Welle Aware: Incorporating Eco-fashion Into the ELLE Brand

IncorporatIng eco-fashIon Into the eLLe brandCampaign Book

© 2010 Gill ian SalitAll rights reserved.

Design by:Gill ian Salit Conceptual Design

2419 Oneida St. #1 Pasadena, CA 91107-5291

323 382 2136

gill [email protected]

Welle aWare Campa ign Book • 1

2 • Welle aWare Campa ign Book

IntroductIon

WELLE AWARE

IncorporatIng eco-fashIon Into the eLLe brandCampaign Book

© 2010 Gill ian SalitAll rights reserved.

Design by:Gill ian Salit Conceptual Design

2419 Oneida St. #1 Pasadena, CA 91107-5291

323 382 2136

gill [email protected]


6

Even today, Gill ian Salit doesn’t define herself as

a graphic designer. When asked, she says that

she is a communications designer, a creative

conceptor, a professional problem solver, an idea

generator.

Born and raised in a small suburban town in

Connecticut, Gill ian had an unsatiated hunger for

information. Always asking questions, perhaps

this quest is what pushed her to graduate magna

cum laude from Syracuse University’s College of

Visual and Performing Arts with a concentration in

Communications Design in 2005.

The constant need to learn made working and

researching fun and interesting. This zest for the

unknown definitely showed through her work at

Circle One Marketing in East Norwalk, CT and

also at Lunchbox LLC in Culver City, CA. Gill ian

successfully created promotional programs,

advertisements, packaging concepts, branding

initiatives, radio scripts, television commercials,

and more both individually and on teams. She

was also given the opportunity to shine as a

team player in some instances and team leader

in others.

She has participated in internal critiques, presentation preparation, and brainstorming sessions. She has interacted extensively with clients by giving formal presentations of the creative team’s work. She managing photo shoots, interactive development and recording radio sessions.

Some of her clients include Tasty Baking Company, Sunoco, Inc., and Kobrand Wines and Spirits, Walmart, Unilever, Massimo Zannetti Beverage Company, Cadbury Schweppes America’s Beverages, Campbell’s Soup Company, Duracell, Gillette, to name a few.

Gill ian has an exciting and creativefuture ahead of her and she can’t wait tosee what is in store.


26 40 60

REsEARch 6InItIal research 8“...Sustainable fashion is no longer attached to the hippy t ie-dyed stereotype of the past”

company profIles 10Learn about ELLE Magazine and Fashion Delivers Charitable Foundation, Inc.

target audIence 14Who wil l identify with the WELLE AWARE sub-brand? What is her personality profi le?

creatIve BrIef 16Learn about the objectives and project goals for this corporate init iat ive.

research paper 18“...Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we l ive, what is happening.”

stAndARds 40Brand standards 42Learn about the essence of a brand: everything that the WELLE AWARE stands for in an icon, symbol, typeface, color, or image. prInt standards 46Learn how each print element wil l evoke the same emotion and visual connection, further the overal l creation and build of the WELLE AWARE brand.

InteractIvestandards 53The interactive graphics for the WELLE AWARE brand wil l be displayed onl ine. These specif ic graphics have been created for a temporary microsite so each component is permanent.

motIon graphIcstandards 56Learn about al l the contr ibuting components to the motion graphic element of the WELLE AWARE sub-brand.

stRAtEgy 26process taken 28What is the process used when undertaking this type of project? Why is it necessary?

type & color decIsIon 30Why were certain type faces and colors chosen? What made them appropriate for this project and this sub-brand?

mood Board 32See how chosen elements up to this point function together in a creative sett ing.

InItIal conceptIng 34See the original ideas for this program and how they have progressed and evolved through the project’s development.

prInt 335Magazine Ad

motIon graphIc 36Banner Ad

InteractIve 38Promotional Microsite

soLution 60prInt 62See the f inal execution of the magazine advert isement to be displayed in an issue of ELLE magazine.

motIon graphIc 64See the f inal execution of the “fatboy” expandable banner advert isement to be displayed on ELLE.com.

InteractIve 68See the f inal execution of the program’s promotional microsite.


rESEArcH

rESEArcH

StrAtEgy

Process taken

Eco is thE futurE of fashion

rESEArcH

in i t ia l Research

sustAinAbiLity MAtERiALs

There are many factors when consider ing the susta inabi l i ty of a mater ia l . The renewabi l i ty and source of a f iber, the process of how a raw f iber is turned into a text i le, the working condi t ions of the people producing the mater ia ls, and the mater ia ls tota l carbon footpr int .

Natural fibers fibers which are found in nature and are

not petroleum-based. Natural fibers can be

categorized into two main groups, cellulose or

plant fiber and protein or animal fiber

Cellulose one of the most widely grown and chemical-

intensive crops in the world. Conventionally

grown cotton uses approximately 25% of the

worlds insecticides and more than 10% of the

worlds pesticides. ProteiN

Wool, Silk, Angora, Camel, Alpaca, Lama,

Vicuna, Cashmere, Mohair

MaNufaCtured From natural materials: Lyocell, Polylactic acid

or PLA (Corn Polymer)

reCyCled fibres Are made from scraps of fabrics collected

from clothing factories, which are processed

back into short fibres for spinning into a new

yarn.

At its core, “eco-fashion is about making clothes that take into account

the environment, the health of consumers and the working conditions of

people in the fashion industry” (The Sustainable Technology Education

Project, n.d.). These clothes are made using organic raw materials, don’t

involve the use of harmful chemicals and bleaches to color fabrics, and

are often made from recycled and reused textiles. High-quality garments

can be made from second-hand clothes and even recycled plastic

bottles. Eco fashions, or sustainable clothing, are made to last, so that

people keep them for longer and reuse them.

