Mags Loves Jimi

“They thought I was a Surrealist, but I wasn't. I never painted dreams. I painted my own reality.” ― Frida Kahlo

Category: Verbatim

Make Me (Up)

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Artwork by  #DARIABIRANGXINEZANDVINOODH

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When I started wearing makeup, the world began to change. I mean this literally: I was a thirteen-year-old girl in the post-9/11 world. Seeing my mother in her black patent shoes with rouged lip-paint; she was a war hero, at her best. She shone with a palette different from my own, a contrast to the innocuous person I thought I was.

Stereotypes only furthered this innocuoucy. Women who wear makeup are insecure. Women of colour who wear makeup are trying to be something they’re not. I’ve heard it all before. My thirteen-year-old self knew the weight of those words and feared it.

John Dovidio, a professor of psychology at the University of Connecticut, stated this in an ABC article: “When you’re a social animal, you need to be able to distinguish who’s a friend and who’s a foe. You need to understand who’s a member of your pack, who’s a member of a different pack.”

Australia is a multicultural society, full of colourful people rich with culture. One would assume because we are surrounded by difference there would be an immunity to stereotypes. This is far from the case. Bias opinions are involuntary and unconscious. But to adhere to a stereotype even after the preconceived assumption is broken or revealed is a testament to our relationship with trust.

Professor Dovidio also assured in the same article, “We categorize people automatically, unconsciously, immediately, based on a person’s race and based on a person’s sex.”

These sounds like clichés, don’t they? Judging someone based on their race or sex is basis of the Hollywood marketing mix—a surefire way to ignite discourse and disagreements within a pleasurable setting. According to Merriam-Webster, there’s a difference between a ‘stereotype’ and a ‘cliché’. The words cliché and stereotype both come from the French; in fact, cliché is French for stereotype. In modern language cliché means ‘an overly familiar or commonplace phrase, theme, or expression, whereas stereotype means ‘an often unfair and untrue belief that many people have about all people or things with a particular characteristic.’

It’s interesting how a cliché and a stereotype are branches from the same tree, yet have two very different meanings. One could be an explanation of the other—it is a cliché to stereotype. It’s also a stereotype to call something too familiar a cliché—a case of semantics. What we know for sure is stereotypes hold negative connotations. Chimamanda Adichie, when asked via The Atlantic what American’s get wrong about Africa, affirms this poignantly: “I don’t think stereotypes are problematic because they’re false. That’s too simple. Stereotypes are problematic because they’re incomplete.”

Research studies conducted by cognitive and social psychologists reveal we have different stereotypes for different social contexts. Have you ever been a room full of people who looked like the direct opposite of you, aesthetically? Say you have jet black hair and the room is full of blondes. Suddenly a Mattel-filled minefield comes to mind—Attack of the Blondes by Barbie. You start to think of a time where you felt overwhelmed by noticeable differentiation. A very simple example (and perhaps a cliché of the dumb and dangerous Blonde – shoutout to Marilyn Monroe) but a common theme.

How do we combat these feelings of self-consciousness without falling into the trap of compartmentalization and dissention? I’m reminded of what my favourite marketing maverick and people-person, Seth Godin, wrote about in his blog about our ability to be judgmental yet call out others for the same thing:

“Everyone believes that other people are terrible at judging us and our potential, but we go ahead and proudly judge others on the basis of a short interview (or worse, a long one), even though the people we’re selecting aren’t being hired for their ability to be interviewed. The first step in getting better at pre-judging is to stop pre-judging. This takes guts, because it feels like giving up control, but we never really had control in the first place.”

So, if stereotypes are based on a fear of lack of control, then shouldn’t we focus on how we deal with controlling a narrative? Insert the beauty business who promote self-love yet dictate how you should present that love to the public.

Is there a double standard for the tattoo and piercing artist who goes to church every Sunday? What about the virgin who enjoys pole fitness? How about the chubby girl who swears she isn’t ‘eating her feelings’ or the skinny minny who just doesn’t like to eat as much. A stereotype would be to assume the tattoo artist is not a devoted Christian, the dancer is a slut, and as for the girls on the opposite physical spectrum, well they must be sad.

The moral of this story is stereotypes have negative and uncontrollable reactions and consequences that usually affect others internally. To reiterate what Seth Godin stated, we are all guilty of pre-judging others because of the belief they’re judging us wrong. I can safely say my thirteen-year-old self didn’t want to be stereotyped as the girl of colour who wanted to stand out. Now as an adult double that age and then some, I can understand that a stereotype is just another way to fill in blanks to the unconvinced. The best course of action is to not convince yourself something about someone else without any personal experience whilst balancing this with a good healthy dose of common sense.

By Margretta Sowah


 

This article was written by Margretta Sowah; a freelance writer and Fashion Marketer based in Sydney. All opinions expressed are her own. She cannot be held liable for bad taste. She also likes to spin yarn from time to time. Read more at:  Blaire Creatives 

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Breaking Bad (Habits)

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2.13am. A downtown loft. In a glitter-esqe façade, rugs of Persia are merely design accents. Down the hall, in a small room full of mirrors, a woman stares at her vanity cabinet. Red pill. Blue pill. Yellow pill. White. How much can I take in one night? A friend raps at the door: “everything okay in there?” A small voice says, “Yes, just taking my medication, give me a sec.” The friend leaves, nodding knowingly. The woman is in pain, after all.

There seems to be a foggy, sexy stigma against prescription pills, or any pills, for that matter – the sort of over-achieving sibling of the drug la familia. According to an article in The Conversation: ‘The Therapeutic Goods Administration (TGA) has called for submissions on the idea of deleting Codeine from Schedule 3 (pharmacy only) availability and moving it to Schedule 4 (prescription only).’

This does not come lightly. Studies show Codeine is not as potent without the other components added to make it marketable and therefore ‘stronger’. In the Cochrane review, findings showed researchers would need to treat 12 people with 60mg of Codeine alone to achieve a 50% reduction in acute pain for one person. Talk about a Placebo; so I guess it’s not Every You, Every Me?

In the Western world, we don’t play games with pain the same way we do with pleasure. When it comes to treating pain relief at your GP, the more subjective, the bigger the script can be. Speaking from personal experience with an immediate family member battling mental health (Mellon Collie and the Infinite Sadness, to randomly quote a Smashing Pumpkins song), I have questioned the scripts plenty of times. But I’m reminded of this: who’s place is it to say you’re not in enough pain to warrant any medication?

That’s not the purpose of this investigation into Codeine. It’s about treating the cause, not the symptom. Having said that, the decision to change how we access Codeine may be a bit of a hassle. Sometimes waiting at the doctor’s office is more of a headache than the actual headache. Wouldn’t you want a permanent fix, if possible, instead of the Band-Aid effect of Codeine? I know which one I’d prefer, but I also know what I’d be more likely to do.

