The rebirth of French Connection

French Connection in recent years have brought back a tone of sophistication into their advertising. Moving on from the lad culture that FCUK became associated with, the visual communication of newer campaigns has steered French Connection's brand back towards a chic and sophisticated image.

The "I am.." campaign revolves around the clothing and style. There is a separate campaign for the menswear and womenswear. The ads are elegant but are still humorous;

"What French Connection did with FCUK got people talking, but now they are trying to get people thinking," says Stuart Wood, global creative director at design agency Fitch. "Its clothes aren't that different from ones you can buy at chains like Reiss, but what it has always had is attitude. FCUK was a blunt instrument but it had attitude. But if you are over the age of 25, you are so used to seeing that slogan that French Connection had to do something radical to make you reassess the brand." (Wood, 2011)

French Connection have drastically reimgained how they communicate their brand. Their 2010 campaign centres on a woman (and a man for the menswear collection) following her throughout her daily life, noting her behaviour and clothing. The menswear campaign takes a similar approach, depicting observations that are synonymous but not stereotypical of the male consumer.

The use of separate campaigns for men and women highlights French Connection's understanding of their consumer. Men and women respond differently to advertising, they understand fashion differently. Each gender can equally find both sides of the campaign amusing but they can easily relate to the side aimed at themselves.

The television advert is filmed in black and white and features a French accented voice over which narrates and make observations through out the clip. The woman is seen wearing various outfits and often looking directly into the camera, a acknowledging the voice. The voice wonders aloud what is it that attracts the men to the woman. The voice notes "this is not so provocative" implying the attraction is natural and not forced. The voice continues to wonder the reasons in a humorous manner that is charming and endearing;

"Is it the dress? With the petite fleur? With the pretty colour? Mon pardon, you cannot see them"

The use of the voice over allows French Connection to imply that their brand makes the woman part of who she is; strong, chic and desired. 
The advert is timeless with that amusing tone that makes it distinctly French Connection. It is also a stark contrast to the crass and unsubtle humour of the FCUK "fcuk fashion" campaign. The "This is Woman/Man" campaign illustrates a This tone is echoed throughout the campaign onto posters.

French Connection.

The Man

In-text: (French Connection, 2010)

Bibliography: French Connection. 2010. The Man. [image online] Available at: http://www.youtube.com/watch?v=iRLugaUvSKQ [Accessed: 20 Jan 2014].

Wood, Z.

French Connection pins hopes on 'baffling' adverts

In-text: (Wood, 2011)

Bibliography: Wood, Z. 2011. French Connection pins hopes on 'baffling' adverts. [online] Available at: http://www.theguardian.com/business/2011/mar/13/french-connection-baffling-adverts [Accessed: 20 Jan 2014].

Creativereview.co.uk.

Creative Review - The rebirth of French Connection

In-text: (Creativereview.co.uk, 2014)

Bibliography: Creativereview.co.uk. 2014. Creative Review - The rebirth of French Connection. [online] Available at: http://www.creativereview.co.uk/back-issues/creative-review/2010/april-2010/crit-french-connection [Accessed: 15 Jan 2014].

Diesel "Sex Sells, unfortunately we sell jeans"

Italian clothing company Diesel are known for the pushing the boundaries of traditional advertising. Their campaigns are often risque and mischievous. They use the communication tools of photography and humour to covey their brand's personality.

The 2010 Spring/Summer ad campaign “Sex Sells *Unfortunately We Sell Jeans” uses humour to create a memorable campaign for the brand. In the advertising industry the use of sex to sell products/services has become commonplace in society. Clothing brands frequently use references to sex and sexuality in campaign work. 

The photography used in the adverts has a very amateur edge to it, not in the quality but the "in the moment" aspect of them. The models are not over posed and the images have been styled to recreate the lives of a younger generation. The photographs are very similar in style to those of American Apparel and photographer Terry Richardson.

The bold typography incorporated with the photography created a striking visual to draw consumers attention. The type acts as a stamp of classification  Diesel have used sex to sell their brand; they aren't trying to hide it.