Until recently, many clothing companies were focusing their attentions on final product and the profits it would bring the corporation. Just like numerous other industries, the bottom line and its affect on only the immediate corporation was the main concern. By-products of creating said product, such as carbon emissions into the atmosphere, loss of jobs, waste of natural resources, etc. just weren’t issues. “Production was outsourced to sweat shops with unethical business practices, fabrics were often treated with high levels of pesticides and other chemicals, and the creation of green house gases during the processing were rarely given second thought” (Vecchiarelli, 2010).

Just like many other areas in popular culture, design is another field that is starting to go green. We are witnessing an experimentation within the fashion industry with the materials in which pieces are created. Organic cotton, silk, hemp, and even bamboo are all alternative sustainable materials being used in the fashion industry. These are all resistant to bacteria and mold, they are easy to grow, easy to maintain, and improve the quality of the environment. Additionally, animal fibers such as wool, alpaca and cashmere are becoming more popular, while the even the method in which these materials are died are now more conducive to a safer environment.

veganProducts made without the use of leather or animal t issue products. (ex. shoes and bags made from “vegetal leather” using Amazonian rubber).

ethIcally producedFashion that has been produced with respect for people and the environment.

craft/ artIsanProducts that have been

crafted using art isan ski l ls such as embroidery, which preserve the perpetuation of ancestral tradit ions.

customAlso cal led demi-couture or made-to-order. This is a way of encouraging quality and “slow fashion” over mass-produced disposable fashion.

faIr tradeAn organized movement

that promotes standards for international labor, environmental ism, and social pol icy in areas related to production of goods.

organIcNatural f ibers that have been grown without any pesticides and other toxic materials, preserving the health of humans and the environment. The process of organic growth can be cert i f ied by various organizations.

recycledAnything that has been made from already exist ing materials, fabrics, metals or f ibers.

cRitERiA

“SuStAInAblE fASHIon IS no longEr AttAcHEd

to tHE HIppy tIE-dyEd StErEotypE of tHE pASt.”

- courtnI VEccHIArEllI


StrAtEgy

Process taken

“ELLE continuEs to strut its stufffrom the airwaves to retail chains... When it comes to brand

development, elle really knows how to work it”

—Adweek 10/16/08

rESEArcH

company Profi les

is an award-winning international publication providing

progressive advice and inspiration for the design and

apparel industry. known widely in the fashion community,

elle magazine is seeking to make strategic improvements.

objectively, because more and more publications are

available online, elle wants to boost magazine sales.

Originally founded in France in 1945, ELLE was launched in 1988 in the United States by publishing giant, Hachette Filipacchi. Now, the world’s largest fashion magazine, ELLE has succeeded by “suggesting but never prescribing; by offering a rich mix of high and low; and above all by leading the reader to discover her personal style” (“About Us”, 2009). ELLE’s mission statement is as unique as the fashions featured on its pages. Even though everything in the world is destined to change, ELLE pledges and promises to “never lose our intell igence, our wit, our cool, and our ability to be just a little ahead of the times” (“About Us”, 2009).

on a larger, more long-term scale,

elle hopes to increase its overall

profit and increase awareness

across its entire brand portfolio.

fIfI aWards apr 2009The Fragrance Foundation presented two 2009 FiFi Awards to ELLE for Editorial Excellence in Fragrance Coverage—Women’s Scent Bite, for “Advanced Chemistry” in the October 2008 issue, and Men’s Coverage, for “This Year’s Model” in the December 2008 issue. Since 2005, ELLE has won nine FiFi Awards, more than any other magazine.

most engaged medIa Brands apr 2009Selected ELLE as one of the 2009 “Most Engaged Media Brands.” Recognized ELLE as “the voice of style that carries everywhere: the legendary brand is fully accessible to women everywhere: in print, online, on mobile, on-air and in stores.”

hot lIst mar 2009ELLE was #2 on the 2009 Hot List. Adweek recognized the magazine for its “good mix of aspiration and affordability” [making] it “right for the times,” while “integrated deals lock in pages,” and noting, “Beauty, non-endemic strong in ‘08. Sixth straight year of growth.”

Best performers In cIrculatIon Jan 2009ELLE was among the Top 10 on Capell’s “Best Performers in Circulation” List of 2008.

magaZIne puBlIsher of the year Jan 2009The Delaney Report names Carol Smith Magazine Publisher of the Year: “For maintaining the advertising page momentum for a monthly women’s fashion magazine during a time when the women’s fashion category has been under duress due to the weakened economy. For making ELLE a stalwart competitor to market leader Vogue. For not letting up.”

four gold trIangle aWards dec 2008The American Academy of Dermatology awarded ELLE four 2009 Gold Triangle Awards, the most of any women’s magazine. ELLE was honored for articles “Color Code” from the October 2007 issue, “Gloves Off” from the February 2008 issue, “Gone, Baby, Gone” from the March 2008 issue, and “Something New Under the Sun” from the June 2008 issue.

Brand leaders lIst oct 2008For the second time in three years, ELLE made AdWeek’s Brand Leaders List. AdWeek recognized ELLE for its stable of successful brand extensions, including the CW’s Stylista, the launch of “Joe A to Zee”, and the latest book, Women in Hollywood.

eXecutIve of the year oct 2008Advertising Age named Carol Smith the 2008 Executive of the Year. Since joining ELLE in 2002, Ms. Smith has overseen increased ad page growth each year and capitalized on brand extensions to gain market share among the competition.

Mission stateMent:ELLE pledges that even while we change—as

every l iv ing thing must—we wil l never lose our

intel l igence, our wit, our cool, and our abi l i ty to

be just a l i t t le ahead of the t imes.

AWARds & honoRs


StrAtEgy

Process taken

BEcausE giving is aLways in fashion...®

www.fashiondelivers.org 212-629-6700 [email protected]

Amazing!