When it comes to Class A-Z drugs, prescription and over-the-counter, we’re essentially talking about the same family—the whole clan: cousins, nieces, nephews, and let’s not forget any parties who are made accountable by God and the State (the step-mum/dad and whatever step-in-between), y’all included too. These medications are used to alter, magnify or numb pain in the human body. Modern medicine has shown us this, and so has the drug epidemic. Bottom line is this: we do NOT want to be in, stay in, or be subject to possible pain (unless you’re into BDSM; in that case, how you doin’?), but at what lengths and at the cost of whom?

Reports show there are much better alternatives to Codeine containing OTC formulations with a combination dose of 200mg ibuprofen/500mg paracetamol. This was made effective in a head-to-head trial against paracetamol 500mg/Codeine 15mg tablets. The truth is an unsupervised dosage can have serious risks with no real benefits. No doubt a fair share of GPs and hospitals have seen cases of liver damage due to high paracetamol doses. I’ve seen my fair share of overindulgence in pills unfortunately for no other reason but boredom.

Regular Codeine use can cause chronic rebound headaches with difficulties in reducing or stopping the dosage. Countries such as the US, Sweden and Germany have already made the shift from over-the-counter to prescription only. Will there be change from documented harm due to addiction from addictive and non-addictive doses? Only time can tell. It will take more than just a prescription to shift the view society has on the benefits of Codeine. Staff working in pharmacies will not be able to consistently monitor potential substance abusers, because there is no one-size-fits-all expression.

Regardless of whether this is passed in profession is not the point. We need to reevaluate how we see pain and how we deal with it. One white pill here could save a life; another could end it. The choice, undoubtedly, belongs to you. The difference could save you from being a statistic, instead of part of the solution.

By Margretta Sowah


 

This article was written by Margretta Sowah; a freelance writer and Fashion Marketer based in Sydney. All opinions expressed are her own. She cannot be held liable for bad taste. She also likes to spin yarn from time to time. Read more at:  Blaire Creatives 

Price and Power


 

In today’s politically charged atmosphere of 140 characters and things like Sienna filters, it is no surprise Fashion is wrapped in this fray. The American FLOTUS’s Fashion choices, or lack thereof, is a source of analytical contention. Questions like; Can privilege be bought? Is price indicative of this? Tom Ford was famously quoted saying his clothing was “too expensive for a First Lady to wear because they have to ‘relate to everybody.” Be that as it may, start-up brands and young designers can learn a lot about pricing themselves accordingly.

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Price and Privilege

To be honest, when researching these flashbacks of my Undergrad surfaced; lectures and tutorials dedicated to the rising cost of raw materials, COGS and markups. In Fashion, as any business and serious relationship, there is a give-and-take. A mutual agreement. This is the financial exchange made between the brand, retailers and consumers. Profit comes from markups, which determine the RRP (recommended retail price). Markups allow for ‘breathing space’, permitting more units to be produced and therefore a greater chance for more volumes to be sold. This increases your profit and ultimately satisfies any shareholders and stakeholders; especially for retail chains and luxury brands.

In BOF’s article on the rapid rising cost of Fashion it’s stated; “Gross margins for luxury companies typically hover around 65 percent — that sounds like a lot, but it’s what shareholders now expect. It also means that a $3,500 bag costs roughly $1,225 to produce and bring to market, all the way from materials to sale. There are many steps along the way that contribute to the final price. There are the costs of raw materials, design, manufacturing and fulfillment. Then, at retail, there’s the cost of prime real estate and sales staff. And finally, there’s marketing: those glossy fashion adverts cost a pretty penny to produce, let alone to place. Over the past 10 years — and particularly since the end of the recession — many of these costs have increased dramatically.”

There are three main structures of the fashion system when sectioning yourselves to the market. These are Luxury, Fashion and Premium, according to marketing heavyweight and academic Professor Vincent Bastien in his article for Entrepreneur Middle East.

The luxury strategy aims at creating the highest brand value and pricing power by leveraging all intangible elements of singularity- i.e. time, heritage, country of origin, craftsmanship, man-made, small series, prestigious clients, etc. The fashion strategy is a totally different business model: here, heritage, time, are not important; fashion sells by being fashionable, which is to say, a very perishable value.

The premium strategy can be summarised as “pay more, get more.” Here the goal is to prove -through comparisons and benchmarking- that this is the best value within its category. Quality/price ratio is the motto. This strategy is, by essence, comparative.

Taking these models into account it is very important that brands knows where they stand on the proverbial totem pole of the retail mix of ROI. Another article on Forbes also accurately stated; “One of the main problems with the launching a new brand is that you have absolutely zero pricing power – meaning that you have the market setting the price within a narrow range & subsequently have a high cost basis to manufacture product. This begins the most challenging part of this stage – the tweaking of materials to levels that deliver sufficient quality right up to the monetizable equilibrium between the quality of the materials, construction of the product, and the customer’s willingness to pay for these costs. Keep in mind that $0.50 in manufacturing costs equals about $2 at retail (2x markup to wholesale and 2x markup to retail).”

In business, profit is the main aim of the game. When composing your pricing strategy it is imperative you know the value of your product versus the cost of it. A bar of chocolate is valuable to many (myself included, believe me!) but to produce is a much smaller cost – per bar, pre-market. The cost of raw materials and staff required (yes, cheap labour is still rampant): $1.15 including tax. Value: $5+ for the average consumer. Taking these numbers into account you have a profit of $3.85 per bar. Once you understand your cost versus your value as per product, you can add other variables such as brand cache, customer demand and scarcity of product.

There is power in being truthful with your core objectives because it means when leverage does present itself (because of your great price strategy) the benefits; whether monetary or socially will have a longer effect. This will also aid in communicating with your retailers, wholesalers and stockists.

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Profit and Personality

When we talk about ‘personality’ we mean traits that make up your behaviour. I have a ‘playful’ personality; meaning I can be a bit cheeky… perhaps even a little silly. Can you think of a brand with a similar personality? Moschino Cheap and Chic comes to mind. House of Holland. Mary Katrantzou. Kate Spade. Charlotte Olympia. Even Taco Bell is good at cracking a few jokes. Your personality, in branding, is what distinguishes you from your competitors, not unlike in real life. These traits are organically part of the brand’s DNA. The power in personality can be seen in the steady increase of profit margins.

Having a flexible, dynamic and profitable pricing strategy is an ongoing measurement; constantly in need of revision and reworkings. If numbers are not your thing (such as myself) then hire or have those around you that you trust and who are knowledgeable in finance – even if it’s your immediate family, to begin with. Your team is paramount to your success in the eyes of the public.