The message in the Diesel campaign highlights this use of sex in a humorous way. The idea of selling sex in order to promote an other product is in essence a visual paradox. Diesel uses humour to highlight that they are aware of the use of selling sex, implying it is a well known method in advertising. The * is used to reveal the next part of the message like it is a secret. "Unfortunately we sell jeans" is a message which can be applied to much of the advertising used in the fashion industry. It acts as a tongue in cheek disclaimer, comically warning consumers of the brand's real purpose. Visually the campaign highlights that Diesel know their consumers are intelligent, not to be fooled by a highly sexualised marketing ploy. Whilst the advert features models wearing very little and in provocative positions , the clever copy provides enough humour to convey Diesel as playful and lighthearted rather than sexist and inappropriate.

This campaign illustrates the fine line between funny and offensive. The reception of the adverts was mixed, some viewing the ads as sexist and vulgar. In 2010, the ASA banned several of the brand's adverts due to the effect and influenceit may have on children, (Sweney, 2010). Diesel were permitted the run the campaign in magazines but not as posters as these which feature in public areas where children may see them.



Sweney, M. 2010. Award-winning Diesel campaign banned by ASA. [online] Available at: http://www.theguardian.com/media/2010/jun/30/diesel-asa-advertising [Accessed: 20 Jan 2014].

Burberry vs. The Chav

"For a top luxury fashion company like Burberry it is the ultimate nightmare.

Their distinctive beige check, once associated with A-listers, has now become the uniform of a rather different social group: the so-called Chav. With UK sales falling, Burberry cannot afford to become a laughing stock in their own backyard. But just how does a top designer label shrug off a damaged image?"

"Quite a lot of people thought that Burberry would be worn by the person who mugged them."

News.bbc.co.uk.

BBC NEWS | Business | Burberry versus The Chavs

In-text: (News.bbc.co.uk, 2005)

Bibliography: News.bbc.co.uk. 2005. BBC NEWS | Business | Burberry versus The Chavs. [online] Available at: http://news.bbc.co.uk/1/hi/business/4381140.stm [Accessed: 16 Jan 2014].

British designer retailer Buberry became a company of ridicule after their brand became associated with "chav" culture. They were no longer considered fashionable by anyone who wanted to dress tastefully. However the root of this problem didn't stemmed from advertising. When examining the campaign work from the time, it is clear that the brand is conveyed as a sophisticated British designer.

FCUK Case Study

Another brand which makes use of humour in its advertising and marketing is high end chain French Connection. 

The cult logo FCUK is derived from the acronym of the company that was used on internal memos and administrative work. It was then adopted as a campaign tool for the brand due to its similarity to the f-word by Trevor Beattie, (The Guardian, 2005). Although controversial, FCUK was intended as a campaign yet went on to become a brand in itself;

"Advertising plays a key part of French Connections’ competitive strategy and has been credited with transforming FCUK into a formidable global force.  The use of catchy yet controversial advertising has given them international brand recognition.  Where once the brand name was known as a relatively small British fashion retailer, now it has become known as an international brand phenomenon." (Carroll and Fitzek et al., 2004)


This case study looks at French Connection and particularly focuses on the FCUK identity they have established. The campaign aimed to either shock or amuse consumers.  The  identity it has proved successful as a marketing tool. It clearly and concisely demonstrates the personality of French Connection; edgy with an attitude. The FCUK logo has become an icon in society, whether consumer's found it shocking or amusing, the majority of people know who it represents. The statement "fcuk fashion" positions French Connection in the eye of the consumer who thinks they are above fashion and its status. Ironically, FCUK is one of the most recognised brands in the world. 

Brands represent the ideals of a company. Although FCUK stood for the rebellious side of French Connection, 

"...the FCUK brand identity and what its essence is much more vague.  The brand is just a crass expletive, popular on T-Shirts and nothing else.   Apart from instant brand recognition, when the brand is stretched onto these other product categories, what other brand values and association will be transferred?" (Carroll and Fitzek et al., 2004)

Consumers buy branded goods they want to be associated with. Despite the successful of FCUK and the notoriety that surrounds it, the brand itself stands for very little. Companies often base their brands on desirable, long standing values.