The fashion industry really came together for Haiti during their time in need. Companies including American Apparel, Armani Exchange, Forever 21, Hanes, LEI & Rocawear donated over $20 million in apparel and home furnishings for the earthquake struck country.

Chairman of Fashion Delivers, Allan Ellinger, gives praise to all those who donated to the cause, saying “Companies of all sizes, big and small, retailers and vendors, have been magnanimous in their generosity.”However, they still need help.

The organization hopes to raise another $5 million and more before they finish their efforts. Right now, they’re in need of lightweight men’s and women’s apparel as well as basic items such as underwear, socks, sheets, towels and blankets.

Based on the great response, we have no doubt they’ll exceed their goal.

PEREZ HILTON, COCO PEREZ, FEBRUARY 24, 2010

FASHION DELIVERS RAISES $20 MILLION FOR HAITI

PRESS COVERAGE:FASHION DELIVERS HOPE TO HAITI

February 24, 2010

NEW YORK DAILY NEWSDECEMBER 5, 2006

Charitable Foundation, inc.

December 5, 2006


A tiny break from our regular programming: Please join us in taking some time to help out with Haiti’s earthquake disaster relief. Hundreds of thousands of people have lost their lives and many more are in dire need of medical care, shelter, and basic necessities. There are many charities available to help deliver your money and resources as efficiently as possible. But here are our top options for the day:

Fashion DeliversBusiness and shops, please consider sending your excess unused socks, underwear, sheets, blankets or throws, lightweight clothing, shorts, tshirts, sneakers, and sandals to Fashion Delivers. Products will begin arriving in Haiti by early next week so please call 212-629-6700 or email [email protected] for drop-off information.

THE PIPELINE, JANUARY 14, 2010

5 AWESOME WAYS TO GIVE TO HAITI’S EARTHQUAKE DISASTER RELIEF

The fashion world may be a judgmental community, but let it never be said that it is an uncaring one. Fashion Delivers, the four-year-old relief charitable foundation that distributes excess clothing to needy individuals and families all around the globe, is issuing a massive open call to designers and stores to donate “lightweight apparel” for men, women, and children in response to the epic catastrophe still unfolding in Haiti. The group is also calling for “underwear, socks, sheets (all sizes) and throws or lightweight blankets as well as baseball caps, sneakers, sandals, and sleepwear” — basically anything and everything the people of the island nation will need over the coming days, weeks, and years to stay clothed. Already Brooklyn-based retailer Bird has pledged to donate clothes on sale and 10 percent of all its sales this weekend to the cause. While the team is still working on other arrangements with boutiques and producers, with people like Sean Combs, Russell Simmons, and others on their board of directors, more high-profile campaigns should be coming soon.

NEW YORK MAGAZINE - THE CUT, JANUARY 14, 2010

FASHION DELIVERS TO RALLY STORES, DESIGNERS FOR HAITIAN EARTHQUAKE RELIEF

FASHION DELIVERS is asking businesses, individuals, and shops to send excess unused socks, underwear, sheets, lightweight clothing, shorts, blankets or throws, sneakers, t-shirts, and sandals. According to Refinery29.com, products will begin arriving in Haiti by early next week. Call 212-629-6700 or email [email protected] for drop-off information.

THE HUFFINGTON POST, JANUARY 15, 2010

HAITI CLOTHING DONATIONS: FIND OUT WHERE TO SEND SUPPLIES


January 15, 2010


Corporations rushed to send millions of dollars in aid and supplies to Haiti as the quake’s death toll climbed Friday.

U.S. companies pledged more than $43 million within the first 72 hours after the quake struck, said Stephen Jordan, executive director of the U.S. Chamber of Commerce’s Business Civic Leadership Center. Twenty-two firms, including Microsoft Corp., Lowe’s Cos. and Abbott Laboratories, had pledged $1 million of assistance or more as of Friday afternoon, the chamber said.

Sending aid after disasters can boost a company’s public image and employee morale. Wal-Mart Stores Inc. won praise for its swift response to 2005’s Hurricane Katrina, which included mini-stores for storm victims and $20 million in aid right after the storm. Wal-Mart said it will provide $600,000 in relief for Haiti.

Other companies pledged money, water services, clothing, medicine and engineers to repair the country’s battered infrastructure. Logistical problems, including airport access, complicated efforts.

On Thursday General Electric Co. wired $1 million to the Red Cross and $500,000 to UNICEF to help the relief efforts, says Bob Corcoran, vice president corporate citizenship for GE. This weekend GE is making 10 solar-powered water-purification units to send to Haiti once it gets clearance from the Port-au-Prince airport. It’s working with government and airport contacts to get a slot to land there, but doesn’t know when that will be.

Telecom equipment maker Alcatel-Lucent has a team of engineers ready to send to Haiti, a spokeswoman said. The French

company is waiting to hear more details on the extent of the infrastructure damage before sending the team in. Alcatel-Lucent is working with Jamaica-based operator Digicel, whose services in the area have been damaged.

Digicel, Haiti’s leading wireless phone provider, promised $5 million and said it would work to restore infrastructure. Ericsson, at the request of the United Nations, will deploy a small team of telecom experts to help establish mobile communication areas where disaster struck.

Emergency response telecommunications nonprofit Telecoms Sans Frontieres, which is funded by telecom companies, sent two teams of responders to Haiti on Wednesday from Nicaragua and France. Paul Margie, a U.S. representative with the nonprofit, says the communication system in Haiti was damaged and overloaded. Teams are looking to set up as many access points as possible but transportation and security are major obstacles.

