This change in consumer engagement is also impacting the visual style of advertising in the fashion industry and also the style of garments produced. Fashion houses such as YSL, Lanvin and Balenciaga who traditionally were known as labels producing haute couture collections are now creating items heavily inspired by streetwear with their editorials marketed and referencing the new youth of today. Maria Janssen, creative director at global fashion forecasting agency WGSN spoke about this change in her interview for Bradley Quinns “Fashion Futures”.
We are seeing two interrelated trends that will have impact on youth culture for seasons to come. We call the first one ‘jpeg gen’. This trend is about the emergence of the online generation, the first generation that has never known a world in which the internet did not exist. they have taken the language of the internet, one that is fast-reacting and multi-contextual and made it their own… it’s about an aesthetic of speed over process, and crude computer craft combining jarring scale and motifs into unusual textures, bringing about an aesthetic revolution. (2012, p88)
I see evidence of this occurring already, If we look at the latest collection from Givenchy (see fig 6.1) we now see high end sweaters printed with pastiche images of Bambi and Rottweilers collaged with tartan prints. The aforementioned Pyrex Vision collection fuses renaissance artwork with varsity style fonts (fig 6.2) and even the editorials printed in fashion magazines are evolving into this similar style. Digital artists such as Daniel Sannwald (fig 6.3) have become popular in glossy features, producing heavily edited imagery which now moves away from the traditional narrative of fashion houses to fit in with today’s digital aesthetic. WGSN’s trend report for summer 2012 also discussed this ‘jpeg generation’ and how our visual identity is evolving based on this mass volume of information we retrieve via the internet.
The process of filtering what we like and dislike is the same for everyone, but the outcome is always unique to the individual. This curatorial edited approach to life manifests itself in everything from style to communication, as pastiche and montage become the vocabulary for a new visual language. (2011)
This idea questions whether or not as an audience today we are actually creatively directing these fashion brands and guiding them to create the style of garments they are. Gwyneth Moore in her book “Concept To Customer” states that designers historically were segmented into 4 key groups. One of these groups she calls ‘Mavericks’
Mavericks advise top design houses on seasonal directions for colour, style and fabric choices.
These designers are not primarily concerned with current consumer or market trends; they will instead create couture, new looks and direction for a brand, preferring to lead rather than follow.
(2012a, p16) Are these previously ‘Maverick’ designers such as Ricardo Tisci for Givenchy or Hedi Slimane for
YSL no longer maverick as it seem now they are just feeding the market with exactly what they want.