"Their T-shirts with some sexually lewd double entendre slogan on it became hip and de rigueur.  However the concept may now have lost its appeal and fashion status. Becoming seen as tired and tacky."

Memorable as FCUK is as a brand, the idea itself has a very limited shelf life. It has become associated with "lad" culture and is not considered incredibly sophisticated

the Guardian.

Who the FCUK is Trevor Beattie?

In-text: (the Guardian, 2005)

Bibliography: the Guardian. 2005. Who the FCUK is Trevor Beattie?. [online] Available at: http://www.theguardian.com/media/2005/may/05/comment [Accessed: 20 Jan 2014].

Carroll, C., Fitzek, L. and Kennealy, R.

“FCUK it - there go our customers” – Troubles ahead for retailer French Connection?

In-text: (Carroll and Fitzek et al., 2004)

Bibliography: Carroll, C., Fitzek, L. and Kennealy, R. 2004. “FCUK it - there go our customers” – Troubles ahead for retailer French Connection?. [case study].

Brian Lichtenberg

Brian Lichtenberg used the logos of fashion houses to created street versions of their iconic branding.

Mixing high end with high street is becoming extremely more prominent in society and Lichtenberg based his collection around this concept.

Instead of using actual items of clothing, Lichtenberg recreated the logos of different fashion houses into a street equivalent by changing the name of the brand. The brands he chose are so well known in their own right they are still recognised. Lichtenberg's "Homies" design can still be recognised as "Hermes" and "Celine" as "Feline" or "Canine".

 

The fashion houses Lichtenberg based his idea on use type-based logos. Although each different brand uses a different typeface, often a custom-type, each logo follows the same rules of minimal type and capital letters. Although the logos are very simple in design, the proof of their success is in Lichtenberg's designs.

Other designs similar to Lichtenberg has appeared on the high street featuring other fashion houses in a street style. This idea illustrates the power of these iconic brands, despite using a completely different word, sometimes different imagery, people can still recognise the brands the new designs are based on.

Luxury brands

"The luxury brand goes beyond the object: it is constructed from the reputation made from its objects and its service within the social micro-groups favoured by the elites"

A brand is a personality and represents everything the product stands for. It encapsulates the core meaning of the brand. It is not just about the function of the product, but what it means to own it.

Page: 116

Kapferer, J. and Bastien, V.The luxury strategy

In-text: (Kapferer and Bastien, 2009)

Bibliography: Kapferer, J. and Bastien, V. 2009. The luxury strategy. London: Kogan Page.

"The brand is therefore the social visa, the ‘star-maker’, both of the product and the person. To be expensive is not enough to qualify as luxury: it must also be inscribed with a cultural hallmark accepted as a social stratifier... A luxury brand is a brand first, and luxury second"

Page:117

Kapferer, J. and Bastien, V.The luxury strategy

In-text: (Kapferer and Bastien, 2009)

Bibliography: Kapferer, J. and Bastien, V. 2009. The luxury strategy. London: Kogan.

Communicating Luxury

In his book "The Luxury Strategy", Jean-Noel Kapferer discusses how luxury brands should market themselves to their audience;

"Luxury has two value facets – luxury for oneself and luxury for others. To sustain the latter facet it is essential that there should be many more people that are familiar with the brand than those who could possibly afford to buy it for themselves."

Luxury is something exclusive that consumers desire. If a luxury item is accessible for everyone it is no longer a desirable asset. Brands present their ideals to a wide market of consumers despite only being attainable to a narrow margin of that audience. As it is only available to a small audience, the brand represents exclusivity and many consumers want to be associated with this characteristic.
Communication through graphic design creates this pull from the consumer to the brand.


Page: 69

Kapferer, J. and Bastien, V.

The luxury strategy

In-text: (Kapferer and Bastien, 2009)

Bibliography: Kapferer, J. and Bastien, V. 2009. The luxury strategy. London: Kogan Page.