Other companies are sending water relief. Coca-Cola Co. is donating $1 million to the American Red Cross and said it would provide water and other drinks through its bottler in the neighboring Dominican Republic. The PepsiCo Foundation said it would give $1 million to the relief effort and would allocate bottled water and Gatorade to disaster victims through its bottlers in Florida and the Dominican Republic. Nestle Waters North America pledged $1 million in bottled water products, most of which will also be shipped over from nearby islands in the Caribbean.

Procter & Gamble Co., working with several humanitarian relief agencies to donate funds and supplies, said its initial shipments of

PUR water-purification powder packets arrived in Haiti yesterday.

Package handler UPS Inc. said it would donate $1 million to relief efforts through its charitable arm, and the union that represents the shipping giant’s pilots said it would volunteer to fly aid shipments to Haiti for free. And though U.S. airlines have suspended commercial flights to Haiti, AMR Corp.’s American Airlines and Spirit Airlines have agreed to send aid to the country.

Clorox Co., of Oakland, Calif., said it has pledged $125,000 to the American Red Cross and also plans to donate its Glad trash bags, Clorox bleach and other disinfectant products to the organization when it is ready to accept shipments.

Retailer Lowe’s pledged $1 million to the American Red Cross International Response Fund on Wednesday and set up donation centers at stores. It’s considering sending supplies to Haiti but is awaiting word from relief organizations. “Relief agencies are saying the biggest need now is for cash,” a spokeswoman says.

Allan Ellinger, chairman of Fashion Delivers, a non-profit organization that sends clothing and home furnishings to disaster-ravaged areas, emailed manufacturers on Tuesday after the earthquake and received over 100 responses in a matter of hours.

Contributors thus far include well-known brands such as Aeropostale Inc. and Polo Ralph Lauren Corp., and donations of items including shoes, t-shirts, jeans, lightweight jackets and socks are already “starting to come in,” says Mr. Ellinger.

THE WALL STREET JOURNAL, JANUARY 19, 2010

COMPANIES SEND AID TO HAITI


January 19, 2010

rESEArcH

company Profi les

unifies the men’s and women’s apparel and home

industries to donate new product in order to aid victims

of disasters and individuals in need throughout the year.

It matches need with availability of product coming from

both wholesale and retail fashion industry vendors-

some of the biggest names in the fashion and home

industries. fashion delivers™ charitable foundation,

Inc. has structured a global network of more than one

thousand local agencies that

it has coordinated with in the

donation and delivery of excess

products. While the organization

provides aid to those in need,

it also provides economic and

philanthropic alternatives for

companies disposing of their

excess inventory.


Fashion Delivers for Haiti raised $20 million in apparel and homewares for the earthquake-ravaged country, hoping to exceed $25 million in total. Items still needed: lightweight men’s and women’s apparel and basics like socks and underwear.

The organization, which was created after Hurricane Katrina, tailors its efforts to supply necessities to countries torn apart by natural disaster. Several companies participated in donating the goods, including American Apparel, Hanes, Forever 21, Free People, Perry Ellis and others. Overall, the fashion community has been pretty impressive in raising product and funds for Haiti, between Fashion Delivers and Naomi Campbell’s highly-publicized runway show.

The private sector is getting help from the government in their efforts to bolster the country’s garment industry, which in 2009 was a half-billion-dollar industry, prior to the earthquake. The recently announced Plus One for Haiti initiative encourages companies to shift 1% of production to Haiti, while the Haitian Hemispheric Opportunity Partnership Encouragement Act (HOPE), gives apparel manufactured in Haiti duty-exempt status to the U.S. market.

To donate to Fashion Delivers for Haiti, visit fashiondelivers.org and click on a banner, or call 212-629-6700, ext. 221 to request a donation form.

NBC NEW YORK- THE THREAD, FEBRUARY 24, 2010

FASHION DELIVERS RAISES $20M IN PRODUCTS FOR HAITI


February 24, 2010 June 8, 2009About Fashion on the Square:www.fashiononthesquare.com

June 13, 2009: 9 am - 5 pmOpen model call for children and teens ages 5 - 17 right on Union Square. Go to www.fashiononthesquare.com for details. No modeling experience needed. $25 donation - proceeds benefit Wardrobe for Opportunity, K.I.D.S. (Kids In Distressed Situations) and Fashion Delivers.

ABC, The View from The BayMONDAY, JUNE 8, 2009

Charitable Foundation, Inc.

On September 15, 2005, thirty fashion industry leaders came together to provide relief to the victims of Hurricanes Katrina and Rita. Under the leadership of Allan Ellinger, over $4.5 mill ion worth of product was collected and channeled directly to victims suffering from the devastation. What began as a vision from the fashion industry, has turned into an incredible charitable endeavor to provide hope to those in need all over the world.

Fashion Delivers Charitable Foundation, Inc. mobilizes the fashion community to reach out and affect the world through their donations. Our donations provide relief and dignity to men, women, families and survivors of natural disasters.

Fashion Delivers has distributed over $55 mill ion in product donations since 2005!

Mission stateMent:The mission of Fashion Delivers™ Charitable Foundation, Inc. is to mobil ize the fashion community to reach out and affect the world through their donations of new products from the men’s, women’s and home industr ies. Our donations provide rel ief and dignity to women, men, famil ies and survivors of natural disasters.


StrAtEgy

Process taken

targEt audiEncE

“our readers are young enough to think

about life as an adventure and old enough

to have the means to live it,”

- robbie myers, editor in chief.

Subscriptions account for 73 percent of readers. With the remaining 27 percent purchasing single issues, Elle is the only fashion magazine to have increased its newsstand sales in the past five years, most notably with an 18 percent increase in the first half of 2006. There are 27 Elle websites globally, which collectively attract over 1 mill ion visitors and 26 mill ion page views per month. Elle reaches over 4.8 mill ion readers.

