstract
As diverse media technology develops faster and faster, choosing the best media to
show artistic expression directly influences the audience understanding of the design
concept. The purpose of this study is to investigate which media assists viewers to
understand and manage the information from runway show videos and fashion films
differently. In this study, Dolce & Gabbana and Givenchy runway shows and fashion
films were shown to participants. The results indicate that there are significant
differences in perception of design concepts, intrinsic elements, and extrinsic elements
between runway shows and fashion films. Also, the study investigated the congruence in
perceptions between participants and fashion experts. This study is especially timely
given the rapid growth of electronic fashion communication, and provides detailed
information to fashion designers and runway show/fashion film producers in order to
create more for effective methods to deliver design concepts to audience.
9 Chapter I
Introduction
Ariel Emanuel, chief of WME/IMG said, “When we look at the world, we see
fashion” (Vanessa, 2015，p. 7). Runway shows offer a form of expression through which
to showcase the latest styles during fashion weeks each season in New York City, Milan,
Paris, and London, the top fashion cities for fashion events. Guide To Producing a
Fashion Show, the concept of the runway show is defined as an event that intends to
provide the newest ideas in fashion trends, color trends, and the latest styles in apparel
and accessories by showcasing specific items on live models in front of an audience
(Everett & Swanson, 2013). Therefore, runway shows are both communicated to the
audience and a tool for helping designers to show their design concepts.
Majima (2008) provides a possible reason why companies and designers choose
runway shows to display their ideas, which is “the fundamental role of runway shows and
fairs as venues where capital-poor designers (the seller) and capital-rich mass
producers/marketers (the buyer) form a reciprocal relationship” (p. 2). The most
important reason to hold a runway show is to sell merchandise (Everett & Swanson,
2013).
In the contemporary fashion industry runway show videos are among the most useful
methods designers have to present their design concepts to an audience. Designers started
recording runway shows in mass numbers in 2000, with such videos appearing on
specific television or YouTube channels (Everett & Swanson, 2013). In order to gain
10 attention and create memorable brands, designers for major brands such as Chanel,
Givenchy, and Alexander Wang began posting their runway show videos on YouTube.
Since Givenchy published its runway show video on YouTube March 8, 2015, the video
has generated 103,669 views. Therefore, there is a much wider audience for runway show
videos than the live runway shows could ever accommodate. These videos are serving as
a means for the introduction of fashion items.
The success of runway videos and growth of accessibility to online content has led
fashion on designers to explore other media. One of the newest ways to present a design
concept is via a fashion film. In 2010, some luxury fashion brands such as Chanel,
Givenchy and Alexander Wang, started creating fashion films to communicate with their
audiences (Min, Koo & DeLong, 2015). Such companies hire a fashion director to
produce a dramatized fashion film, expecting this person not only to sell merchandise,
but also to present the design concept to a wider audience (Guerin, 2005). Fashion
campaigns on film (referred to as fashion films) are cinematic productions that blend
“fashion industry, entertainment and art practice” (Uhlirova, 2013, p. 137).
Different methods to deliver information to an audience (runway show videos and
fashion films) may have different effects on the receivers of messages (Craig, 1999). A
few articles discuss runway show production (Everett & Swanson, 2013), and only one
article (Min, Koo, and Delong, 2014) has been found that investigates the differences
between runway show videos and fashion films.
Min, Koo, and Delong (2014) explored differences in information management
11 between runway show videos and fashion films, focusing on the specific case of Chanel.
They revealed that a runway show video is easier for consumers to understand and
remember than a fashion film. Currently, no research has explored whether runway show
videos or fashion films better communicate design concepts. This paper focuses on how
runway show videos and fashion films have different impacts on the audience,
specifically on future fashion professionals, such as fashion students, who will be
responsible for the promotion marketing and purchasing of fashion products in the
industry.
This study is especially timely given the rapid growth of electronic fashion
communication through platforms such as YouTube and Instagram. Where fashion
designers used to produce live shows for a select few industry insiders who then
disseminated the information and products, today’s fashion industry is characterized by
rapid communication in real-time.
Industry professionals and consumers can see
fashion clothing and accessories online as soon as they are revealed in person. This is
leading to a disruptive situation within the industry as designers and other industry
stakeholders are seeking to find a balance between the immediacy of communication and
decision-making about when and how to distribute their products for sale. To provide
insights and inform solutions, runway show producers, directors of fashion films, fashion
designers, and marketing brand managers can use this study to guide fashion event
production or advertisements to achieve a better audience understanding of the design
concept, an important link between their creative work and, ultimately sales. In a
12 changing landscape, future fashion professionals will benefit from knowledge of what
format/media is most effective in communicating design concepts. Lavish runway shows
require considerable expense. If the audience can gain the same understanding of the
concept through a produced film, this may lead to decisions to choose film over a live
runway show.
In addition, this study could provide insights for fashion educators to better
understand characteristics of future fashion professionals. During the process of the study,
future fashion professionals may find increased interest in the workings of the industry
and thinking about the fashion world.
13 Chapter II
Literature Review
To provide a foundation for this study, the literature review includes the history of
runway shows, how runway shows have changed over time, a history of fashion films,
fashion design concepts, and the communication model. Simmel (1957) asserted that
fashion is a form of reproduction. Paradoxically, however, fashion is constantly changing
and differs both from one time to another and from one social stratum to another.
According to Majima (2008), fashion has changed a great deal during the twentieth
century in western countries. These changes may be classified in three ways:
1 From “class differentiation” to “collective selection”
2 “From closed fashion to open fashion”
3 “From the elitist model to the egalitarian model of fashion diffusion” (Majima, 2008, p.