Some of the world’s most valued and loved brands hire hundreds of people all over the globe to research market fluctuation and value of raw materials, trend forecasting and political/social issues. All have a bearing on your pricing strategy. Price, psychologically, can be differentiated by the archaic yet still relevant class system – the haves and the have-nots, though, with the introduction and seamless integration of the internet and technology, this gap is becoming more and more ambiguous.

We can look at the Engineering Triangle as a basic example of the beginning stages of a ‘pricing strategy’ – if it is good and cheap, it is not fast. If it’s fast and good, it’s not cheap. If it’s fast and cheap, it’s not good. Does this apply to your business model and pricing strategy? If so ask yourselves how good are you to your customers if your item is fast and cheap? If you give products to your customers cheap, how good and fast can you accumulate profit? If it’s fast, how cheap and good will raw materials be? When we say ‘good’, we mean valuable and of quality.

All of these are valid questions that your core customers will care about… the ones who choose you over the others largely due to a perceived and curated personality, which most likely reflects your pricing strategy. To put it in Fashion terms; Hermes cannot be calling you Bae. In the same way a high street brand like Topshop cannot be trying to sell you a facetious fantasy because the two worlds are different and that’s okay. The Topshop woman can still be a Hermes woman; she just needs to be reached in different ways for different purses. Most of us in the industry have a basic understanding of this. The challenge is focusing on a flexible yet profitable pricing strategy while maintain that gleeful exuberance unkempt creativity allows us.

The truth is, you have to be true to your product, not expectations.

By Margretta Sowah


 

This article was written by Margretta Sowah; a freelance writer and Fashion Marketer based in Sydney. All opinions expressed are her own. She cannot be held liable for bad taste. She also likes to spin yarn from time to time. Read more at: Fashion Capital UK

Oh Come All Ye Consumers | Seasonal Semantics 

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Christmas at my house is quiet.

There is a little creek from the leaves rustling outside our windows. The food is usually ready by five and the four of us sit together to eat. We pray, pack our plates and wait for my dad to begin his storytelling. He tells us African folklore; stories of family, responsibility, kingship and what it means to love one another. Then, at about seven, we disburse into our own corners of joy. Some watching carols, others reading under the stars (just a chair, in a small backyard, in a quaint planet called Earth) and then there’s me… flipping from activity to activity, filling the moments with… well, moments.

Christmas at my house is not surrounded by ornaments or a large tree – not since we got a dog, anyway. Not a bauble in sight. No tinsel or holly. No frankincense or myrrh… though there are a few gold pieces on fingers and necks. As for wise men? I’m sure most of us fit the description of (wo)man on a journey to find the one thing that brings peace in this world (and aren’t we all on that journey?).

Christmas, depending on how you like your end of year/beginning of your celebrations, is different across the globe; home to home, heart to heart. This does not change the message of Christmas or how we spend it at my house. There is still the present puzzle leading up to the day – what to get, whom to give it to when to buy etc. Still the meal on the table, still the message of the good news of Jesus Christ’s birth. Still the spreading of hope and peace.

But is that what we are sold at Christmas? Is that what your weekly Myer or Coles catalogues and prime time ads say? Buy this and you will feel heavenly. Cook this and you will be the glory of the family. The message of Christmas is shared to us through products, food, and experiences. Is Christmas a profit-driven sale period? You bet your stockings it is. Are we being manipulated into forgetting the real message of the birth of the Christian faith as we know it? Yes and no. Let’s explore a little deeper…

What consumers love about Christmas is the same thing they hate about it – over-indulgence. Some see spending extravagant amounts of money on a gift (for almost anyone you’ve ever had a heart to heart with, and let’s not forget the obligatory office secret Santa); like a frosted cake freshly baked – luxurious but not essential. What we love about Christmas is the reminder that we are all the same.

We all have families, some more present than others (was that a gift joke? Okay I’m wrapping this up …), some festive, some reflective, some anxious, some giddy. The message of Christmas is simple – home is where the heart is. The problem with Christmas is not the religious meaning, it’s our humanistic urges. The world is driven by three main things – giving, receiving and promoting.

What I mean by giving is; as humans we run on time, energy and resources. We receive love, care, attention through time, energy, resources. We are also proud beings, wanting to advance in grit, will, and candor. Democratic by nature, we love to promote ourselves and each other. This is a savvy business tycoon’s dream. Tapping into our indulgences for the things we save on wish-lists – the items and places we wouldn’t normally dip our wallets into. As a species of hunters and nurturers, the coming together for the common cause will never be obsolete; nor will the power of family.

The need for Christmas is important to billions of people; as a well-grounded tradition into the faith of humanity. Let’s not get it twisted, there will always be a new gimmick, seasonal pull to rally the needy and speedy troops. Why not have it for the birth of a baby? If you think Christmas is a marketing ploy, don’t get me started on NYE and all its shenanigans – a profit-driven ideology geared to exacerbate FOMO, and making good use of those jingle balls… But getting back to the original point; Christmas at my house is quiet, and that’s just the way we like it, with its authentic meaning binding us together like a sheet of stars across the southern sky…

*Merry Christmas! May we spend together, dine together, wine together and above all else, come to all ye faithful.

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This article was written by Margretta Sowah; a freelance writer and Fashion Marketer based in Sydney. All opinions expressed are her own. She cannot be held liable for bad taste. She also likes to spin yarn from time to time. Read more at: Blaire Creatives

Textalysers and Tantrums

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Begrudgingly, I admit to being a serial texter while driving, and I’ve had my fair share of text-n-drive related moments of WTF!? WATCH WHERE YOU ARE GOING… which leads to the good ol’ Facebook Status Update of ‘PEOPLE ARE SUCH SHIT DRIVERS! WAS ALMOST IN ACCIDENT BECAUSE OF STUPID DRIVERS’.

Yes, angry rants and grammar do not make-out behind the art block… having said that, the editing process is a lot like a one-night-stand – the experience is far better for the other person when it’s straight to the point. Though I’ve never posted a car rant on social media there’s plenty of personal fuckeries to choose from. I digress…

Morally I know the physical ramifications of texting while driving – possible broken bones, a totaled car, a disposed sense of self due to foolishness, but the reality is, these ramifications go beyond the immediate future. Australia is one of the leading countries for road-related accidents and injuries. A clever PR person might say Australians are ‘adventurous’, instead of ‘impatient’. ‘Social’ instead of ‘distracted’ – either or, it’s a case of semantics.

Victoria Police are considering the implementation of TEXTALYSERs – a new technology that allows authorities to check whether drivers are using a mobile while driving. Reports of this technology surfaced in 2014 at the product launch in New York. Subsequently NY Police authorities began pushing legislation for the use of these new TEXTALYSERs in precincts. Having researched the obvious benefits, Victorian police strongly believe Australia needs this new method more than ever.