MAgAzinE REAdERsBased on Spring 2009 sales, total readers 5,171,000

Based on Spring 2009 sales, total FEMALE readers 4,638,000 (90%)

Personality traits often include: mult i faceted,

Posit ive/

optimistic

Never satisf ied

Curious

Expressive

She is SOCIALLY ACTIVE [within her own social scene].

Median age 33.2 years old

% of readers 54.0%*within the range of age 18-34 years

% of readers 52.0%*within the range of age 25-49 years

Median household income reported $71,894.00

Household income reported $75,000+ 47.7%

% of readers who have col lege educations 71.1%

% of readers who are employed 68.4%

% of readers who are single 57.9%

4.87 readers/ 1 copy sold.


StrAtEgy

Process taken

WEbsitE bRoWsERsAverage number of unique visits per month 2,103,900

Based on Spring 2009 sales, total FEMALE readers 4,638,000

(90%)

Personality traits often include: Engaged

Responsive

Trendsett ing

Mult i faceted

Tech Savvy

Curious

Expressive

Social ly active

Average age 31.7 years old

Household income reported $75,000+ 41%

% of visitors who have col lege edu. 88%

% of visitors who are employed 69%

MusicsAvvy

47%shopped for

entertainment

in the

know40%

read or Wrote blogs

FAshion divA 90%

shopped online for apparel

BeAuty BuFFs

72%shopped online

for beauty

Jetsetters

54%made travel

arrangements


rESEArcH

creat ive br ief

crEativE BriEf


rESEArcH

creat ive br ief

cREAtivE bRiEf

ObjectiveI am developing a fashion event consisting of a runway show benefitting a fashion related charity. The event will exhibit up-and-coming fashion talent and will be marketed towards ELLE’s current female audience, ages 18-34. (Though ELLE’s demographic will not be in attendance, the event’s coverage will peak interests).

cOmpetitiOn Other fashion-focused publications (Harper’s Bazaar, InStyle, Vogue, W, Allure).

prOject GOals To increase brand awareness for the ELLE brand. To see ELLE as a source of information not only for fashion, but also for information on how to put fashion towards a good cause generating more interest in the Fashion Delivers charity.To boost magazine sales at shelf.

tarGet messaGeCombining the spirit of giving with our culture’s love of beauty, shopping and entertainment to benefit those in need.

tarGet audienceReaders:Female, age 18 – 34 yrs., median household income is $71,894.00.71.1% of ELLE’s readers have college educations.68.4% of ELLE’s readers are employed.57.9% of its (female) readers are single.4.87 readers/ 1 copy sold.

Website Visitors:Female, socially active, a professional go-getter, positive, and never satisfied88% of ELLE’s readers have college educations.69% of ELLE’s readers are employed.The average age was 31.7 years.HHI $75K+ 41%

Key tenets Of the brandSophisticated, bold, stylish

desiGn style, tOne, cOlOr palette, fOnt The branding will be reminiscent of ELLE’s branding. Similar to the style of ELLE Magazine, the tone that best suits my concept is modern, sophisticated, trendy, fashionable, up-to-date, whimsical and stylish. The design style that I will be delivering will be sophisticated and stylish while also informative and uplifting. Elle’s audience already recognizes and accepts the brand’s look and feel.

The color palette will be bold and bright. Using primary colors and jeweled tones together with a wide range of textures will convey “fashion“ in terms of the look and feel.

cOpy messaGeHeadline: Share the Flare. (in interactive /URL instances, Share the fashion flare)

medium #1Print advertisement campaign to be seen in ELLE magazine. This will publicize about the Lifetime Television Network’s coverage of the event. Each print ad will incorporate a watch-and-win styled donation scheme which will also serve as a measurement strategy vehicle.

medium #2Motion graphic incorporated banner advertisement to be featured on Elle.com. The banner will be a medium rectangle / “Fatboy” (rollover expandable) style. Success will be determined based on clicks and analytics.

medium #3Microsite activated by the expandable banner advertisement. This will be a temporary (promotional) website that will eventually live as a much smaller section on ELLE.com.

Throughout the entire site map, the viewer will be able to register for WELLE AWARE news about the new brand as well as event info about Share the Fashion Flair. She will also be about to share or follow WELLE AWARE via social media portals at any point during her web visit.

The microsite’s dimensions are 800 px x 600 px

Client Company:

not For proFitCompany:


StrAtEgy

Process taken

WoRd usAgE

rEsEarch PaPErwELLE awarEa proposal for a corporate partnership Between elle magazine and the charity fashion delivers

AbstRAct

the elle brand is losing ground in the marketplace, which may be partly attributed to the fact that

elle has no visible permanent connection to any kind of social cause; and, as a result, it is becoming

undifferentiated with all other fashion magazines suffering from the same problem. after researching the

competition though online sources, industry sources, and printed magazines, it can be deduced that, in

order to solve this issue, elle would be making a strategic move by publicly and permanently partnering

with a fashion-focused charity such as fashion delivers. In doing so, it would successfully combine the

moral need to make a difference with our culture’s love of beauty, shopping and entertainment in order to

directly benefit those in need. Branding this collaboration as a freestanding entity will strengthen both

fashion delivers and elle as well as the resulting partnership. the effect would include elle benefitting

the brand by publicly kicking of a new partnership with the charity, fashion delivers, through a large-

scale event, which would draw a lot of positive public relations attention to the brand, increasing the

overall awareness of the elle brand, and reintroducing elle not only as a fashion brand, but also as a

socially responsible, charitable, fashion brand to the public.