71)
Fashion changes over time, as Blumer, an American sociologist; French philosopher
Lipvetsky (1994), and American socio-economist Pesendorfer (1995) all recognized the
cyclical nature of fashion. At the same time, fashion and especially the fashion industry,
are continually innovating. Fashion manifests itself differently during different each
period of time.
Runway Shows
The objective of a runway show is to provide a unique way to express the design
concept to a wider audience for its acceptance and recognition. Many kinds of runway
14 shows have appeared in history throughout different areas of the world. For example, in
the late 1300s, fashion dolls were created that could be considered a type of very early
runway show (Corinth, 1970). This is totally different from the runway show that the
audiences feel familiar with today.
According to Plock (2013), the earliest fashion event in the world took place in 1924
in the form of a runway show held for professional buyers from major American
department stores. Designer Jean Patou’s idea for publicity that year was to employ six
American models to walk the French catwalk. The purpose of this early runway show
was to “increase French sales figures” (Plock, 2013, p. 793). One of the functions of a
runway show is to entice the audience to imagine how they will look wearing the latest
fashion by watching live models walk on the stage, demonstrating the outfit and the total
look (Everett & Swanson, 2013). Essentially, the main purpose of a runway show was to
offer a simple way to sell clothes.
Klein (1963) pointed out that the social environment, economic growth, political
factors such as interchange of war and peace, fashion leaders, and trends influenced the
evolution of the runway show. According to Dugguan (2001), sources of change to
runway show ideations have included “political activism, performance art of the 1960s
and 1970s, Fluxus and Dada performances, theater and popular culture” (p. 244).
Runway shows underwent a major transformation in the 1980s, and with this change
came a shift also among most fashion designers and their design collections. Runway
shows became a media interpretation of “the imagery of a particular brand name”
15 (Majima, 2008, p. 81). Seeing the value in building a brand, smaller companies chose to
hold their runway shows on unusual public stages (subway stations, parking lots) due to
limited resources (Majima, 2008). Larger, more established firms had deeper pockets and
could hold their runway shows on different types of stages and invest in alternative media,
making frequent advertisement films for their own brands.
As a result “contemporary
fashion houses have completely transformed the runway show” (Dugguan, 2001, p. 244).
Cultural factors that change over time can also affect the manifestation of the many
elements of runway shows including the models, stage setting, and audience (Everett &
Swanson, 2013).
Models (body shape)
The first models used to show apparel were inanimate forms such as mannequins
beginning in the fourteenth century (Diehl, 1976). According to Dugguan (2001) runway
show producers started to use live models on the catwalk in the early 1900s at the
Chicago apparel marts. Indeed, models provide a visualization of what the viewer might
expect when wearing fashion items themselves. While the presence of models in
contemporary runway shows is a constant, the models themselves have changed over the
years. For example, designer Gianni Versace influenced the development of runway
show by using supermodels in the late 1980s and early 1990s (Evans, 1999). According
to Ashmore, Solomon, and Longo (1996), in the 1990s, ethnic diversity changed with the
introduction of more diverse models on the runway.
The shape of models also has changed over time, according to the Morris and Cooper
16 (1989), from 1959 to 1978, models’ “bust and hip size decreased relative to waist size,
producing a more tubular shape” (p. 596).
Also, the models became taller. In the 1990s,
Victoria Secret runway shows, which featured fit, athletic, and voluptuous models, had a
big impact on the types of models in runway shows. Models are one of many elements
that comprise the total presentation of a runway show.
Stage Setting (lighting, color, textile design, silhouette, music, background and
environmental design)
The ambient factors of a runway show include elements such as lighting, music, and
scents to create a specific atmosphere for viewers. In the 1930s, runway shows began to
be produced on a massive stage, and in the 1960s, runway shows producers started to add
multiple lights and sounds to produce a more theatrical effect (Diehl, 1976). For example,
aspects of lighting that match the color of the apparel may provide a positive show
experience and create a different mood within a space (Baker, Levy, & Grewal, 1992;
Roush, 1994; Schlosser, 1998). Lighting may also impact customers’ attitude toward the
product (Areni& Kim, 1994), and adds to the theatrical nature of a runway show (Everett
& Swanson, 2013).
Color management practices and principles are key components of apparel design,
also an inexhaustible source of inspiration for a brand. To become a world leader of
clothing trends, it is necessary to form color management practices with characteristics
and rationality (Teng, 2015). Usually audiences watch and come to accept apparel styles
presented during a runway show. Therefore, the colors of the apparel are one of the main
17 points that make a runway show successful. Other essential points include apparel textile
design and silhouette.
Apparel textiles are not only for beauty, but also have meaning. In some cases,
textiles can carry a religious meaning or other significance (William, 1997). In current
fashion, a brand presents its own multiform apparel silhouettes. This differs from the past
when the fashionable silhouette usually changed with the time period. For example, in
1897, the silhouette was in a shape of an “S curve,” Influenced by the wearing of corsets
(Adam, 2012), but in the 1930s, the silhouette was accentuated to be longer and slimmer.
In the 1930s, elegance and femininity were popular; the fashionable silhouette required
clothing to be closely fitted to a woman’s body (A-Rang & Hyo-Jin, 2012). These types
of silhouette changes are essential to the element of fashion change.
