Blue is the New black. Susie Breuer
keep buying their clothes. In order to provide coherence to a collection, the brand needs a concept. It is the foundation upon which the collection is created and it is an important point of reference during the development, launch and production stages of the collection. Its generation can be the result of moments of inspiration or of careful analysis of market trends; in practice, both are important contributors to the formation of a successful concept.
WHAT IS A CONCEPT?
A concept is a design direction for the shape, colour, mood and fabric for any fashion collection, and is created at the beginning of the season. It creates the mood of the collection and is always open to different interpretations. The initial idea first needs to be analysed carefully and translated into something that people can actually look at, and that can set out the direction of the collection.
Several seasons ago the K Karl Lagerfeld launch concept was Rock and Roll Androgyny. The designer took images of androgynous models in skinny jeans and boyish clothes and built a men’s and women’s range around it. Black, white and grey were the colours, with an idea of using coated leather look fabrics, silver metallic prints and washed out, vintage look T-shirts. The starting point for the research was the love of denim and the colours, black and white, of Mr Lagerfeld himself. These three elements evolved into a concept that gave the feeling of rock and roll edgy clothes that could be worn by males and females.
A concept can come from fewer than three elements as well. A while ago, a spring collection for the Hilfiger Runway line had the theme: ‘New York Country Club’. The concept began with the words Country Club, and from there, images of 60s and 70s women’s sporting clothes, pleated tennis whites, halter neck tops and mini dresses were added to the visuals. Images of Katherine Hepburn in her signature high-waist wide leg pants matched with bra tops gave the movie star reference, and the fabrics for the mood were fine chiffons, and checked linens.
ELEMENTS OF A CONCEPT
The four parts of the concept are fabrics, colours, shapes and mood. We shall look at them in detail and explain what exactly they consist of and how they influence the process of development.
FABRIC
Fabrics (or yarns and textiles) are very important to the feeling of the concept. Most concepts are first presented in the form of a handful of fabric pieces. They provide a tangible expression of the feeling you want to convey. If you want to evoke a 1920s romantic, nostalgic feeling in a concept, chiffon would be perfect to conjure up an image. A men’s military theme would have heavy weight cotton or boiled woolen fabric to illustrate the mood. Fabrics add an extra dimension to the concept, but they do not have to be the only ones used for the collection. It is, however, a signature element.
COLOUR
Sitting alongside the selection of fabrics is the composition of the colour palette. The palette is a collection of colours (or tones, tints, shades, hues, stain wash or dyes) that will be used throughout the range collection. Making a palette for a concept is not easy. The shades selected have to work not only in many of the types of garments but also in the colours of buttons, zips, prints and embroideries.
For instance, yellow is a bright and ‘happy’ colour – mostly used for spring and summer ranges. It is a good colour for a T-shirt or a pair of socks, but can you imagine it in a wool coat or a suit? It’s a hard colour to have it in a great mass, but in small portions or in a specific fabric it works. It is also great for small embroidery on the chest of a shirt, a print on a T-shirt, a raincoat, or even a chiffon dress, but it has to have its place. Navy, on the other hand, is a great suit or coat colour, as it is a classic shade that everyone can wear. It also works on trims (e.g. buttons and zips), but could be seen as boring or too ‘classic’ for a print or embroidery.
Experiment with fabrics to see what works together and what doesn’t. Take one colour and two or more fabrics, decide which fabric has the stronger colour tone when compared to the others. Do they all work or is one a stronger element? It is a nice challenge to assemble the colour palette, making sure it ticks the above boxes, as well as being ‘new’ and interesting for another season.
SHAPE
Shapes within a concept refer to the sizing aspects of the garments in the collection, and every season the shape of garments changes for both men and women. In the early 70s the style for trousers was flared at the hem and tight at the waist and hip. In the late 70s there was the drainpipe jean that was super tight all over. In the 80s we had the power suit with the padded shoulder, and a decade later the shoulder lines got softer and less structured, giving a more relaxed look. These are just some important changes over decades, but even measurement variations of 5 cm can make a difference between seasons for a pair of high waist or waisted jeans. Being clear about the direction of the fit is vital for the concept.
MOOD
The mood of the concept adds an emotional element to the concept that ‘sets the scene’ for the other elements. If we go back to the K Karl Lagerfeld concept, the mood would be signalled with images of rock and roll bands, confrontational shots of models with blunt cut hairstyles, dramatic make up and monochrome imagery. For the Hilfiger line there would be faded sunsets, sheer pastel-coloured fabrics, and nostalgic images of models, hair blowing in the breeze at a 50s American sporting Country Club.
WHO CREATES THE CONCEPT?
Some companies have concept designers whose job it is to define the design direction of the range, brand or company. Their specific job is to understand the brand’s customer profile and heritage to form a new direction for the new season’s collection. This means following trend forecasters, fabric mills, music trends, lifestyle trends, catwalk shows, graduate fashion shows and current street fashion to decide on a direction most suitable for their brand. If it isn’t financially viable to have a specific concept creator, the designer can be entrusted to define the concept.
IDEAS FOR THE CONCEPT
Ideas are everywhere. They can strike at any hour of the day or night, and any time of the year. This is why it is so important to be aware of all the possibilities that are around, that are heard, seen or read. Reading books, watching movies, people-watching, all raise questions about words, characters, clothes, colours and scenery, many of which can be a starting point for the development of a concept. Concepts are formed from the strangest, most random beginnings. Concept designers keep a notebook and camera with them at all times, taking notes and pictures of anything they see that might be of interest.
HISTORY
Historical references can play a huge role in fashion collections. Whether it is a fabric, a garment type or a whole silhouette, designers have been referencing history for years. John Galliano referenced Marie Antoinette in his 2010 collection, and Alexander McQueen alluded to his Scottish ancestry in his Highland Rape collection with tartan fabrics and heraldry. Military influences are always strong in menswear and even with denims; the history of work-wear has been researched and updated by many a denim company. There is such a phenomenal depth of information available for shapes, colours and fabrics that the options are endless, and what’s more, it is free.
SHOPPING TRIPS
Every major shopping city in the world has interesting and innovative shops. Whether they are the international chains or small local independent stores, window-shopping in a new city can give inspiration on colours, shapes, fabrics and trim details. Shopping at someone else’s expense sounds like a pretty nice way to spend your time, and while I’m not going to try to pass it off as ‘a hard business trip’, it is a good