rESEArcH

Research Paper

Fashion has changed from being an interest or a hobby to becoming a culture in itself. This is especially evident in the last several decades. According to the Apparel, Textiles & Fashions Statistics, as of 2008, U.S. retail sales of the “Clothing and Accessories Stores” category brought in over $172.6 bill ion (“Apparel, Textiles & Fashions Statistics,” 2010). It can only be concluded that the fashion industry has become a major player in our country’s economy as well as the international marketplace. However, because of the fashion industry’s burst in popularity, some of the contributors have lost their edge. Even though it has such an historical presence and long heritage in fashion culture, the ELLE brand, in particular, is losing ground in the marketplace. This may be attributed to the fact that the ELLE brand has no visible current connection to any kind of social cause and, as a result, it is becoming undifferentiated with all other fashion magazines suffering from the same problem. Since environmental responsibility has become so popular, a solution to this problem could be to join efforts to show ELLE’s social and environmental accountability by partnering with a charity such as Fashion Delivers: this successfully combines the spirit of giving with our culture’s love of beauty, shopping and entertainment to directly benefit those in need. To effectively achieve this, I am developing a fashion-focused ELLE event benefiting Fashion Delivers, a charity that stands for and strives to promote social and environmental awareness. Exhibiting up-and-coming fashion talent, the event will be marketed towards ELLE’s current female audience. She will be able to watch the event live on the Lifetime Network hosted by Style icon Tim Gunn. After announcing the partnership of ELLE and Fashion Delivers, the goals of the event such as increasing the overall awareness of the ELLE brand, reintroducing ELLE not only as a fashion brand, but as a socially responsible, charitable fashion brand and publicly kicking off a new partnership with the charity, Fashion Delivers, will be accomplished. All of these will create a new genre in ELLE’s “eco-fashionably” yet socially responsible audience. The collaboration of ELLE and Fashion Delivers will become an ongoing partnership of the two entities known as WELLE AWARE, and the branding of WELLE AWARE will, in turn, strengthen both partnering parties’ branding in the process. Thorough research on the ELLE consumer reveals that the ELLE reader/online browser is a levelheaded career woman whose plans for the future in her daily routine. She is environmentally and socially conscious. When she can, she helps those in need. Because designer purchases may be unrealistic for her means, following fashion trends and fashion culture may serve as a portal to another, more indulgent lifestyle. While she doesn’t have much free time, for fashion, she will spare a few minutes. Fashion is emotional and brings a sense of happiness and pleasure. By bringing ELLE together with the Fashion Delivers charity, ELLE will bring its consumers information on two areas of interest instead of one- fashion culture and social responsibility. One of the main goals of this initiative is to increase the overall awareness of the ELLE brand. Linking with The Weinstein Company brand, Lifetime Networks, ELLE will be able to build up and tease the public in multiple media-saturated areas in addition to Lifetime, ELLE, and through its subsidiaries. Through The Weinstein Company, advertising for ELLE’s partnership with the Fashion Delivers charity and its fashion focused celebratory event will potentially be able to be shown on other The Weinstein Company brands including TWC, Hubbard Media Group, Ovation TV, Sony Pictures Home Entertainment, and MGM. By joining together with a Weinstein Company brand, ELLE Magazine will be able to use the company’s publishers, Perseus Book Group and Miramax Books, to create more brand awareness. Any of these areas offer potential future cross-promotional opportunities. Due to contractual agreements with The Weinstein Company, each network will automatically be able to have

“encore” showings of the event and have the usage rights to use media taken from the event with the stipulation that it is marked with the ELLE brand mark. By doing that, the ELLE name will circulate as fast as the latest trend that emerges as a result of the event. Awareness of the ELLE brand will increase through the use of host Tim Gunn during the LIVE telecast to be shown on the Lifetime Network. Already a style and fashion icon, Tim Gunn has a very loyal following dating back to 1983 when he joined the staff of the famed Parsons The New School for Design in New York City (Parsons The New School for Design, 2010). Since then, he has truly proven his eye for fashion by covering the red carpet at the Academy Awards, Emmy Awards and Golden Globes in 2006, 2007 and 2008 as a fashion correspondent for The Today Show and Entertainment Tonight. Tim Gunn continues to stay on top of upcoming trends by being a contributing writer to ELLE, Seventeen, People, and US Weekly (People.com, 2010; Teen Hairstyles, Games, Dating Advice, and Fashion - Seventeen.com, 2010; Us Weekly’s Hot Celebrity News, Photos and Video from Usmagazine.com, 2010). In addition to having an impressive background in the fashion field, Gunn is a recognizable face. Gunn is a mentor and fashion expert on “Project Runway,” a nationally syndicated reality television series hosted by international super model Heidi Klum. Further connecting the ELLE brand to the Lifetime Networks and the Weinstein Company is a strategic venture because ELLE Magazine fashion director Nina Garcia served as the reality television show’s regular judge for the first five seasons before it moved to the Lifetime Network. ELLE Magazine is already familiar and connected to the Tim Gunn through the Project Runway experience. Using Tim Gunn as the spokesperson will connect the ELLE brand to everything that his audience associates him with including high fashion, style, and refinement. In addition to the use of a spokesperson and multiple media network outlets, awareness of the ELLE brand will increase through acquiring exclusive content at the event. Because the event will be produced by ELLE and all media created as a result of the event will be property of ELLE, the ELLE brand will have ownership rights to content including celebrity and designer interviews, sound bites, photography, video clips, and much more. Fashion and entertainment events have always been known attract media attention, but because all media is the brand’s property, this will be another area in which the ELLE name will be connected with anything from the event. ELLE will have the flexibil ity to use this media obtained at any point in any format after the event. Since it was created