Aspects of music such as congruity (Kellaris& Mantel, 1996), intensity or volume
(Spangenberg, Grohmann & Sprott, 2004), pleasantness (Chebat et al., 2001; Dube ́ and
Morin, 2001) and tempo (Eroglu et al., 2005; Milliman, 1982) help to set the ambiance of
the show and “create excitement” (Everett & Swanson, 2013, p. 228). Runway Hits (1998)
established that stylish dance music could play perfectly with modeling on the runway.
The background and the whole environmental design of a runway show includes
outside factors (e.g. exterior of the building) and general inside factors (e.g. carpet, colors,
etc.,). According to Everett and Swanson (2013), selecting different backgrounds for a
runway show plays the role of setting off the merchandise. A distinct set emphasizes the
costume or theatrical background, reinforcing the theme. All of the environmental
18 elements of runway show stage setting are presented with the audience, and ultimately,
the consumer in mind.
Runway shows not only work for the benefit of the fashion industry, but also serve as
a bridge to connect brands to consumers. Luxury brands hold shows during fashion week,
inviting people with high social impact in the world to attend. For example, Women’s
Wear Daily reported Mary-Kate and Ashley Olsen and Paul McCartney were in
attendance at a runway show during fashion week in 2015. And in 2014, “at the Chanel
show, staged amid a mock supermarket, the aisles were teeming with the likes of Keira
Knightley, Rihanna, Melanie Griffith, Vanessa Paradis and ClémencePoésy” (WWD
Staff, 2014, p. 1). This Chanel runway show and its participants were chosen to provide
the brand with more exposure (Rihanna has 14.1 million followers in her Instagram
account) due to the association of celebrities in attendance. Engaging celebrities who
influence consumers helps bring the latest fashion to the public.
According to Plock (2013, p793), the audiences for early runway shows were
professional buyers, but the audience is quite different today. Contemporary fashion
audiences include fashion photographers, celebrities, fashion editors and bloggers.
Overtime, runway show audiences during fashion weeks in NYC, Milan, Paris, and
London have undergone a shift from retail buyers to celebrities and social media stars.
Media
The use of new technology in runway show arenas is becoming more and more
popular with media impacting both the purpose and presentation of shows. Wu (2013)
19 said, “Digital runway shows allow designers to create infinite ideas by articulating the
designers’ concepts through not only garments but also other factors” (p. 64).
This
includes technology in the actual shows, such as holograms, film, and video.
Runway Show Video
Fashion professionals have found that runway show videos are among the most
useful methods designers have to present their design concepts to an audience. Designers
started recording their runway shows in mass numbers in 2000 with videos first
appearing on specific broadcast television channels and later online on YouTube (Everett
& Swanson, 2013). In order to gain attention and create memorable consumer
connections, designers for major brands such as Chanel, Givenchy, and Alexander Wang
began posting their runway show videos on YouTube with notable response in 2010.
Since Givenchy published its runway show video on YouTube, March 8, 2015, it has
generated 103,669 views. Therefore, there is a much wider audience exists for runway
show videos than live runway shows could accommodate.
Fashion Film
According to Tortora (2015), the first fashion film was produced by a French
designer, Paul Poiret, as a way of showing his current creations in 1900s. At that time,
fashion films were not like the fashion films of today. This early film had no story line
and showed its fashions in black and white. Naturally, fashion films today are more
sophisticated than in the past. Today’s fashion films are short promotional films that
purport to tell the viewer about the firm through a story line. The films are often quite
20 sophisticated promotions that create an image for the brand and may not feature actual
products. This lack of specific merchandise makes the film more about the firm’s image
and perhaps less about actual fashions that can be purchased, which may make it more
difficult for viewers to understand the design concept.
Luxury brands make fashion films and post them on YouTube, Facebook and their
official websites. Following this trend, more and more fashion films can be found on
social media before companies even hold their more traditional runway shows. For
example, Riccardo Tisci, Mert, and Marcus produced a thirty-second Givenchy’s
Fall/Winter 2015 advertisement campaign and posted it on YouTube on January 11, 2015.
This was more than two months before the actual runway show was posted on March 17,
2015. In the promotional campaign, the fashion film, models wear Givenchy 2015
Fall/Winter merchandise and accessories, which could be found in the Givenchy 2015
Fall/Winter runway show video. The fashion film takes place in an interior space, with
the models riding bikes and playing basketball dressed in Givenchy’s newest styles. The
Givenchy film posted on YouTube generated 532,385 views.
Design Concept
When creating fashion concepts, designers start with “an idea, a concept, and a
simple fragment of something” (Hallnäs, 2009, p.55). Then fashion designers use a
variety of visual elements to develop the concept. Basic elements may appear
individually or “all components together for a common ground” are integrated within a
garment (Cho, 2009, p.490). The resulting apparel reflects such elements through its
21 shape, color, textile, etc. finally developing through the use of small concepts. These
small concepts merge to create a deeper meaning of design ideas (Lee &Jirousek, 2015).
The most important task for fashion designers is to assign meaning and add value to
the design (Cho, 2009). Designers work hard to infuse their unique inspiration into the
design of products (clothing, accessories, etc.). According to Cho (2009), if consumers
can understand a designer’s concept, it may create a deeper emblematic quality. Runway
show video and fashion film are two main ways beyond the runway show that designers
communicate their design concept to the audience members/consumers.
Future Fashion Professionals
Over four million employees work for the fashion industry in the U.S. in fashion
design, merchandising, event planning, visual merchandising, product development,
retailing, and more (The Fashion School, 2015). Fashion students are future fashion
professionals, as they are preparing to enter the industry. After finishing their studies at
school, the fashion students will have both acquired fashion sense and business
experience. As professionals, their mission is to “make fashion relatable to the consumer”
(The Fashion School, 2015, p. 15). Understanding the key components for success such
as design concept is especially important since future fashion professionals need to be
highly sensitive to the fashion information they receive.