According to CarAdvice.com.au; ‘data provided by Victoria Police shows that more than 34,000 infringement notices were issued last year to distracted drivers using mobile phones behind the wheel. A recent study quoted by Queensland’s Centre for Accident Research and Road Safety (CARRS-Q) claims that just having a conversation on the phone while driving quadruples the chances of having an accident.’

“We are interested in anything that could support us in our road to zero lives lost on Victorian roads… (and) constantly assessing technologies from all over the world to advance our road policing efforts” said Acting Superintendent Stuart McGregor. “It’s still alarming to see that more than 34,000 people think it’s okay to put the lives of others at risk just to check their phones [while driving].”

“The law states that a driver is ‘Negligent’ when he or she did not exercise the right amount of care and attention which would be reasonably expected from a driver in the particular circumstances. A simple example is when a driver failed to pay sufficient attention to the road at the time or failed to comply to roads rules and an accident took place.” 

Being a reformed ‘shit driver’ or as I like to call it – ‘a very involved driver; involved in myself and whatever I’m strumming to’ (the myth about writers being tortured artists is real) – I know first hand the damage negligent driving can cause. Let me be CLEAR, I have never killed or seriously injured anyone on the road or otherwise. I’ve been in three car incidents. One with my sister from another mister Samantha, which I, still to this day, have guilt over even though the fault did not rest solely on myself. The guy was a serial accidental-er – he had walked in front of a tram six weeks prior because he was looking down at his phone – which is what happened with me. Except it was not on a footpath, it was on a merging motorway lane in peak hour. It only takes a moment.

The second was by myself; a motorbike was behind me as I merged lanes in peak-hour traffic, once again. In his attempt to avoid the waiting game like us normal folk with four-wheels, sped between traffic and collided with the back of my Barina as I was merging. He came out unscathed – thank God, but it scared the shit out of me. Though I still hold my innocence, to a certain extent, when someone is hurt the blame game is irrelevant; at least until insurance gets involved.

It was then I truly understood the reality of driving: your own ass is not the only thing you have to watch, but everyone else on the roads ass as well. 

And lastly, a humbling experience I will never forget, due to road rage. Long story short a car illegally came into my lane after a turn. Naturally I was outraged and I flipped him off. Big mistake. He tailed me and as he rolled down his window to say something I hit into the car in front of me. Apparently the guy in front of him had pushed the breaks abruptly because he changed his mind. Needless to say the airbags went off and I came home looking like Mohammad Ali, if he had lip injections right after a heavyweight fight. Did I mention I had just lost my license for 3 months – I became a master at the Statutory Declaration – AND I was going through a difficult breakup. I remember wishing, after my brother had come to my rescue, I had changed my mind. Kept calm. Kept safe. Ego and impatience will enable you to do some foolish things *cheeky sigh of resign* #Sidenote: I still remember the disappointment in my loved one’s voices: You lost your license? That should have never happened. You were in a car accident? Didn’t you just lose your license for 3 months? Well, you can be a bit reckless at times… Life has a wonderful way of humbling us. Now I have two ‘battle scars’ on my chest (reminds me of rapper Eve’s tiger paws) from the airbag pressure. A possible permanent reminder… What a sobering experience to the effects of our actions.

The Victorian police are determined, reports say, to test any new technology useful in bringing the state’s road tolls down to zero. A lofty goal? No, but the outcome rests in the hands of the driver – literally. Victorian Police Superintendent McGregor emphasized the importance of younger drivers (particularly if on L’s and P’s) focusing their attention on driving safely and sensibly, instead of texting friends through traffic.

“Obviously that age group is already of particular concern to us, purely due to their inexperience on the roads… When you’re learning how to drive or driving on your own for the first time, it is essential to devote your full attention to the task at hand. Driving is a serious task and should be treated as such. You’re in charge of more than a tonne of metal and if you divert your attention for even a split second; it could have fatal consequences. No text message or social media update is more important than getting to your destination safely,” McGregor added.

Suffice to say, we can’t be in two places at once and so too we can’t be watching the rear-view mirror, side mirror, and front mirrors while texting. Plenty do but, speaking from experience in driving kerfuffles, it isn’t worth it. The shame you feel – whether in the wrong or not, – the money spent, the inconveniences of borrowing family and friends cars, hitching rides to normally easy peasy places. The premiums go up – and you just know every time NRMA is on the phone there will be judgmental disappointment when your file is opened. Passive aggressive, customer service shade. Not fun, even if you are ‘lucky to be with Amy’.

A representative of the Victorian Automotive Chamber of Commerce (VACC), publicly announced their support of whatever new methods Police are investigating to make public roads safer.

“[The] VACC believes strongly in making commuting on public roads as safe as possible. Like with drink-driving, as soon as society can make activities like texting while driving unacceptable, the better off all road users will be. If people are going to make phone calls they should use approved hands-free devices. Technology solutions such as the breathalysers have been used with great success by police forces across the country. The ‘textalyser’ may be the next vanguard in road safety in Australia,” said by David Dowsey, spokesperson for the VACC.

There has been no confirmation of local installation of the TEXTALYSER but Victoria Police have resolved to investigate the devices’ potential. No life should be taken away because of carelessness. Hopefully this system will come onto our shores in the next 12 months. So called shitty drivers like myself will definitely benefit from new and effective technology like the Textalyser. But it isn’t just about preventative measures; educational videos, road safety workshops and advertisements showcasing the impracticality and selfishness of using a mobile while driving, regardless of age and experience, are needed also. We can ALL afford to be patient and alert as we travel together through this long winding road called life. As my dad always says; “wherever you are going; you will get there. Don’t rush.” #BestDadEver.

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This writer was afraid to share these stories because she was ashamed of being judged for stupid behaviour. Through writing this, I feel these experiences were not in vain or just a personal life lesson. Sharing enables others to grow too. This writer has resolved to NOT text while driving… I also reserve the right to get on my high horse and behave like a reformed smoker (just for the next two sentences, anyway); “You need to quit it. If not for yourself, for others you don’t know are affected.” Okay, this ‘positive take-away’ is done…

But in all seriousness:

DON’T DRIVE AND TEXT. DRIVE AND SING.  


This article was written by Margretta Sowah; a freelance writer and Fashion Marketer based in Sydney. All opinions expressed are her own. She cannot be held liable for bad taste. She also likes to spin yarn from time to time. Read more at: Blaire Magazine

Majesty and Meekness | The Myth of the Tortured Artist

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Illustration by Alessandro Gottardo

While writing my next article on the introduction of TEXTALYSERs in Australia (this is due to high mobile-phone related deaths on the road), I naturally gravitated towards tangents whenever possible (self-indulgent I know), which brought me to reference the ‘tortured artist‘ myth. I did a bit of a gooble (pronounced GOO-BELLED – the portmanteau of google and stumble… I’m not sure if it works as well out of my head as it did in *cheeky sigh of resign* I tried…

Perhaps goobling this article was meant to be? I think being a tortured artist, as I wrote in my interview with the renowned artist and loving father Gav Barbey; is a great sales pitch with potent ROI if governed by a steady sense of self and proportion.

