Brand Stylist Melanie Ward: How To Create Niche Brands?

New York, USA - "I remember once, Guido [Palau] and I took off first class in New York. Someone saw that you should stay away from us. "In the late 80s, it was primitive and rough. Latest fashion Melanie Ward, a British stylist famous for image modeling, said: "we tidy up ourselves very well. Another time was on the plane and I wore a cashmere sweater (because I liked a little more luxury at that time), and I made a few holes in the sleeves. Then a gentleman came up to me and said, "do you know if you have found a hole in your sleeve?" at that time no one understood what we were doing.

The shape of Ward is quite different from the typical fashion editor at that time: they prefer the gold buckle ornament, the gaudy color modeling dress, the above mirror hairstyle and the sexy charm. On the contrary, she prefers sailors' trousers and khaki military uniform with a slightly slovenly second hand. clothing After that, it will be personalized, dyed and cut. Now she is more exquisite, with slight restraint and implicit, soft tailored trousers and luxury. knitting A minimalist makeup and tight tails.

1990 magazine's young Kate Moss, Corinne Day palm mirror, Melanie Ward modeling.

According to the world clothing and shoe net, Ward's career started in the late 1980s in London, and a Thatcher culture and anti Thatcher subculture tide reached its peak. Together with her photographer friend Corinne Day, Nigel Shafran, David Sims, Glen Luchford and Donald Christie, she began to do some photography without spending money, such as asking an old lady to wear a leopard fur coat in the shopping mall, or to make a Daisy Necklace or something for an unnamed, giggling, model named "Kate". "I made a lot of clothes at that time," Ward read political science and language at University of London (London University) before taking a one year course at the Saint Martin Institute of art. "I've done a lot of other things and constantly refitted things. I hope these clothes look like their owners, contrary to the so-called" fashion "image.

Just as the Youthquake youth culture revival movement in 1960s shook the system, and photographed models such as Jean Shrimpton and Twiggy symbolizing the spirit of freedom to express resistance to high fashion in the past 10 years, Ward also went with her partners to second-hand shops and armaments stores. Their custom-made costumes were often not sewn up and liked to be old. They liked to shoot models with imperfect skin and natural hair. They were opposed to the perfect, sexy, tall and handsome models who liked to aim at Linda, Christy, Claudia, and so on.

But unlike the fashion experimental fashion fashions of the 60s, which came from fashion makers, Ward's early works had an eternal quality that was hard to tell, usually in the designer's studio, or in the countless Instagram and Tumblr accounts. The most attractive feature was the key "original realism". "I think the whole campaign is all about dressing up easily," she explained. "It seems all right now."

Designers also liked this style, so soon after Calvin Klein, Jil Sander and Helmut Lang who were still living in Vienna, they called to find her. "Calvin is the most powerful brand wrapper in history," Ward commented. At that time, she flew to New York with Kate Moss, David Sims, Guido Palau and Dick Page to shoot Commercials: "I remember that time, everyone felt a bit 'not very fond of this jeans'. So I took a black men's jeans and pulled it to her hip to make a support, and finally she became our black jeans, "she recalls." you must know that people liked to wear baggy blue jeans at that time, and even Calvin did it. "

1994 Helmut Lang advertising, David Sims palm mirror, Melanie Ward modeling

Her partnership with Lang began in 1992 at the flower god cafe in Paris, leading the spirit of the low fidelity lo-fi era. At the white press conference, men and women with different age models walked rapidly, wearing clean and simple flat cut trousers, multi-layer cotton vest and thin T-shirt, practical and luxurious Parkas overcoats, and technology fabric dynamic skirt, all eye-catching and mature (rather than fragile decadence). This can be summed up in the word "cool". If viewed from the present perspective, it is a reference to polish and polish the underground style, and echoes the more serious level of Ward transition. In 1998, Ward worked exclusively for Lang (which made Klein and Sander very uncomfortable). The brand had moved to New York at that time - more than one thousand yellow taxis crowded on the streets of Manhattan, with "HELMUT LANG" written on the ceiling lamps, and even without the need for maps to convey the appeal of the brand. The brand has made a very strong image, and even made the Austria designer sell the fragrance on the Internet in 2000. "I have never met anyone who is so similar to my brand," Ward said. "They used to say that I am a female Helmut, and we all prefer something that is pure and green. I remember when he was shopping in a furniture store, they often said, "Melanie bought this too!" and vice versa.