Summary
According to Everett and Swanson (2013), fashion shows are important promotion
tools used together with advertising direct marketing and interactive media, sales
22 promotion, public relations, personal selling, special events, and visual merchandising.
Whether a beginner or a veteran designer, however, an important way to succeed in the
fashion industry is to “get the media’s and public’s attention “to effectively communicate
the design concept, and ultimately connect with industry professionals and consumers.
Therefore, the industry is extending its reach to a growing number of social media sites,
such as YouTube, Facebook, and Instagram (p. 9), to broadcast live runway shows from
the runway.
Hypotheses
H1: Fashion runway show videos are better able to communicate the design concept
than fashion films.
H2: Participants prefer fashion runway show videos to fashion films.
H3:
Participants’ perceptions of the design concept are congruent with expert
perceptions.
H4: Fashion runway shows are better able to communicate intrinsic elements of the
designs than fashion films.
H5: Fashion films are better able to communicate extrinsic elements of the designs than
fashion runway shows.
23 Chapter III
Framework and Model
Communication Process Model
In understanding the relationship between fashion show video and fashion film in
communicating the design concept to future fashion professionals, the theoretical
foundation or this study is the Communication Process Model.
This model involves
senders, channels, and receivers.
Human communication is“as much in how we communicate as by what we
communicate” (Gunsalus, 2010，p. 764). Communication is the way we transmit
information by speaking, listening, writing, gesturing, and using other mediums.
According to the Oxford Dictionary (2016) definition, communication involves not only
successfully sending information, but also successfully delivering the information.
Some extensions of communication are the exchange of emotions and ideas.
In business,
communication is a key functional method to manage whole companies. An organization
cannot work well without internal and external communication. Thus, a successful
communication process is necessary to create and deliver information to receivers
(Birdsall, 2010).
As in any industry, the fashion industry uses many forms of communication, and
successful reception of delivered information is essential for success. When designers
show apparel to consumers, they expect to create a sensory reaction to make consumers
experience a particular feeling, emotion, attitude, and have a cognitive reaction (De Klerk
24 & Lubbe, 2008). According to the research of McGlynn (1993), images and videos can
create and deliver information with a meaningful purpose. For example, fashion
presentations stimulate the audience to gain exposure to new ideas or wear a specific
garment. Although some of the audience members/consumers focus more on the
functional use of the apparel, most of the individual audience members/consumers
combine body, spirit and soul, sensory, affection, and cognizance together when
receiving fashion information (Fisher, Rand & Erasmus, 2012).
Advertising is an important method of communication in the fashion industry.
Williamson (1978) analyzed the methods by which an advertisement was decoded to
audiences. According to Shield (1990), the meaning and the communication ability of a
visual image involves a complicated interplay of the communication process. This is
applicable to the fashion show or fashion film communication process.
The basic Communication Process Model has three parts, namely the sender, the
channel, and the receiver. According to Casstevens (1979), the communication process
involves encoding and decoding; the message transfer process could distort the code to
the receiver. Therefore, the channel should be chosen carefully.
Figure 1.The Communication Process Model (Casstevens, 1979).
25 Regardless of the medium, whether in a runway show video or fashion film, the
show and film producers are the senders of information (the design concept) and they
transmit using the different media channels, the runway show video and fashion films,
allowing the receiver (the audience/consumer) to obtain the information.
Figure2. Communication Model as Adapted to Runway Show Video and Fashion Film.
26 Chapter IV
Method
By showing the Dolce & Gabbana 2015 Spring/Summer, Givenchy 2015 Fall/Winter
Women’s fashion runway videos and fashion films to lower division classes at Kent State
University’s the Fashion School and using Qualtrics, an online surveys tool, this study
explored the effectiveness of these two communication methods in conveying the design
concept.
These two runway shows and fashion films were selected because these two firms
both have successful brand images and strong brand stories. These two were also chosen
as both the runway shows and the films portray the same clothing items. The apparel and
accessories shown in Dolce & Gabbana 2015 Spring/Summer, and Givenchy 2015
Fall/Winter Women’s fashion runway videos match those shown in the fashion film. This
helped the participants evaluate the design concept by looking at the same products
shown in both the runway shows and fashion films.
Preparation
Experienced fashion design professors and one fashion design graduate student were
asked to identify the design concept for each brand after they watched the runway show
videos and fashion films. Their perceptions of the design concepts were recorded.
After viewing the first two minutes of the Dolce & Gabbana Spring/Summer 2015
fashion film, the fashion design professor, pointed out the colorful aspects that related to
27 heritage, culture. The second fashion professor pointed out passion through the ages and
passion of bull fighting. The third, a graduate student pointed out colorful, dance and
Spain. All three professionals agreed on the terms “colorful aspects that related to
heritage, culture, and passion through the ages and passion of bull fighting, colorful,
dance and Spain” to describe the design concept.
After they watched the Dolce & Gabbana Spring/Summer 2015 Full Runway show
for first two minutes, one professor pointed out that the show carried the feel of the bull
fighting, application of embroideries, and playing with men’s jackets on women. The
second professor pointed out Spain and bullfighting. The graduate student pointed out
reinterpretation of costume and bullfighting. All three professionals agreed on the terms
“bull fighting, application of embroideries, playing with men’s jackets on women,
reinterpretation of costume” to describe the design concept.