Gav is a Painter, Film Maker, Sculptor, Fine Art Artist (he was trained at the prestigious NIDA) and a writer. “The ‘tortured artist’ thing adds to this drama – it’s a great sales pitch, isn’t it?” I have to agree, as an artist myself, it does concocts a mysterious and dangerous element to an otherwise romantic and established medium of presenting life as we know it with life as we wish to see it.

You can watch Gav’s enriching Tedx Talk here: How to draw like a child | Gav Barbey | TEDxUniMelb

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“These rituals around Artists are a bit funny.” I ask him if everyone is an artist; “This argument has been held in deep discussion since day dot. The word “art” has fucked everyone – art is decorative. Art is decorative to push an emotional understanding to the masses.” Gav maintains Picasso was just having fun, not reveling in his torturery but enjoying the freedom to move from style to style which is something we shun now. Pigeonholing is a key factor to the slow financial progress of the Artist. “This is what Picasso is saying: I want to experiment! He knew a lot of disciples and that translated as his best work.”

‘Tortured’ is a strong word… maybe we’re all ‘indecisive artists’,’confused’, ‘perplexed’, ‘vexed’ or just plain ‘not-happy-jan‘. Whatever you call yourself, the myth of the tortured artist is one of intrigue with many insights into the world of creativity and chaos.


I did not write this article. All credits go to Huffington Post + writer Christopher Zara.

 


The Myth of the Tortured Artist — and Why It’s Not a Myth

06/18/2012 03:46 pm ET | Updated Oct 15, 2012
  • Christopher Zara Media, Culture, and Arts Journalist
  • It’s always been my belief that all great art comes from pain. Van Gogh painted The Starry Night while in emotional torment; Lennon and McCartney forged their creative partnership following the death of their respective mothers; Milton pennedParadise Lost after losing his wife, his daughter, and his eyesight. Such unremitting grief would send even the most grounded among us into a frenzied Xanax binge and associated fetal position, but these celebrated artists chose not to recoil in passive suffering. Instead, they turned their sorrow into something the world would cherish.

     

    The idea of the tortured artist has long been debated in our culture, but to me it always seemed a self-evident truth. Art is a reflection of humanity, and humanity’s greatest virtue is its ability to overcome adversity. Why shouldn’t that same adversity inspire our greatest art? In fact, it’s a topic that fascinates me so much, I wrote a book about it, aptly titled Tortured Artists, which takes an admiring yet irreverent look at the link between creative genius and personal adversity. Did you know that Picasso nearly died in an earthquake at the age of three? Or that Frankenstein was inspired by a volcanic eruption? Or that Walt Disney created Mickey Mouse as an act of revenge?

     

    Although my book approaches the subject matter in a fun way, it centers on a weighty idea: the idea that suffering does not happen in vain. Van Gogh may have suffered from anxiety, absinthe addiction, and debilitating seizures, but his suffering gave him insight, and that insight, in turn, gave the world a new kind of art called Post-Impressionism. Such poetic symmetry is enough to convince even the stodgiest fatalist that the universe is not as cold and random as we perceive it to be, which is why I’ve always found the notion of tortured artists so appealing.

     

    But not everyone shares my zeal. In fact, the more I speak about tortured artists at author events and in interviews, the more I realize what a polarizing topic it actually is. Some folks seem to consider the primary thesis in Tortured Artists — that pain is a requirement for producing great art — a biased assessment of the creative process.

    However, I never claimed that art cannot be produced without suffering, only that art produced without suffering is not likely to be very good. Why? Because the central function of an artist is to convey an idea. That idea can be visceral or intellectual; it can be conveyed through a painting, a song, a poem, or a guy dancing around in a moose costume. The method doesn’t matter. Artists, both brilliant and hackneyed, create out of the same basic desire to communicate. But it’s we art lovers who invest our attention, our time, in their creations. Why should we invest in a work of art that was created without conflict, or struggle, or pain? Where is the challenge?

     

    Of course, I always knew there would be people who wouldn’t buy the tortured-artist concept, but what I find most surprising is that the people who are least likely to subscribe to the idea also happen to be artists themselves. Indeed, many creative types are simply fed up with what they see as a baseless falsehood perpetuated by romantic tales of Kurt Cobain blowing his brains out and Sylvia Plath putting her head in the oven. In a 2011 interview, the indie rocker Jeff Tweedy, of Wilco fame, called the concept of the tortured artist a “damaging mythology,” one that impeded his own battles with addiction, anxiety, and depression.

     

    And Tweedy is not alone in his hostility. In speaking publicly about tortured artists, I’ve been accused of suggesting that drug addicts are better off high and the mentally ill should not seek help, if only because such impediments, by my estimation, help them produce better art. But calling John Belushi one of the greatest comic performers of the 1970s is not the same as condoning his excessive drug use. Even if we ignore the fact that few performers were not on drugs in the 1970s, we needn’t see Belushi’s brutal addiction as having caused his talent. Rather, it was a symptom of the same insatiable void that drove his need to perform. You might say that void tortured Belushi; you might also say it’s what made him great.

     

    So why, then, are so many artists still turned off by the tortured-artist concept? For some, I suspect, it simply hits too close to home. Consider the wedge it creates between two fundamental desires: the desire to be happy versus the desire to produce great art. The stereotype of the tortured artist as a long-suffering creative genius suggests that those two states are mutually exclusive — and that’s an unsettling thought for anyone who practices a creative craft. But even those of us who don’t have the wherewithal to choose between happiness and being a great artist can take comfort in knowing that the former is within our grasp. Let’s leave the suffering to the geniuses. It’s what they do.

    Further reading:

    Scientists: The ‘Tortured Artist’ Is a Real Thing via Mental Floss

    In the Spirit of an Entrepreneur

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    ©

    The entrepreneurial spirit is called upon, it seems, for the ‘call-to-action’.

    We are creative. We are different. We are innovative. 

    So what does it mean to be an innovator and how can brand [you] follow real trends, help real people and make real money? There are many sites dedicated to real-time market share knowledge, giving young start-up and entrepreneurs a wealth of information on the nitty-gritty of business. Having said that, there is no point gnawing at the numbers if you haven’t got the content; and furthermore, the vision.

    According to The Business of Fashion, ‘Running a small fashion business is a 24 hours a day, 7 days a week commitment requiring militant self-discipline. You will need to think of yourself as a CEO first and will likely spend less than 10 percent of your time designing. You will have to oversee all aspects of the business, not just the creative parts. It is an exciting, exhilarating experience, but not a decision that should be taken lightly.’

