Cultural Orientation and Socioeconomic Trends Influence in Fashion

Business and Marketing
History
Phoebe Philo is a British fashion designer she is recognized for her elegant and understated designs. "My connection with fashion is funny," Philo told Vogue in 2005, "and very expressive of what I am feeling at the time." Philo was educated in London. Her love of fashion began at a tender age. She once told Vogue, "At age 4, I used to have full tantrums if I couldn't dress. "She went on to study design at Central Saint Martins.
In 1997, Philo traveled to Paris to join the organization of Chloé as Stella McCartney's design assistant. She got from McCartney as a creative director of the design in 200. In October of 1997, Philo presented her first ready-to-wear collection for Chloé, and in 2002 she launched the label's accessories line.
In 2004, Philo was given the accolade of British Designer of the Year by the British Fashion Council at The British Fashion Awards. During her leadership at Chloé, the label was transformed into a global luxury brand, winning critical and commercial acclaim.
In September 2008 she announced that she would become Céline's creative director at a moment when the storied house was a blank canvas. Michael Kors left by 2004, and the brand didn't get its feet again until Philo became the manager. For nearly ten years, she has raised sellouts from €200 million to more than €700 million (although Céline is yet to implement e-commerce). What she has mastered is the excellent combination of commercialism and artistic expression (Suciu et al., 2016).
Background
Like Miuccia Prada, she achieved to predict what you want six months before you know you do. In an industry that concentrates on see-now buy-now, Philo’s clothes require a bit more consideration. Far from the razzle-dazzle worthiness of Saint Laurent’s crystal shoes and the on-the-spot nostalgic kitsch of a Gucci bum bag, Céline is not directly relatable to everyone. The wide-leg trousers when everyone was dressing skinnies; the furry sliders that made numerous initially bulk but suddenly became an It-shoe; the previously dead midi-length skirt that is now ubiquitous; the slip dresses we believed were best left in the 90s transformed into an elegant, modern woman.
Philo introduces an air of cerebralism to all that she does, in part thanks to her image an intelligent, sophisticated somewhat enigmatic woman who is notoriously private. Before Philo’s Céline, high fashion was shouty It girls added Paris Hilton, and Lindsay Lohan and logos were de rigueur. Only 2 years before Philo’s Céline appointment, the duration WAG was born, when Victoria Beckham and Cheryl Cole dressed their wealth conspicuously. Philo redefined what luxury looked like far from the overt branding, bling, and hip bone-baring hipster jeans. In their area stood polo necks, fluid shapes, oversized trapeze bags and glove shoes a controlled, considered chic. Let us not forget it was Philo dressing Stan Smiths for her post-show bows that made us disremember heels for trainers.
She brought functionality to the forefront women who spend in the unwaveringly valuable Céline collections know that they will wear those items every day for years to come (as they should, given the charges). These recent classics are the building blocks of many women’s wardrobes. The idea of having a uniform is something Philo has long championed the Céline woman knows which key shapes and pieces suit her, rather than dressing according to the transient whims of fashion trends. While her work is defined by its control, it’s also pleasingly off-kilter take the glove shoes for example, or a midi skirt is worn slightly wonky. There is a feminist, enabling air to Céline it isn’t about looking overtly sexy or immediately easy on the eye, but rather feeling confident and powerful. In fact, what Philo does is brilliantly non-conformist (Sacha & Conti).
“I have no problem with a woman dressing anything as long as she has decided to wear it for herself,” Philo said at the Vogue Festival in 2014. “But I do believe there are too many images of women that are sexualized and too many examples of women dressing for other people and disempowering themselves in the process."
Philo utilizes collaborations to facilitate storytelling which in turn enhances Céline’s brand exclusivity and refreshes the dream factor to clients. The Céline brand and retail stores are easily recognizable, which is consistent with building a brand identity, thus assisting her clients to understand the language of the label. Philo’s branding is Philo herself. She is independent, imaginative and a visionary. She emphasizes on doing things her way at Céline (No e-commerce, no history). Artists live in the very space, they have a vision and believe absolutely in aesthetics for a purpose, this emulates Céline’s DNA. The collaborations match Philo’s values, and the attention she receives for this kind of publicity is coherent with the exclusivity she insists upon. Philo latterly collaborated with FOS on her newest Spring 2016 collection at Fashion Week. This collaboration created a tremendous buzz and offered a new perspective on runway shows and the world of media. The collaboration included not only the set design but the entire space and music to the show.
Philo utilizes collaborations to improve and honor her designs, and additionally for branding and promotional purposes. The collaborations between artists and Céline strengthen brand aesthetics and exclusivity, there is adaptability between both the artists and brand DNA & codes, their values match reaching a common endorsement. Céline Minimal private; as designer designs are acquaintances that have functionality and aesthetics as its core social design empowering Innovation timeless control and freedom artists contemporary private; as artists engage with reality create a dialogue between object and user concept driven experimentation functional, innovative play with control and freedom partnership narrative.
Philo and FOS created aesthetical forms through art and design that address the ethnicity in their surroundings, FOS says. The forms and shapes of his work address both control and freedom, which reflect Céline’s ethos about design (Philo & P, 2013).
Since joining Céline in 2008 after a three-year hiatus to focus on her family, Philo turned the underperforming label into a fashion authority with her minimalist designs. Philo, a graduate from London’s Central Saint Martins, was behind many of Céline’s hit bags. Over the past decade, she helped lift the label’s annual sales from €200 million to more than €700 million, according to analysts. (LVMH does not break out figures for Céline).
Cultural Orientation and Socioeconomic Trends Influence in Fashion
Born in the Paris and growing up in West London, Philo joined South Harrow Comprehensive and by age 14 she was bought her first sewing machine. At her young ages she never liked to purchase clothes because she felt they were not the way she could like them to be. All the clothes that she was bought she customized them and made them the way she wanted them to be. She says that during her younger ages the magazines and books were all about fashion and this informed her and sensitized her about fashion. The magazines and books talked too much about how people were dressing on the streets. She says that she was brought up during the Vietnam War during the first wave of feminism and there are a lot of images of the women of those times that she doesn’t really identify with. She always had an interest in the way people look and she was very choosey in what she wears and also opinionated about people dressing codes. However she knew so little that this could turn out into her future profession.
During her time at Céline, Philo managed to set a very stylish spin on the jumper dress. From the lined frock worn by Sienna Miller to those slinky knitted dresses with exaggerated hems, the jumper dress made its journey from casual to glamorous...