After they watched the Givenchy Fall/Winter 2015 film – long version on YouTube,
the first professor pointed out the active feeling and clash of cultures. The second
professor pointed out playful and young luxury. The graduate student pointed out new
brand/customer perspective and playful. All three professionals agreed on the terms
“active feeling, clash of cultures, playful young luxury, and new brand/customer
perspective and playful” to describe the design concept.
After viewing Givenchy 2015 Fall/Winter Women’s show, the first professor pointed
out the dark feeling and contradiction between styling and design. The second professor
pointed out the romance of popular culture and circus in modern world. And the graduate
28 student pointed out that the designer wants to catch the viewer off guard and the designer
may truly be playing with ideas about global identities and contrasts between class and
culture. All three professionals agreed on the terms “dark feeling and contradiction
between styling and design, romance of popular culture and circus in modern world, the
designer wants to catch the viewer off guard and the designer may truly be playing with
ideas about global identities and contrasts between class and culture” to describe the
design concept.
All of the words that the fashion professors and graduate student provided to describe
the design concepts were the same as the terms that were used by Business of Fashion
critics, a respected professional analytical website on the fashion business. In
consultation with the fashion professionals, a set of terms was developed and an
instrument was developed based on these results (see Table 1).
29 Table1
Expert Opinions of Design Concept
Original
Length
Play
Time
Website
Professionals Opinions and
Terms on Business of Fashion
Dolce &
Gabbana
Spring/Summer
2015 film by
Fashion
Channel
Dolce &
Gabbana
Spring/Summer
2015 Full
Runway show
1m47s
1m47s
https://www.y
outube.com/wa
tch?v=Biq9Lii
ALx4
Colorful aspects that related to
heritage, culture, passion
through the ages and passion of
bull fighting, colorful, dance and
Spain.
10m55s
2m
https://www.y
outube.com/wa
tch?v=gzYNsr
LewKo
Bull fighting, application of
embroideries, playing with
men’s jackets on women,
reinterpretation of costume.
Givenchy
Fall/Winter
2015 film
45s
45s
https://www.y
outube.com/wa
tch?v=hckgFx
VU7ho
The active feeling, clash of
cultures, playful young luxury,
new brand/customer perspective
and playful.
Givenchy 2015
Fall/Winter
Women’s
runway show
15m09s
2m32s
https://www.y
outube.com/wa
tch?v=64X6eh
WY34s
Dark feeling and contradiction
between styling and design,
romance of popular culture and
circus in modern world, the
designer wants to catch the
viewer off guard and the
designer may truly be playing
with ideas about global identities
and contrasts between class and
culture.
30 Participants
Institutional Review Board (IRB) approval was received for data collection and the
research was presented on an on-line survey platform (www.qualtrics.com). Before the
participants started the survey, they read a consent form.
The participants could open
the survey if they were interested in the study, and they could quit at any time.
The participants were future fashion professionals, in two lower level undergraduate
fashion classes (Fashion Fundamentals and Fashion Branding) in Spring 2016. The
Qualtrics survey link was sent to the participants’ school e-mail address. The total 202
participants (90 freshmen, 88 sophomores, 19 juniors, 5 seniors older than 18) were
separated into four groups, with each group viewing one runway show and one fashion
film (See Figure. 4 and Figure 5 for the sequence used in the study).
The number of
participants in each group were: Dolce & Gabbana film and Givenchy runway show: 51,
Givenchy runway show and Dolce & Gabbana film: 51, Dolce & Gabbana runway show
and Givenchy film: 51, Givenchy film and Dolce & Gabbana runway show: 48.
In
showing
these
stimuli
to
the
participants,
the
author
mixed
the
adjectives/descriptors from the fashion professors and graduate student with other words
on the screen to describe the design concepts for each of the fashion runway shows and
fashion films. The first group viewed two minutes of the Dolce & Gabbana
Spring/Summer 2015 runway show and Givenchy 2015 Fall/Winter Women’s fashion
film in its entirely. The second group watched the same runway show and film, but in
reverse order.
The third group viewed the Dolce & Gabbana Spring/Summer 2015
31 fashion film and Givenchy Fall/Winter 2015 runway show. The final group watched the
same show and fashion film but in reverse order.
Procedure
When the participants opened the survey, they watched either a runway show video
or a fashion film video for at least two minutes, and then answered questions. After they
finished answering the questions for the first video, they watched the other video in their
survey order and then answered the same questions. The first five questions asked
participants to answer general questions about the designs and stage setting and asked
them to select adjectives/descriptors relating to the design concept. The participants chose
between strongly disagree to strongly agree.
Demographic and general participant
information was also collected.
There were a total of 14 questions included in the survey. The questions were
developed as follows: intrinsic elements of the design (main color, textile, silhouette),
extrinsic elements of the design (music, background, model, tempo, environment), design
concept (it was easy to understand the design concept), and compare/prefer (the video is
creative, enjoy watching the video, the video is interesting). The survey process was
developed as follows:
32 Figure 3. Group 1 and Group 2 Survey Taken Process.
33 Figure 4. Group 3 and Group 4 Survey Process.
Data Analysis
Data were aggregated for data analysis by using SPSS. Paired-Sample t-Tests and
frequencies were used to analyze the data. The test is intended to find out whether there is
statistical indication that the mean difference between paired objects on a certain outcome
is considerably different from zero. (University Libraries, 2016).
A total of 102 participants who watched the Dolce & Gabbana fashion film and Givenchy
runway show, and 99 participants watched the Dolce & Gabbana runway show and
Givenchy fashion film.