    There are fundamental questions that need to be asked of yourself and your audience before moving onto potential investors. Having your USP (unique selling proposition) locked down will instill personal confidence and allow Michael Jackson Moonwalk ease to the next level.

    1. #WhoMadeYourClothes? (Know your makers. Let your tribe know you.) 

    There are many ways to get in front of your audience and let them see you. By narrating a dialogue for your brand (Everlane is a good example) through honest talking point interactions – what does your brand stand for? What is important to you? What do you want your customers to remember about your product; when backed with timely action (getting an email list – MailChimp is great for that – or staying sharp on your social media) your consumers will trust the image you present them.

    Building a business is about creating a space for a need to be fulfilled. What you say to others is just as important as whom you are saying it to. Business requires networking, and networking requires preparation. Getting in front of potential advisers, mentors, investors is paramount to gaining traction and trust. Let others see you but make sure you are presenting yourself as you wish to be seen and then exceeding expectations with how you actually are.

    2. What are we responding to? (The laws of attraction) 

    Consumers are curious folk. They want so they feel. They feel so they see. We are visually driven people attuning to pleasure senses. What we love about products is the thing we love about humans, in a strange sort of way. Our progress in the world consists of building relationships. We do this by gaining trust. The way to gain people’s trust is to be transparent; meaning to be visible and accountable. This can be done in many ways. Social media is a great way to have an ear on the ground.

    Hosting mini events relating to your business is a definite way of attracting customers. Pop-up stores, q and a with another contemporary, guest speaking at a university or event, and even Periscoping your workday or a pivotal moment in your career. Keeping your audience’s attention is paramount in this competitive sport of entrepreneurship. Be mindful of the content or product you are offering. Positivity does breed positivity but a saucy product can have both sides attracted to your business. As they say in the dating game; it’s not you, it’s me.

    3. Be money minded. (How much/How long?) 

    The information highway is a click away. Knowing how, when, why and where is a mandatory for navigating through this world of social interaction. BoF shares; ‘Too many designers have been in the situation where they have orders to fill, but insufficient cash to buy the raw materials to produce and deliver those orders. To stretch the time you are able to survive with limited cash, ask manufacturers for longer payment terms, and wholesale customers for deposits in advance.’ 

    Are your services priced properly? Do they justify the production/retail costs? In a world where bigger is better, one can easily assume higher price = better product. The consumers are the ones who should be debating this issue – not the brand owner.  As an entrepreneur it is your job to know the value of something – the true value; the real and perceived.

    Then all you need is leverage.

    4. Introduction test. (Would you recommend publicly?) 

    Remember introducing your partner to your parents? How daunting. What if they don’t like each other? What if someone says something inappropriate? What if it’s me? Sharing things that you love can be an overwhelming experience. If whatever you are selling is not worth telling someone about, possibly every chance you get – where appropriate – then perhaps it’s time to re-approach the context of the product. The trick is to have two things happen – how and what. It is as much how you promote, as what you promote. Consider this with care and rationality. If you’ve created a sustainable, organic condom line your not going to introduce it on your personal Facebook page; but would your friends? Would your contemporaries publicly announce it as well? The reality is that people love talking about what they love. The goal is to introduce your product in a way that produces the same effect.

    Easier said than done? Definitely. It takes research, trial and error, understanding your product and your consumers. But most of all, delivering on your promise. ‘The key to content marketing success is to add value. That’s the secret.’ If you are adding value to society, there will always be a place for growth in your business, which can lead to financial and personal gain.

    So taking all of these fundamental points into account your road to entrepreneurial success is just around the corner; or should I say in the spirit.

    ***

    This article was written by Margretta Sowah; a freelance writer and Fashion Marketer based in Sydney. All opinions expressed are her own. She cannot be held liable for bad taste. She also likes to spin yarn from time to time.  Read more at: Fashion Capital.

    More Issues (Than Vogue)

    ©

    By Margretta Sowah


    I like clichés. I find there is a certain ambiance about them. I’m sure we’ve heard the usual ones like; you don’t know what you have til it’s gone, time heals all wounds, and my personal favourite, it is better to be safe than sorry.

    My father is a Buddhist and I am a woman of faith, strengthened by my holistic household. This does not necessarily have any philosophical or religious relation to cliches; or why he insists on calling me Yoko even though I don’t look anything like the Japanese artist. What I remember about my childhood was my father reminding me ‘all that glitters is not gold’.  We had a story time ritual. He would tell me tales with meaning – issues that were relevant at the time told in African folklore. I understood the fundamental basics of his statement. Not everything is as it appears. Don’t trust everything you see. Even salt looks like sugar, read one meme.

    All that Glitters is Not Gold: “Not everything that is shiny and superficially attractive is valuable.”

    I have always loved fashion because of the story showcased through form, function and fantasy. At any given moment the narrative can change – have dramatic flairs, emotional frills and surprising reactions. Going back to younger years I’ve always found myself drawn to bold and bright colours. But like most impressionable teenagers it took a few summers before I began ‘feelin myself’ #Formation. For this to happen I had to trust the process of growth and creative expression. So what does this have to do with glitter not being gold? To quote my other article Brand Perception; what we perceive, we believe.

    When considering brands I lust for, only a few come to mind. As a Fashion Marketing graduate the career options are endless as you develop skill-sets. Internships are one of them. I have done my fair share of internships – one was at this very publication #shamelessworkplug. The previous ones were at established fashion houses. There was one particular brand (I will not name for privacy reasons) that was a personal achievement for me – to be in their head office, at their studio and flagship store. To sit with the ladies and see the concepts I had proudly promoted by spending many (many!) a penny on their whimsical yet fierce attire… with love. I was convinced we, brand C and I, had a deep emotional connection. I thought the concept matched my confidence. Brand C would represent me as classy and sassy. They fulfilled their promise. I felt great as a consumer but not as an industry insider. The marketing mix done well is almost as potent as a wish on a star – undeniable but unexplainable.

    It seemed to me the problem was simple: I took too much stock in the emotional connection and perceived benefits I received through their clothing. This is not to say my appreciation was misplaced but in terms of basing my professional opinion in comparison to my personal opinion, yes. It was unsustainable. I remember a teacher of mine (lets affectionately call her S) explaining the process of a ‘marketing mix’ with this quote:

    “Consumers don’t buy products or product attributes. They purchase benefits and emotional meaning.” -Theodore Levitt

    This was my experience when referring to brand C. I wonder how many of us do this unconsciously. I wonder how many of us do this consciously. The Fashion industry feeds off social structures and cultural norms – they break rules but are fully aware of the rules. They hold them in high regard as a reference point (as do I); no matter if Fast Fashion, Mid-Range, High-End, Luxury, Couture and all the channels between. The industry values its ambassadors – the ‘it girl’, the trendsetter, the model on the runway. This industry needs relatable representation to sell the dream.

