Rick Owens Details Campaign FW20 Performa 

Rick Owens Details Campaign Mens FW19 Larry 

Rick Owens Details Campaign Men's SS19 Babel 

Rick Owens Runway DetailsBauhaus Jacket In Black Cotton Thomas White Megalace Front Boxers Mens SS20 Tecautl

Rick Owens Details Runway Men's SS20 Tecautl

Rick Owens Details Campaign SS19 Pre-Collection 

Rick Owens Details Campaign Women's SS19 Babel 

Rick Owens Details Campaign Women's FW19 Larry 

Set against a white field in black sans serif capitals and added to the cubic apothecary bottle of Chanel No. 5 perfume, Chanel's brand identity coincided with Le Corbusier's avant-gardism and the industrial vernacular. The Chanel logo features a custom typeface, designed by Coco Chanel herself in 1925. Chanel's sans serif was opposed to the developed and super-refined goods. The same mentality is reflected in the serif-free logos for the label of Rei Kawakubo, Comme des Garçons and bold wordmarks of Jil Sander, Louis Vuitton, Helmut Lang, Fendi and Tom Ford. But in Givenchy and Marc Jacobs' contemporary-retro spirit, the Chanel lettering also carries a vaguely modern quality, that has a related but distinct offspring. Coco Chanel's counter-intuitive use of a sans-serif type logo in 1921 on her No. 5 perfume bottle offered up a radical alternative to the romantic and feminized fonts associated with the marketing of luxury goods at the time. The black capital letters stamped on a stark white background provided a 'clean line' simplicity and a masculine strength of purpose. It introduced the ambiguity of the avant-garde to the presentation of fashion.

The Yves Saint Laurent signature was one of the fashion world's most recognizable graphic signatures, and was one of the last pieces designer A. M. Cassandre prior to his death, was making. Cassandre and Yves Saint Laurent claimed letters which were neither serif nor sans serif, not purely romanic or italic or even a proper script, but a complex combination of all these types. If the branding of Chanel abused the typically masculine (industrial, abstract, mechanical) features of the sans serif for a undoubtedly 'butch' logo, and if the types of Didot and Bodoni were so intricately associated with the conceptions of fashion and femininity (the ultimate 'femme' typefaces), then the YSL logo of Cassandre might fairly be called a 'queer' typeface.

Yohji Yamamoto and Rick Owens brands also have their own typefaces used in production.

 If the branding of Chanel abused the typically masculine features of the sans serif, then the Yves Saint Laurent logo of Cassandre might fairly be called a 'queer' typeface.

Pattern is one of the seven elements of design. It is a natural or accidental arrangement or sequence. As such, the components of a sequence replicate themselves predictably. Patterns have a mathematical structure which underlies them. In art and architecture it is possible to combine and repeat decorations or visual motifs to form patterns intended to have a selected impact on the viewer. The pattern is a design used in fashion to produce any number of identical garments. Besides being famous for their remarkable logotypes, most of the fashion brands can be recognized by their equally distinct typographic patterns, made from these logotypes. When two or more letters of a logotype are overlapped or combined together to form one symbol, they create a motif called monogram. Monograms are then connected to from a certain pattern that can be applied onto variety of garments. Below are the examples of such patterns.

This Louis Vuitton bag belongs to a “Monogram Graffiti Collection” designed by a fashion designer and artist Stephen Sprouse (1953-2004). His freestyle handwritten graffiti reading “Louis Vuitton Paris” in neon green was applied onto ebene canvas with geometric monogram pattern. There are more designs in the collection ranging in model, size and color.Nowadays, in the world of fashion it is all about being branded. Besides wearing branded clothes and accessories, people find it even cooler to have their own name branded – it represents a status, class, indicates one is a fashion lover and has a sense for detail. Louis Vuitton offers a possibility of personalizing customer’s own possessions with name initials as follows.

Brands like Yohji Yamamoto or Rick Owens do not apply a specific branded pattern; however, they use brand typefaces in production.

PATTERN AS ONE OF THE SEVEN ELEMENTS OF DESIGN

While communicating a message, a balance has to be achieved between the visual and the verbal aspects in design. Not all viewers will perceive the same associations in a given typeface; the designer must carefully evaluate his or her typeface selection in the context of the audience for a particular piece so the typeface used iscongruous with the subject matter. Many typefaces also conjure associations with cultural motifs because of their common use in advertising or other pop-culture venues for specific kinds of subject matter: gothic blacklisters or texture faces, for example, commonly evoke horror or fantasy because they are tied to certain historical time periods and because they have been used widely in posters and advertising for movies and books in this genre. One of the designer’s most important tasks is to give information an order that allows the viewer to navigate it.

Fashion design is the matter of applying design and aesthetics to clothing and accessories, or natural beauty. Cultural and social latitudes affect fashion design, and have varied over time and space. Fashion designers work in the design of garments and accessories such as bracelets and necklaces in a variety of ways. 