34 Hypotheses Testing
Hypothesis 1 predicted that fashion runway show videos are better able to
communicate the design concept than fashion films. Paired sample t-test for differences
between means showed the result fashion film- runway show: t=-2.472, p>.05. (Number
9 in table).Therefore, the participants perceived that it was easier to see the design
concept in arunway show video than afashion film. Hypothesis 1 was supported.
Hypothesis 2 predicted that participants would prefer fashion runway shows videos
to fashion films. The participants indicated that the runway show was creative, they
enjoyedwatching and was interesting were: Table 2
Percentage of Creative, Enjoy
Watching and Interesting
Table 2.
The
Runway Show Was Creative, They Enjoyed
Watching and Was Interesting
Dolce& Gabbana fashion film
Dolce& Gabbana fashion runway show
Givenchy fashion film
Givenchy fashion runway show
95.4%
93.1%
92.8%
93.1%
The average of the total percentage for fashion runway show was93.1%, for fashion film
was94.1%. Therefore, this data indicated that participants slightly preferred the fashion
films to the fashion runway show videos. Hypothesis 2 was not supported.
Hypothesis 3 predicted that participants’ perceptions of the design concept were
congruent with the expert perceptions. Frequencies were used to test Hypothesis 3. The
underlines in Table 3, 4, 5, 6 are those that were provided by fashion professionals and
35 Business of Fashion.
Table 3
Frequencies of Adjective Selection Among Participants Watching Dolce
& Gabbana Fashion Film (102 Participants)
Number Terms
Colorful - relates to
1
heritage
2
Dance
3
Dark
4
Sad
5
Culture
6
Romance
7
Playful
8
Sex apparel
9
Spain's Matador
10
Flamboyance
11
Active
12
Customer perspective
Reinterpretation of
13
costume
Playing with men's
14
jackets on women
15
Circus in modern world
16
Young luxury
17
Sports
Numbers of Choices Percentage
10.2%
99
7
51
5
0.7%
18
Total
55
969
5.7%
100%
102
22
3
108
74
81
61
78
57
50
19
68
29
Bullfighter
10.7%
2.3%
0.3%
11.1%
7.6%
8.3%
6.3%
8.0%
5.9%
5.1%
2.0%
7.0%
3.0%
5.3%
0.5%
36 Table 4
Frequencies of Adjective Selection Among Participants Watching Dolce &
Gabbana Runway Show (100 Participants)
Numbers of
Choices
Colorful - relates to heritage
98
Dance
69
Dark
36
Sad
2
Culture
100
Romance
94
Playful
56
Sex apparel
46
Spain's Matador
87
Flamboyance
43
Active
16
Customer perspective
10
Reinterpretation of costume
83
Playing with men's jackets on women 62
Circus in modern world
23
Young luxury
56
Sports
6
Bullfighter
71
962
Number Terms
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
Total
Percentage
10.2%
7.2%
3.8%
0.2%
10.4%
9.8%
5.8%
4.8%
9.1%
4.5%
1.7%
1.0%
8.7%
6.5%
2.4%
5.8%
0.6%
7.4%
100%
37 Table 5
Frequencies of Adjective Selection Among Participants Watching Givenchy Fashion Film
(100 Participants)
Number Terms
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
Total
Informed by tectonic shifts in the fashion landscape
Playful
Spain
Passion through the ages
Romance of popular culture
Young luxury
Bullfighting
Active
Clash of cultures
Sad
Floral
Application of embroideries
Heritage
Dark
Contradiction between styling and design
Contrast between setting designs
Flamboyance
Numbers
of Choices
67
72
24
57
74
94
2
69
67
19
9
52
34
96
58
45
28
867
Percentage
7.7%
8.3%
2.8%
6.6%
8.5%
10.8%
0.2%
8.0%
7.7%
2.2%
1.0%
6.0%
3.9%
11.1%
6.7%
5.2%
3.2%
100%
38 Table 6
Frequencies of Adjective Selection Among Participants Watching Givenchy Runway
Show (102 Participants)
Number Terms
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
Total
Informed by tectonic shifts in the fashion landscape
Playful
Spain
Passion through the ages
Romance of popular culture
Young luxury
Bullfighting
Active
Clash of cultures
Sad
Floral
Application of embroideries
Heritage
Dark
Contradiction between styling and design
Contrast between setting designs
Flamboyance
Numbers
of Choices
61
20
47
61
52
64
18
14
64
68
26
75
67
102
59
61
25
884
Percentage
6.9%
2.3%
5.3%
6.9%
5.9%
7.2%
2.0%
1.6%
7.2%
7.7%
2.9%
8.5%
7.6%
11.5%
6.7%
6.9%
2.8%
100%
For the Dolce & Gabbana film, there area total 969 participants’ choices, 60.9% were
the same as terms given by professionals. 39.1% choices were not the same as terms
given by professionals. For Dolce & Gabbana runway show, there are total 962
participants’ choices, 68.8% choices were the same as terms given by professionals, and
31.2% were not. For the Givenchy fashion film, there are total 867 participants’ choices,
39 74.0%were the same as terms given by professionals, 26% choices were not. For the
Givenchy runway show, there are 884 numbers of choices, 56.2% choices were the same
as terms given by professionals, 43.8% were not. In both of the Dolce & Gabanna and
Givenchy testing, participants made a majority of choices alighted with terms given by
professionals. Therefore, hypothesis 3 was supported (Table 7).