rESEArcH

Research Paper

by the ELLE brand (unless contractually stipulated by one of the designers), there wouldn’t be any time constraint or limitation as to when photography or videography could be used. After the event has concluded, it will have released major trends to be followed and emulated. Soon, there will be images and people modeling the designers’ vision but until then, it is ELLE’s property. Each design was first photographed at the ELLE event. Therefore, it is exclusive branded content. Since ELLE will have the first images of those trends, it will be ahead of its competition. Linking with the Lifetime Network, a Weinstein Company brand, and util izing its network of media outlets, by using Tim Gunn as a spokesperson and gaining his current fan base, and by acquiring media produced at the event as exclusive content would dramatically increase awareness of the ELLE brand. Especially during the days leading up to the event, by util izing these methods of brand penetration, the demographic would in fact have a difficult time not encountering ELLE brand placement. Another goal of this initiative is to reintroduce ELLE not only as a fashion brand, but instead as a socially responsible, charitable fashion brand to the public. ELLE has a rich history that dates back to 1945 where Pierre Lazareff and his wife Hélène Gordon founded the brand in France. Decades later in 1981, the ELLE brand, along with the rest of Hachette magazines’ portfolio, was purchased by Daniel Fil ipacchi and Jean-Luc Lagardère. Although ELLE was struggling at the time, this venture now has made ELLE the world’s largest fashion magazine with 39 international editions in over 60 countries today (ELLE (magazine) -, 2010). The brand has become its own fashion network consisting of more than 20 fashion-related websites including ELLE, ELLE Décor, ELLEgirl, and Pointclickhome.com (Marketing, 2010). According to Robbie Myers, ELLE’s editor in chief, “Our readers are young enough to think about life as an adventure and old enough to have the means to live it” (ELLE (magazine)-, 2010). Of these readers, both online and in print, 5,456,000 of 5,942.000 (92%) are women. There is a median age of 32.9; 55.1% of readers are between the ages of 18 and 34; 48.4% of readers are between the ages of 25 and 49. The median household income is $77,039 and 51.2% have a household income of more than $75,000; 73.8% of readers have attended and/or completed college; 66.4% are employed, and 60.6% are single (Marketing, 2010). The average reader is level headed and plans for the future financially as well as physically including exercise into her daily routine. Designer purchases may be foremost in her mind yet

unrealistic for her way of living. Following fashion trends and fashion culture may serve as a portal to another more indulgent lifestyle. ELLE’s consumer may read or browse online in between doing other things. She reads ELLE at the gym, in line at the grocery store, while waiting at the dentist, or after clicking on an email-blast link. While she doesn’t have much free time, for fashion, she will spare a few minutes. Fashion is emotional and brings a sense of happiness and pleasure. From ELLE’s history and its current content, the ELLE brand is definitely seen as a resource for fashion information. This is an identifiable trait that keeps ELLE’s readers returning to ELLE for more and more information. The ELLE reader is, however, interested in more. Fashion is a great source of happiness, but it isn’t the only area where she finds fulfi l lment. Social responsibility, charity, and environmental awareness are large areas of interest of the ELLE demographic that the brand isn’t currently capitalizing upon. The ELLE brand is connected with multiple charitable organizations. Each fits the ELLE reader who is interested in Hollywood glam, luxury, and high fashion. ELLE takes part in the Film Independent Spirit Awards for an annual event held on its Santa Monica Beach property. This is considered the “see-and-be-seen spot for Hollywood’s hip, emerging talent” (Marketing, 2010). ELLE’s own IntELLEgentsia event celebrates successful women in their respectful fields. This annual event also attracts the elite of New York’s social circles. Green is a “VIP, celebrity-fil led party for the planet” held annually in Los Angeles. Finally, Women in Hollywood is a tribute to women in fi lm and holds an annual event held in Los Angeles. These are all very noteworthy causes that raise a large amount of money for each charity or cause. Even though ELLE has these affi l iations, it isn’t known as a charitable brand because the public isn’t aware of these organizations’ connection with ELLE. There isn’t a permanent presence between each charity and ELLE. Because many charitable contributions are visible at one-time events, it is difficult for ELLE readers to identify the constant interaction between ELLE and each charity. These do not fulfi l l the readers’ interest in helping others, giving back to the community or being socially and environmentally responsible human beings. Because each event is reported as fashion news during the corresponding issue of ELLE, there is little distinction between fashion news and ELLE fashion news. Ultimately, readers will realize that there are other fashion publications that offer the reader information about both fashion and social activism and how the two topics work together.

thE REsuLting ELLE

bRAnd-fAshion dELivERs

coLLAboRAtion, WELLE

AWARE, WouLd APPEAL

to A nEW “Eco-fAshion”

yEt sociALLy REsPonsibLE

AudiEncE.


WoRd usAgE

By forming a corporate partnership with Fashion Delivers, the resulting ELLE brand-Fashion Delivers collaboration, WELLE AWARE, would appeal to a new “eco-fashion” yet socially responsible audience. Eco-fashion is just one very specific example that social and environmental responsibility really does affect all areas of our culture. Directly related to ELLE’s subject matter and target audience, Fashion Delivers’ confronts poverty and the effects of natural disasters by supporting international relief agencies and shelters. It provides support through new clothing, shoes, books and other home essentials donations. “Through the support of the world’s major men’s, women’s and home furnishings industries, combined with an unparalleled network of more than 1,200 local agencies across the country, Fashion Delivers coordinates the delivery of excess new product to individuals in need throughout the year”