    When I read articles on skinny-shaming, fat-shaming, gender-shaming, financial-shaming (oh yes, you know when you walk in a store and there are no price tags on any items? As if to say, ‘if you are not prepared for the prices we are not prepared for the service.’), I wonder if Vogue, ELLE, Harper’s Bazaar or Marie Claire will ever run out of content.

    The industry and society is riddled with the issue of COMPARISON and PERFECTION. We all strive for a state of control where we are pleased with our efforts – perfection; and we all fall into the trap of praising other people’s blessings instead of honestly focusing on our own – comparison. These two issues make for a mean feast of insecurity. Is this what we want fashion to be thought of? I remember catching up with my then-partner and his old friends. I got to chatting with a woman in her mid/late 30s. She asked me what I did. I excitedly explained I was studying Fashion Marketing. She freely scoffed before saying; “fashion is so fickle and self-absorbed. I think it’s fake and frivolous”. I remember staring at her for several moments. Self-absorbed? Fake? Did I mention she was wearing a BRIGHT fluro yellow body-con KOOKAI dress? Girl bye.

    This is the problem. Fashion has the power to transform like no other commodity. It has the ability to be political, radical, severe, soft whimsical, poetic but never unimportant. It has the ability to change lives and societies. It is a reflection of souls and cultures and should never be apologetic. We can’t deny it is a mirror to society, serving to show us how we can be democratic and inclusive (in terms of different styles and subcultures) yet highly selective and haughty. It is frustrating when society tends to agree with the glitz and slits of fashion but will not extend those thoughts to value the concept or vision. It is definitely challenging to be a creative of any kind as we progress into the future. I began to ask myself, can you love the story but hate the message?

    To sum up my ‘open letter’: it is easy to place products, people or places on a pedestal in our emotional psyche because they evoke a mood within us. Is there anything wrong with that? No, but we definitely shouldn’t base our decisions on subjective feelings or ‘perceived benefit’ (confidence, connection, security of identity, approval) of a product, service, advertisement or slogan. At the end of the day Fashion is here to fulfill a need and, like any other industry, this is implemented through discourses by discretion and influence.

    We need this industry. We need representation. We need fantasy. We need form and function. We need issues to dissect and discover again and again with new eyes. There is a tangible goal that needs to be achieved – image positivity and self-love, with products and services being a means to an end.

    They say fortune favours the bold, but does glitter give you gold? No, but it will definitely give you something pretty to look at. And hey, that’s worth a bit of a nibble of the carrot.

    ***

    This article was written by Margretta Sowah; a freelance writer and Fashion Marketer based in Sydney. All opinions expressed are her own. She cannot be held liable for bad taste. She also likes to spin yarn from time to time. Read more: http://www.allmyfriendsaremodels.com/open-letter-to-the-fashion-industry/#ixzz4CYh1pZQu

    Designer / Muse

    By Margretta Sowah


    A muse is someone or something of inspirational value. When I think of paintings I favour – The Kiss by Gustav Klimt – I can’t help but admire the beauty of his muse. Who is this woman and what is her story? What is so alluring about her (or him. Men can be muses too). Though it is true that anyone can be a muse, in the Fashion industry only a select few have been privy to this kind of exposure. To have or be a muse, the muser and muse must forge a relationship. Models are easily the closest people to designers in the frantic path to fashion week. When a designer is fascinated by a visual and visceral presence, a muse is born and the ready-to-wear/share story can truly begin.

    The dictionary defines a muse as ‘a person or personified force who is the source of inspiration for a creative artist.’ Audrey Hepburn, Kim Kardashian, Madonna and Courtney Love. What do all these women have in common? Influence. In the midst of InstaSuccess and Twitter-sphere, let’s be reminded of some original MVP in fashion, celebrity and Rockstardom long before ‘like’ and ‘follow’ meant anything more than a euphemism for having a good time.

    Hubert de Givenchy / Audrey Hepburn

    designer muse
    designer muse
    designer muse

    When it comes to the hall of fame for style icons, nothing comes quicker to the seasoned fashion gal’s mind than Audrey Hepburn. You know, the (I’m so reckless when I rock my Givenchy #Qbey) little black dress for her zenith role as Holly Golightly in Breakfast at Tiffany’s. The late Mr. Givenchy worked closely with Hepburn to design gorgeous gowns for the Hollywood starlet.

    This relationship of designer/muse was grounded in a fondness for one another, and Hubert’s sensitivity to Hepburn’s refined way of approach.

    Givenchy, in a 2012 interview for the Wall Street Journal, shared his love for Audrey; “…wonderful. She was someone unique. She was real. She could do everything. She could do Shakespeare or other grand writers. She had it all. She was natural.” And his design alliance with the actress most certainly reflected that.”

    Hedi Slimane for Yves Saint Laurent / The Woodstock Chick

    designer muse
    courtney love YSL

    When I think of YSL, it’s always with a Pearl Jam mix/Janis Joplin/and if I knew any Courtney Love songs, her too. There is something to be said about a brand within a culture. YSL is not based on one particular person, but rather a movement – a language. An outlet. Former creative director Hedi Slimane is known for his love of portraying ‘Livin’ in the 70’s’ (Skyhooks reference. YouTube – ego is not a dirty word). His love for the charismatic, tortured artist ‘rock chick’; heroine chic, modern flower child who’s love for black and leather is a statement about an outlook on life. This independent warrior has always been the theme in his past collections.

    With the catalog of innovation, YSL was founded on, the grunge side of this woman can be seen as an evolution of the ‘power woman’. Sources have claimed Courtney Love’s heroine chic in the 90’s first sparked Hedi’s love of her as his muse. Sky Ferreira is also credited as a huge influence for Hedi’s more recent collections. YSL women is feminine yet masculine, heavy and light. Though Hedi loves a cooler colour palette in his collections (to symbolize practicality and edginess, I assume), his use of fabric and texture highlight the different moods of his rock queen.

    What Hedi was successful in was cultivating a strong relationship with the music industry; providing credibility to his design aesthetic within the YSL vision and the demand for High Fashion collections targeted to Rockstars and Diva’s…

    Olivier Rousteing / Kim Kardashian

    designer muse

    designer muse

    I know Kim K West is not technically a model or a staple in the world of High Fashion but there is no denying this woman knows how to pull herself together – effortlessly. Balmain is probably one of the more ‘showy houses’. Their use of colour and cut is better suited to a woman who loves to stand out whilst fitting in. Does that make sense? You can spot a Balmain dress like you can feel the first few drops of rain when the forecast said Sunny. You just know something is different.

    Olivier, the youngest designer Balmain has had – ever, described KKW (I affectionately initial) as ‘the perfect muse for Balmain’. Rousteing once said, “I choose muses that are actually really different and modern — I chose them because they are contemporary, they are part of this new world. For example, Kim Kardashian. She’s my friend, she’s a woman that I love for different reasons.” Olivier is definitely a passionate craftsman who knows his customer inside and out.