In the mid 90s, Ward's design for Jil Sander also attracted the British editor Liz Tilberis of the US magazine. She finally persuaded Ward to become the naughty girl in the magazine. Ward initially hesitated and refused the offer. "Then she said," if you just add your name to the issuer bar, you don't have to enter the office, do a number of reports every year, go to the show with me, and drive around in a black car. " I thought, "well, then I think I can try!" since then, as the magazine's top fashion editor, she has left many memorable images from Inez & Vinoodh, Patrick Demarchelier and David Sims. "I really do everything," Ward said. "I have been a creative director, and I have been inspired by others, Mousika as a stylist, but in fact, I feel more interested in modeling than fashion, because the tide is flying by. That is to say, if you look back, the tide will not last forever.

"I know that Anna Wintour hates the word - but I do have a passion for the word" brand "," Ward smiled. "I like the brand building, and I like to find the DNA of the brand." Ward Sometimes I feel that I should be famous for what I refuse to do. "Now, she serves as a stylist and consultant, and has always worked closely with Nad Ge Vanhee-Cynbulski, Rag & Bone, Peter Pilotto of Herm s. As a consultant, she advised designers to think more about clothes and accessories.

　　 Here are 6 suggestions for building a strong fashion brand:

Kirsten Owen's modeling in the Helmut Lang 1998 autumn and winter series press conference, now it is recorded on a read-only CD CD.

　　 1., hire people who can cut trousers.

For Ward, the pressure of stylist has never been so heavy. "Now everyone is very impatient," she said. "Our attention span is basically 8 minutes. When I was a kid, people could design a series and not deliver them - I think John [Galliano] and Hussein [Chalayan] had done this before. But now the industry is impatient with such behavior. "

Although some of the values that the industry insists on may have gone, Ward is still keen to emphasize that fashion is always related to clothing itself and does not exist in the "vacuum" of press conferences or social media. "The problem I often see is that people get jobs because they have a lot of fans in Instagram," she added. "Don't just hire them because of this. You should invite someone who can cut trousers well. I'm crazy about fitting clothes because I spend so much time on the fitting clothes that the brands need help - they need help to learn how to do it well.

"In the end, the most important thing is that when people walk into a shop, they can find what they want to buy and feel good about it," she continued. "I really think that the most important thing is that clothes can make your skin feel comfortable."

Ward's personal styling also confirmed her remarks. "When you wear Azzedine [Ala a] or old Helmut [Lang], your skin will feel good. I don't want to look like a Isamu Noguchi. I just want to simply put on my clothes and go out. Fashion is indeed a creative practice, but in the end people still want to dress well. They can't just exist in a gallery. I feel that if I want to go to the theatre or watch a movie, I will go directly to the theater or the cinema. "

　　 2. inspired by others, but go your own way.

Every creative person says he has his own inspiration, but Ward says that the key to absorbing the same key from elsewhere is his input. She gave the suggestion that "reference and reference should be done at the same time": "I was the first person to go to Taobao, a second-hand antique shop, to pull all the things back and make the whole cut and redo proportion." The most important thing is to do it yourself. Where is the problem now? People like to go all the way and do not invest in any element with their own personality.

In the early 1990s, Ward pushed a primitive "realism" into the field of fashion story and advertising, and countless stylists and photographers tried to follow suit. She said, "they really don't understand it. In fact, the special thing is that this style stands on the opposite side of normal and traditional," she said. "If you are not eager to find a reference point, just do things with your instinct, then this method is of no importance. But once you start to think about it, it's over. "

At that time, the Internet had not yet been born, and most of the early works of Ward and its collaborators were not recorded in the digital world. People often find that those unpublished images are taken away, not the original authors. "If it's not from your heart, people will mind. Because you didn't do it yourself. No matter what you do, image making, fashion design or branding, you can always put your personality into the most successful way.