Table 7
The Percentage That Participants’ Perceptions of the Design Concept Are Congruent
with The Expert Perceptions
Dolce & Gabbana Fashion
Film
Givenchy Fashion Film
Congruent
60.9%
74.0%
Dolce & Gabbana Runway
Show
Givenchy Runway Show
Congruent
68.8%
56.2%
Hypothesis 4 predicted that the fashion runway shows would better communicate
intrinsic elements of the designs: color, textile and silhouette. As seen in Table 8 the
paired sample t-test showed statistically significant differences between the groups on
colors fashion film – runway show: (t=-.878, p>.05), textile fashion film – runway show:
t=-3.375, p<.05, and silhouette fashion film – runway show: (t=-4.568, p<.05). The
participants responded that the runway show more effectively communicated intrinsic
design concepts (colors, textiles, silhouette) than fashion films. Hypothesis 4 was
supported.
40 Table 8
Paired sample t-tests for differences between means
Paired Differences
t
df
Sig. (2-tailed)
-.07921 1.28275
-.878
201
.381
-.31683 1.33406
-3.375
201
.001**
-.44059 1.37096
-4.568
201
.000***
-.11386 1.34272
-1.205
201
.230
.37624
1.42369
3.756
201
.000***
.10891
1.47888
1.047
201
.297
.02970
1.32301
.319
201
.750
.24257
1.32168
2.609
201
.010*
-2.472
200
.014*
Std.
Mean
Sub Scale
Pair Film Color – Show
1
Color
Pair Film Textile – Show
2
Textile
Pair Film Silhouette –
3
Show Silhouette
Pair Film Music – Show
4
Music
Pair Film Background –
5
Show Background
Pair Film Model – Show
6
Model
Pair Film Tempo – Show
7
Tempo
Pair Film Environment8
Show Environment
Pair Film Concept –
9
Show Concept
Deviation
-.20896 1.19838
*p < .05. **p < .01. ***p < .001
The results indicated there are significant differences between the fashion films and
the runway shows (see table 8and table 9).
As seen in Table 8 statistically significance differences were found between the
41 means for textile, silhouette, background, and environment. The next section will present
results of the hypotheses testing.
Hypothesis 5 predicted that the fashion films would better able communicate extrinsic
elements of the designs: music, background, model, tempo, and environment. The paired
sample t-test showed statistically significant differences between the groups on music
fashion film – runway show: (t=-1.205, p>.05), background fashion film – runway show:
(t=3.756, p<.05), model fashion film – runway show: (t=1.047, p>.05), tempo fashion
film – runway show: (t=.319, p>.05), environment fashion film – runway show: (t=2.609,
p>.05).The participants responded that the fashion films more effectively communicated
extrinsic design concepts (music, background, model, tempo and environment) than
fashion films. Hypothesis 4 was supported.
42 Chapter V
Discussion
Using the communications process model, this research indicated that participants
understood and managed the information from the runway show videos and fashion films
differently. First, the participants in this study understood design concepts better by
watching runway show videos than by watching fashion films. The participants’
responses aligned with professionals on the intrinsic elements of the designs, like color,
textile, and silhouette, better in runway show videos than fashion films. On the extrinsic
side, participants’ responses aligned with professionals on design elements (music, model,
background, tempo and environment) better than the runway show videos. These
differences between groups on runway show videos and fashion films can be attributed
toa sender transferring the message using different channels (runway show video and
fashion film) to the receivers (Casstevens, 1979). Therefore, the results in this study
provided concrete evidence that the fashion film helped the participants understand
extrinsic elements (Kraft, 1987). Without the angles, lighting and a story line of the
produced film, the runway show video helped the participants focus on intrinsic elements
of the apparel itself.
Second, this study found that both the runway show videos and fashion films have
value and have separate roles in the marketing mix. For buyers who work for the fashion
industry, the focuses on the intrinsic aspects of products. On the other hand, consumers
and general audiences are more interested in the extrinsic aspects of the designs.
43 However, not all extrinsic elements were better represented in fashion films. Results
indicated that the music (one of the extrinsic elements) in a runway show video was
better received. This result provided a choice for the fashion film producer to manipulate
music in the fashion film, to better reach the audience,
Furthermore, results of this study provided support that the participants’ perceptions
of the design concept were mostly congruent with the expert perceptions. For example,
professionals used the term “active” to describe both the Givenchy fashion film and
Givenchy runway show. A greater number of participants chose this term for the
Givenchy fashion film than for the Givenchy runway show. Therefore, the presentational
fashion films helped the participants understand the design concept on the term “active.”
This suggests that a runway show producer may want to have the aid of a fashion film
expression to build a better show.
Conclusion
In the contemporary fashion marketing mix, companies face not only the private
consumers and buyers, but are also subject to the press and mainstream consumers. IN
order to increase sales performance and lead fashion trends, the fashion industry presents
runway shows every year. Different fashion brands have begun to produce fashion films
to enhance brand image, putting both of the runway show videos and fashion films on
YouTube for consumers to view. In this way runway show producers and fashion film
producers are the senders of communications, using different channels (runway show and
fashion film) to promote styles and increase awareness for the brand, boosting the role of
44 the potential consumers and successfully delivering fashion information to a variety of
audiences.
The results of the study indicate that runway show videos are better able to
communicate some aspects of the design concepts than fashion films. Participants
perceived the intrinsic elements better when watching runway show videos. The results
of this study also provided concrete evidence that the fashion films helped the
participants to understand extrinsic elements (Kraft, 1987). Without the rich shooting
method, participants paid more attention to the garment itself in the runway show videos,
therefore they understood the design concept better.