    Though KKW is Queen B in this house there are other #iSlay women who made the cut –  Rihanna, Rosie Huntington-Whiteley and of course KKW’s model sister, Kendall Jenner. “Fashion had started to forget women in a way, and concentrate too much on the clothes. For me it made no sense. In fashion, the biggest moment was when the models were celebrities.”

    Jean Paul Gaultier / Madonna

    designer muse

    designer muse

    Does anyone remember Madonna’s cone bra designed by Jean Paul Gaultier for her 1990 blond ambition tour? The eye-catching spiraled, almost 30cm cone shaped bra was one of the many magical and iconic creations JPG has showcased. At this particular time in fashion, the muse was a growing force – a precious commodity for the new wave of self-expression.

    Music, art and fashion banded together producing vivid visuals and unforgettable one-liners. It was all about the new. With the old. But mostly the new. And no one did it better than Madonna. Her music was honest. Her fashion was raw. Her attitude was fierce.

    JPG, having an already established Haute Couture fashion house, was drawn to Madonna’s fearlessness in experimenting. This match will always be remembered as Couture magic. The two worked together for many of her later tours, and even a walk down his 1995 S/S collection. No doubt Madonna has been a style and lifestyle muse for many. But there is no denying the cosmic couture connection Jean Paul Gaultier shared with Madonna.

    The muse is not only a source of inspiration but a sign of the times. A muses job is to present truth; the fashion fantasy we close our eyes and dive into each time we dream of other worlds of social culture.

    If, by chance, there is are ever in a situation where you are the muse; take it all in. Be authentic. Who knows, you could be the vision for a new collection. Madonna and Courtney Love would perform with KKW as the stage manager, dressed in Givenchy’s little black Aubrey inspired outfit. Not a bad gig.

     

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    This article was written by Margretta Sowah; a freelance writer and Fashion Marketer based in Sydney. All opinions expressed are her own. She cannot be held liable for bad taste. She also likes to spin yarn from time to time. Read more: http://www.allmyfriendsaremodels.com/the-fashion-muse/#ixzz46KQPErx3

    Diffusion Illusion | Jean Paul Gaultier x Target

    ©

    By Margretta Sowah
    Twitter – @bohomags


    Designer diffusion diversity. Mouthful? More meaningful than meets the eye. The crowd for the JPG x Target runway launch was a melting pot of prints and neutral nautical. The historical venue in the heart of Melbourne – The Royal Exhibition Building, was alight with the clipping of heels on marble floors. Jean Paul Gaultier. Are we ready for this co-branding collection? This is not a melting pot. It is a smelting pot.

    JPGXTARGET

    What is it about diffusion and co-branding ventures – Missoni for Target, Hermes for Leica, Coke for illy®  – that amplify sales? Is it the old engineering triangle that comes into play? If it’s good and fast, it’s not cheap? If its fast and cheap, it’s not good? And if it’s cheap and good, it’s not fast? All I know is this; the Jean Paul Gaultier x Target shows good, fast and cheap (as far as branding goes).

    According to High Snobiety, “The diffusion line has long been a profitable vehicle for luxury conglomerates to peddle relatively affordable, often heavily-branded versions of their brands’ mainlines to the masses. And while CK, D&G, Marc by Marc Jacobs and the like were in the past effective ways for brands to reach people who wanted to dabble in fashion without having to wear leather sweatpants or go without food for three months, they’re starting to look somewhat outdated now. The world’s luxury houses may be frantically reshuffling their lines in light of declining performance and dwindling profits.”

    The Business of Fashion adds to this point, stating; “In addition to accessible luxury brands, consumers now also have the options of shopping fashion from advanced contemporary brands like 3.1 Phillip Lim and Alexander Wang, as well as designer collaborations with mass retailers.

    Fashion powerhouse Comme des Garçons stated in the BOF article,“We never liked the idea of diffusion because it kind of waters things down. It dilutes the idea. When you think of every single diffusion line, the name is shorter: Ralph Lauren becomes RL, Donna Karan becomes DKNY.”

    The spenders of this decade are mixing trends, cultures and price-points to portray their unique and unfiltered style. The curation of an idea or movement is well researched and assessed before ever taking it to market. Companies are beginning to see there is less of a stigma attached to selling for a wider and diluted market. This is not to say luxury brands are flocking to sign a stitch on the mass or even mid-market arena but, they are aware of their appeal. These insights are transformed ‘from ready-to-wear to Louis Vuitton coin purses, Fendi bag bugs and Prada robot key-rings.’

    Jean Paul Gaultier Target
    Jean Paul Gaultier Target
    Jean Paul Gaultier Target

    The lure of huge retail chains like Target is that they have larger volumes units being sold, huge production houses, fast production development and wide variety of selections for the competitive advantage.

    Diffusion does not just happen on runways but off them too. The Virgin Australia Melbourne Fashion Festival was buzzing with Virgin Australia flight attendants – a shout-out to big money. Yes, it is not just big money circulating an event like this; its Social Media as well.

    According to DigiDay.com, “When you’ve got physical retail and e-commerce, all the pieces must work together […] The Internet has driven that point. Now, fashion shows are streamed runway-side on Periscope, emerging indie brands like Revolve can blast into the mainstream retail industry, and the designers themselves, like Michael Kors and Marc Jacobs, can share behind-the-scenes peeks into collections (and their personal lives) on Snapchat and Instagram. The Web has shed a clearer light on the fashion industry, previously nontransparent to outsiders, and as a result, the previous unattainability of high-end designers is lessened, along with the need for a diffusion brand.”

    Jean Paul Gaultier Target
    Jean Paul Gaultier Target
    Jean Paul Gaultier Target

    If this holds true, in regards the relationship between the Internet and the public perception of high-end designers, then why do we as a society love what is good, cheap and fast? The Internet has unquestionably aided in the accessibility factor— if it’s out of sight, it’s out of mind; so why not saturate the viewers with the message?

    What is Jean Paul Gaultier’s message? Maybe dressing for less is better than not dressing at all? Maybe being chic has a lot to do with confidence as well as appreciation and knowledge.

    In the words of JPG himself, “I would like to say to people, open your eyes and find beauty where you normally don’t expect it.”

    I have to admit, Target is not where my mind goes when the word beauty is uttered but I think the rest of the congregation would agree: this collaboration is a match made in consumer heaven.

     

     

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    This article was written by Margretta Sowah; a freelance writer and Fashion Marketer based in Sydney. All opinions expressed are her own. She cannot be held liable for bad taste. She also likes to spin yarn from time to time. Read more: http://www.allmyfriendsaremodels.com/jean-paul-gaultier-for-target/#ixzz43nopVtLN