Fashion designers seek to produce clothes that are both practical and esthetically pleasing. They consider who is going to wear a garment and the conditions it would be worn in. They have a wide variety of fabrics and variations to work with and a wide range of colors and styles to choose from. 

Some apparel, as in the case of haute couture, is made especially for one woman. Today, much of the clothing is designed for the mass market, especially the casual and everyday wear that is called ready-to-wear. Several fashion brands, such as Alexander Wang, Mugler, Yohji Yamamoto, Courreges, Dion Lee, David Koma, produce both.

Fashion designers seek to produce clothes that are both practical and esthetically pleasing. They consider who is going to wear a garment and the conditions it would be worn in.

HOW TO FIND BALANCE BETWEEN PRACTICAL AND ESTHETICALLY PLEASING IN FASHION

Every brand carries a certain level of emotional assets based on how the consumer feels about the brand experience. You can feel it straight away when looking at Rick Owens bag, Alexander Wang t-shirt or Yohji Yamamoto coat.

The most direct representation of fashion brands is via their logotypes. Typography condenses and articulates the complexity of language into an understandable discurs, a kind of aesthetic psychology - a psychology that fashion, in particular, couldn't live without. Hence, the logotypes carry the core meaning behind a certain brand – the gist and essence – they are the visual representation of a brand’s name, design, symbolism or other feature that distinguishes it from others. A logotype has the task of distilling the values and ethos of a brand while remaining alluringly distinct and easily identifiable. The fashion industry is particularly skillful with its utilization of typography and, as such, has crafted it into an art form that has since helped define the latest trends.

The online magazine ‘SlamXHype’ conducted a survey of the typefaces and color schemes used in the logos of popular streetwear brands and high-end fashion houses. The findings of their work have shown that all designers use exactly the same families of the typeface. The preference for the use of Helvetica and Futura is conspicuous over the advertising industry. The explanation for the excessive use of these typeface families is – they are both clean, readable and versatile.For instance, Saint Laurent’s logo in Helvetica NeueBold, looks as elegant as it does on a jacket or stitched on the side of a bag. The oblique Futura logo by Nike validates the quality of a pair of running shoes and authenticates a classic basic hoodie, while the simplistic Chanel logo on the perfume bottle in a grandma's bathroom makes as much sense as it does on a brand-obsessed teenager's backpack.

The findings of their work have shown that all designers use exactly the same families of the typeface. The preference for the use of Helvetica and Futura is conspicuous over the advertising industry.

THE PREFERENCE FOR THE USE OF HELVETICA AND FUTURA OVER THE FASHION INDUSTRY

The close artistic partnership between two people is highly bonded – the graphic designer and the fashion designer. The immediacy of this intimate relationship provides a great benefit for business innovation. It is also extremely important to go beyond surface decoration because fashion designers aren't willing to settle for a plain font; they want a concept that will add to their brand's narrative. There is a heightened visual perception that requires satisfaction. The fashion audience is often expecting something fresh and surprising, from the fashion designer to the graphic contact, otherwise the message is vague otherwise ambiguous. 

The economy has put a new degree of stringency on the sector, which is not shocking and seems to draw more creative ideas from it. While the size of some projects has undoubtedly been scaled down, there remains the challenge of making the most of what is still available. 

With each season, fashion show invitations cards, as you have probably noticed receiving those from Rick Owens, Alexander Wang or Yohji Yamamoto, are becoming more competitive in the war of brands. 'Mode gives you a certain creative freedom-you can experiment, play, have fun. Fashion constantly changes, so you can dare-you don't always have to be "right," say Antoine + Manuel, the graphic designers.

Thomas Phinney, senior product manager for fonts and typography at Extensis, often compares typography to fashion or furniture. “With rare functional exceptions, the world doesn’t ‘need’ new clothing or furniture designs, but people want to look different, evoke a particular feeling or fit with a particular ‘look’”. Typography like the other brand elements can evoke particular feelings or reactions with the consumer.

Fashion is a high-impact, fast-paced industry that demands an aspirational visual message and requires constant reinvention. Graphic design for fashion must represent the core values of the brand while pushing boundaries and expectations.

With each season, fashion show invitations cards, as you have probably noticed receiving those from Rick Owens, Alexander Wang or Yohji Yamamoto, are becoming more competitive in the war of brands. 'Mode gives you a certain creative freedom-you can experiment, play, have fun.

Typography, as study of typefaces, is a widespread category in modern world. It enters every segment of daily life and shapes people’s perception. On the other hand, fashion design, as the art of application design to clothing, has become another very influential field in terms of cultural trends of the 21st century.

We tried to connect the two phenomena and explore their direct interaction by researching the role of typography in fashion design in general and in the context of the main fields of the fashion industry. How does typography as part of graphic design work with the fields that fashion industry is covering (branding, advertising, communication, etc.), what methods of application does it use, and how does it affect consumers? Can there be a visual solution in the form of clothing line featuring certain garments and accessories, all for the purpose of better understanding how typography is implemented into fashion design. The presence of graphic design in fashion design has certainly been previously interpreted in many case studies and fashion articles, while the study of typography alone in fashion design is much narrower and more concrete, yet still widely undiscovered area of performance.