Calvin Klein advertising, David Sims palm mirror, Melanie Ward modeling

　　 3. embrace the mistakes you made.

"Creativity is a flash in the air," Ward said. "People are too scared to force themselves to do things. They are too scared to be pointed. But I really believe that the only way to go forward and learn is to make mistakes. We work in the creative industry. If we don't make mistakes, I'm not saying that when I work with clients, I will try to make more mistakes. (laughter) but when editing, if you don't make a mistake, you won't get the real freedom.

Ward recalls some risk-taking moments that eventually spawned changes in industry rules, such as Calvin Klein taking her to New York to make the most classic ad, or Helmut Lang to challenge the sacred and inviolable fashion system -- the first to burn its own autumn and winter series on CD and the Internet. The final explanation is to let customers get the "unfiltered view" of his design.

For Klein, Ward is part of the new generation of video production team that promotes the brand. Others also have David Sims, Kate Moss and Guido Palau. It was a business venture that cost millions of dollars, but eventually it got a good return. The business of people who participated in the new advertising and fashion imaging industry began to take off.

In those 10 years, when Lang carried out a series of digital displays in 1998, people's reaction was unexpected. "People are not satisfied with our lack of press conference because they want to participate in the fashion show," Ward recalls. "But I want to say again, don't be afraid to push the boundaries of breakthroughs."

　　 4. a little conceit is very basic.

Before entering the central Saint Martin's one year course, Ward studied politics and language at University of London, which helped her understand the flow and collaboration at the level. "My job is very much like being a diplomat. I remember when I was in college, I had to read a lot of Machiavelli's stuff, and I saw many such things in fashion, "she said with a smile." I tried very hard to avoid it, but we could see a lot, especially now, right? "

"Basically, it's about brands. You are a brand, and I am also a brand. What you want to build is your brand DNA, "she explains." a little conceit is very important and very healthy, but exaggerated conceit is a mess to itself, which will pose a threat to any form of cooperation. " As a stylist and consultant, she realized that customers hired her to work for their families. "You can't make your own thing. You should be a man or a woman who makes a brand and represents a brand."

　　 5. let others stop for you. You have only one second.

Ward is famous for creating noticeable images, such as the Kate Moss captured by Corinne Day for The Face magazine, and the Laurent Y under the Y of Hollywood logo for Yves Saint Laurent. Now, she says, the media has changed and needs more powerful and influential images. "In those days, it all depends on what kind of fashion story you are making for a magazine, how it appears on the magazine page, printing effect and layout," she said. "Now everything is reduced to a small box." It is incredible that Instagram has more audiences than most of these magazines. But we must not forget that the content is still important. "

2013 magazine page, Glen Luchford palm mirror, Melanie Ward modeling.

The risk, she says, is that it looks like "thrown together": "in the end, the most important thing is what kind of woman you represent, what kind of man you are, what you do. A few years ago, people would still stop advertising in your magazine, and couldn't bear to turn pages. Now you really have only a few seconds to pass on your brand message. You have to make some kind of noticeable message to make people willing to stop for you.

　　 6. "new" is the opposite of originality.

The fashion industry is full of more and more brands, and everyone is eager to find out the most unique one. But Ward believes that the desire to create "freshness" may ultimately lead to homogenization of aesthetics.

"A lot of brands want to make something new and different, but what they actually believe is that they are completely inexperienced. They ignore their brand DNA," she said. "Ultimately, you get something that you don't have two things with others -- but in this era, this is the last thing you want. You only have a few seconds to show people why there are no two kinds of things to do with others. "For her, the restraint of the brand in spirit is a positive challenge. My advice to young designers is to find your ideal female or male image and stick to it. Don't act like schizophrenia! "

"If I were to design my own series - I did make a capsule series a few years ago, then this is my brand, and it's about me," she said. "But if you are making a series of fashion shows, you must respect your effective magazines, advertisers and readers. You are actually working for them. You just create your own mark. I think the work of a designer and consultant, if smart enough, is to have the wisdom and vision to look at a brand, to see what the brand represents the image of a woman or a woman. This has nothing to do with yourself. Your studio is to help others and advance the whole process.

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