This research provides insight for fashion designers, runway show producers, fashion
film producers, companies, and professionals in fashion industry. Producing a fashion
film has extrinsic strengths, and producing a runway show has intrinsic strengths. Fashion
buyers focus on the intrinsic elements; consumers and audiences are equally interested in
the extrinsic elements. Therefore, companies could manage the strengths they needed to
express to various stakeholders through the different fashion media to achieve their goals.
The results of the research can help to save money and time. Furthermore, this research
could also provide fashion designers, runway show producers, and fashion film producers
material to stimulate their creativity. They can combine the runway shows with fashion
films to tailor their design concept communication more specifically to audiences. And
last, professionals in the fashion industry and the fashion professors can guide future
fashion professionals, to better understand design concepts and help them grow and
45 succeed in this ever-changing field.
The runway show is produced for live audience, so employing different media (video)
includes videographers’ point of view, which changes the experience from the live
runway show. Fashion film is produced for video, so the producer has that in mind from
the start. Since shows are increasingly being put online, designers and show producers
should take into account how the show is “shot” to maximize impact and consider aspects
of production and filming that can enhance branding, taking advantage of benefits found
in fashion films. Production of runway shows with an eye towards end use may even
merge the best aspects of fashion film and show for maximum use of time and resources.
With increasing availably of phone videos, shows by amateur designers may want to seek
to comfort vision of show –concentrate videography as integrated part of production, to
add extra value to company- produced communication.
The limitations of this study and the suggested future research are as follows. First,
the author chose to use very young participants in one physical location. The participants
are the potential consumers, but may not have the resources to purchase the luxury brands.
Therefore, the participants may not understand the luxury brand design concept deeply.
Second, the participants were students and they may not have read the questions carefully
enough in making their choices. Third, there were only two brands included in this study,
famous in the fashion industry. Therefore, the participants may already have understood
the design concept before they watched the videos. For future research, it would be
suggested to increase the number of participants and choose more diverse participants. IN
46 addition, a different target market and non-student participants may yield different results.
Finally, more fashion brands should be used in future studies to provide more specific
data and examine videos of spectacle show like Chanel grocery store, or other that are
more dramatized against models walking on runway shows and fashion film.
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53 Appendix
Survey Questions
Part I
1. It was easy to see the main color of the collection.
It was easy to see the textile design of the collection.
It was easy to see the silhouette of the collection.
2. The music helped me to understand the design concept.
The background helped me to understand the design concept.
The models helped me to understand the design concept.
The tempo in performing helped me to understand the design concept.
54 The environment helped me to understand the design concept.
3. It was easy to understand the design concept.
4. Dolce & Gabbana Spring/Summer 2015 campaign. Which of the following words
could describe the design concept? (Multiple answer, please pick 3 answers per page. The
answers below with underlines are the answers that given by the professionals.)
A.
Colorful – relates
G.
Playful
costume
to heritage
H. Sex apparel 3
B.
Dance
I.
Spain’s Matador
C.
Dark
J.
Flamboyance
D.
Sad
K. Active
P.
E.
Culture
L. Customer perspective
Q. Sports
F.
Romance
M. Reinterpretation of
R. Bullfighter
N. Playing with men’s
jackets on women
O. Circus in modern world
Young luxury
5. Dolce & Gabbana Spring/Summer 2015 Full Runway show. Which of the following
words could describe the design concept? (Multiple answer, please pick 3 answers per
page. The answers below with underlines are the answers that given by the
professionals.)
A.
Colorful – relates to
G.
Playful
costume
heritage
H.
Sex apparel
B.
Dance
I.
Spain’s Matador
C.
Dark
J.
Flamboyance
O.
Circus in modern world
D.
Sad
K.
Active
P.
Young luxury
E.
Culture
L.
Customer perspective
Q.
Sports
F.
Romance
M.
Reinterpretation of
R.
Bullfighter
N.
Playing with men’s
jackets on women
6. Givenchy Fall/Winter 2015 campaign. Which of the following words could describe
the design concept? (Multiple answers, please pick 3 answers per page. The answers
below with underlines are the answers that given by the professionals.)
55 A.
Informed by tectonic
culture
embroideries
shifts in the fashion
F.
Young luxury
M.
Heritage
landscape
G.
Bullfighting
N.
Dark
B.
Playful
H.
Active
O.
Contradiction between
C.
Spain
I.
Clash of cultures
D.
Passion through the
J.
Sad
ages
K.
Floral
Romance of popular
L.
Application of
E.
styling and design
P.
Contrast between
setting designs
Q.
Flamboyant
7. Givenchy 2015 Fall/Winter Women’s show. Which of the following words could
describe the design concept? (Multiple answers please pick 3 answers per page. The
answers below with underlines are the answers that given by the professionals.)
A.
Informed by tectonic
culture
embroideries
shifts in the fashion
F.
Young luxury
M.
Heritage
landscape
G.
Bullfighting
N.
Dark
B.
Playful
H.
Active
O.
Contradiction between
C.
Spain
I.
Clash of cultures
D.
Passion through the
J.
Sad
ages
K.
Floral
Romance of popular
L.
Application of
E.
P.
Contrast between
setting designs
Part II
Demographic Questions:
1. Which year are you in at Kent State Fashion School?
2. Are you familiar with these designers?
3. Do you have an idea that the designers stand for?
4. Do you regularly watch runway show?
styling and design
Q.
Flamboyance
56 5. Do you regularly watch fashion film?
6. Where do you watch? (Phone, laptop, desktop, iPad)
7. Do you think the runway show video/fashion films creative?
8. Do you enjoy watching them?
9. Do you think they are interesting?
10. Do you think you know more about the designers and the design concept now
than before you see the video?
56 57 57