With the rise of social media consumption in today’s modern society, typography is present in everyday life more than ever – people bump into various typographical visuals and patterns. While, fashion design on the other hand is also blooming more than ever, expanding the realms of its performance, these two artistic categories are both having their big moment. We explore the connection between the two and imply the similarity between the significance, influence and development of both; how much influence typography has in general, what typefaces are the most appealing to the human eye and why, what is the easiest way to send the right message and how the big brands manage to perpetuate their traditional approach towards both themselves and the audiences, all in the context of the fashion industry.

Perhaps the depreciated hero of fashion, typography is one of the main elements of design dictating how companies such as Alexander Wang,  Courreges, MISBHV, Rick Owens, Boris Bidjan Saberi can define or redefine themselves, as well as any garment they create. Letter shapes used in logos and seasonal designs express more than words — they indicate a time, place, feeling and attitude.

We tried to connect the two phenomena and explore their direct interaction by resear

Counterfeiting is an obvious and blatant form of the practice of prestigious imitation on which the fashion industry is based—namely, the popularization of a new type or concept by altering and differentiating it for various clientele.

While there is less of the hero-worship of top designers evident in the type design industry (certainly the top type designers are not household names as are the world’s top fashion designers), the issues of copyright and piracy were of critical importance in both the type design and music industries at the end of the twentieth century.

In discussing consumerism, Gabriel and Lang described the following 'marks of a trend' that relate equally well to typeface design: universal appeal, apparent inevitability, supported by the industry of media critics and image-makers and a stream of celebrities embodying it. 

There are a variety of design limitations, including the basic physical characteristics of the garments such as measurements and proportions that make them wearable. In the case of type design, the alphabet letters-except in cases where type is intentionally used as an illustrative or graphic feature-need to be readable. In this way, the relationship between a garment and fashion can be compared to the relationship between a typeface and reading, and the recognized forms of the alphabet. 

Hermeneutic philosopher Gadamer said of classicism: The 'classical' is something that rises above the vicissitudes of changing times and evolving tastes. It's attainable instantly. When we call something classic, there is a consciousness of something that endures, a significance that can not be lost, and that is clear of all the circumstances of time — a sort of eternal present that is contemporary with any other present. Likewise in fashion, designers like Yohji Yamamoto, Alexander Wang or Rick Owens have these classical features in their collections.

Unlike fashion, in the typography sense, the ubiquitous typeface Helvetica can figuratively be explained as the equivalent of denim jeans in fashion.

Hermeneutic philosopher Gadamer said of classicism: The 'classical' is something that rises above the vicissitudes of changing times and evolving tastes. 

In modern society, fashion is more than the production of clothing. It is the strong understanding of the need to consistently maximize the potential of a client’s communication. The word 'fashion' may explicitly apply to clothing and more broadly to a collective gathering of moods and tastes, but the definition of fashion changes between both meanings without loss of clarification or accent.

There have been two major sociological theories of fashion: Veblen and Simmel's theory of the late nineteenth / early twentieth century, and Blumer's universal theory of selection, which conceived fashion as a systemic mechanism permeating far more areas of social life than just women's clothes, and focused on what he saw as an universal mood, taste and desire.

A fashion author, Fred Davis, stressed that no theory was adequate to respond to the complexities and diversity of fashion, defining it in different ways as polycentric, polymorphous and pluralistic. The same could be said for the style design industry and therefore it is not remarkable that they could share common ground. What is shocking is that no one has discussed their similarities in theoretical terms beforehand. Fred Davis presented the following phases of the fashion process, and the stages labeled well describe a similar typeface:

Invention (originality, innovation, creative talent)

Introduction (presentation to the public)

Fashion leadership (adoption by ‘key persons’)

Increasing social visibility (adaptation for the mass market)

Craik listed several fashion phenomena that are important to the typefaces.  First, Craik defined the bricolage process as 'creating new patterns and modes of cultural debris from the kaleidoscopic bits and pieces.' This fashion bricolage concept was paralleled in the 1990s by the creation of different typefaces (such as Jonathan Barnbrook's 1995 typeface prototype, constructed from parts of around ten other typefaces, which he named a 'hybrid' typeface, or Karl Randay's 1997 typeface Merlin, which combined elements of three Macintosh default font).

In recent years, copyright infringement and typeface theft have been of significant concern to type designers. However, the fashion industry did have a particular approach to these issues. Craik addressed the fetishization by mass market buyers of top designer brands, the increase in imitation or fake designs and the difficulties involved in demanding intellectual property rights over copyright, design and trademark. 

Craik admitted that certain fashion companies had used counterfeits and fakes as a form of flattery. However, fashion houses such as Mugler, Rick Owens, Alexander Wang, Courreges, Ellery often put lawsuits on those trying to copy them.

Craik admitted that certain fashion companies had used counterfeits and fakes as a form of flattery. 

TWO MAJOR SOCIOLOGICAL THEORIES OF FASHION: VEBLEN AND SIMMEL

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