(CHARITY OF CHOICE, n.d.). To those concerned with living an environmentally sustainable lifestyle, fashion may not be a high priority. Areas that are of concern include transportation (cutting back on fuel emissions, carpooling, riding bikes), energy (solar panels, fuel cells, building-integrated wind turbines, using energy efficient light bulbs, install ing timers for appliances, properly insulating your home), water (the scarcity of clean drinking water, the energy necessary to purify), food (buying from local farms, the price and fuel consumption needed to ship food from far areas, toxins and preservatives that are damaging to us and the planet that are used as pesticides), waste (recycling, energy necessary to manufacture), and many more. Truly environmentally conscious people understand that all plants, including those that create our clothing may be sprayed with dangerous toxins and chemicals. “Cotton is, in fact, one

of the most heavily sprayed crops on the planet, so it stands to reason that our choice of clothing can have a major ecological impact” (Top Back to Basics Tips: Planet Green, 2010). To these people, eco-fashion isn’t about the style or design; it is about ecological impact on the environment. Garments that fall into the eco-fashion category use fabrics that come from plants not treated with harmful chemicals. These fabrics usually include organic cotton, hemp, flax, and bamboo. Eco-fashion is the connecting route between ELLE magazine and social and environmental issues. By linking to retailers and online markets that specialize in this type of fashion, ELLE will gain new exposure. Some areas similar to this include Ecouterre.com, Eco-chick.com, and Ecorazzi.com (Eco-Chick • Fabulously Green, n.d.; Eco-fashion is more than a passing trend, 2010; Ecorazzi.com, 2009). ELLE will also have the opportunity to work with


smaller eco-fashion brands, potentially linking even more brands to the Fashion Delivers charity, which could raise more money. Building on this topic within ELLE magazine will draw a more eco-fashion forward audience in addition to ELLE’s current audience. At this point, ELLE would be seen by new people in a new light; as a socially responsible charitable fashion brand. The third objective of this initiative is to publicly kick of a new partnership with the Charity, Fashion Delivers. The branding of the partnership would be instrumental in strengthening both parties market presence. Even though ELLE is currently affi l iated with four charities (Film Independent Spirit Awards, IntELLEgentsia, Green, and Women in Hollywood), the public audience cannot see the connection between each group. If the reader doesn’t know that the affi l iation exists, its marketable benefit is questionable. In this case, ELLE wants to change the public’s perception of ELLE. Therefore, a stronger, more visible connection needs to be made. By

creating a large-scale event to announce a long-term, public partnership, many of the above issues will be solved. Directly following the event, readers will be aware of its existence and will know to look for new informational pieces in each ELLE edition that relate to social awareness. Specially themed events and fund-raisers will be held that would correspond with the partnership between ELLE and Fashion Delivers as well as with information inside each edition. The charity’s cause would be prevalent in the publication. Because the public announcement of the partnership between ELLE and Fashion Delivers would be done in such a memorable, celebratory way, the ELLE brand will be positively associated with social responsibility. In order to accomplish these objectives and to strongly establish the new collaborative brand known as WELLE AWARE, this campaign will be carried out through the means of three formats so that the highest number of viewers will be aware of this initiative. The three formats are print, motion graphics, and

interactive. Since ELLE’s demographic is browsing both online and in print, it is appropriate to advertise and announce information about the event through these outlets. Even more so, the interactive world is growing at such a rapid speed, it is strategically sound to create to different digital campaign vehicles to announce the partnership initiative: motion graphics and interactive. Using branding elements and design cues from ELLE’s current branding, the proposal is meant to evoke a feeling of elite style and bold attitude. Across the entire campaign, the main focus is of images with similar compositions and styles of fashion photography. They are very high in contrast, black and white, and striking. With a bold color palette of jewel tones, gray and black, the concept conveys a sleek sense of sophistication and self-confidence in which the bright hues provide clear focal points demanding attention. The typography is meant to be bold and eye catching but not distracting from the overall fashion-focus of the campaign. Even though the subject


and purpose of this partnership is social responsibility and environmental activism through charity, it is important that the style of the campaign emulates that of ELLE’s current branding so that it feels as if it belongs within the ELLE family. The print format will be 1 page, four-color advertisement for Lifetime’s coverage of the event (Hosted by Tim Gunn) to be printed in an issue of ELLE Magazine. This will publicize about the Lifetime’s network coverage and of Tim Gunn as host of the event. A full-page ad in ELLE Magazine has a bleed of 8.25” x 11.125” and a trim of 8” x 10.875”. It is important to put an ad for this event inside of ELLE Magazine itself because ELLE’s current readers will also serve as live advertisements. If they understand what is happening in terms of a corporate partnership between ELLE and Fashion Delivers, they will be more inclined to spread the word. The motion graphic will be a motion incorporated banner advertisement created in the “Fatboy”

(rollover expandable) style at 300 px x 250 px. It will highlight the importance of fashion culture in our lives because of the significant benefit it provides those in need. This will be represented by the way the ad affects the rest of the entry web page. Upon visiting the web page, elle.com will be completely void of color; this will represent those in need. After selecting the ad, which will be in color, motion will begin and color will begin to saturate the rest of the page as if it was growing from the ad. This will create the metaphor that fashion provides aid to those in need. Ultimately, the motion graphic will lead the viewer to the third medium, which is an interactive microsite. The microsite will provide more detailed information on the partnership between ELLE and Fashion Delivers, background on Fashion Delivers, event information, a bio of Tim Gunn, a schedule of when to watch the event coverage on television, and more. The microsite will be temporary and will only live for the period leading up to the event and

for a short time after the event. There will be a link from the microsite to elle.com where, after the event, there will be a permanent section devoted to concepts relating to Fashion Delivers. Conversely, there will be a link to both the event microsite and elle.com on fashiondelivers.org. Both the motion graphic and the microsite are essential because the online viewer is familiar with digital media. She is comfortable with online advertisements and information incorporating motion. It is important that the campaign fit into the language that she speaks. All elements of this campaign will use graphic elements including simple geometric shapes and growing swirls as a connecting point among the media. They will be colorful and will add to the black and white, highly saturated photography that will create the imagery. These graphics will represent the inherent qualities of nature when introducing topics about environmental activism and social responsibility.

Eco-fASHIon IS tHE

connEctIng routE

bEtwEEn EllE mAgAzInE

And SocIAl And

EnVIronmEntAl ISSuES.


StrAtEgy

Process taken

WoRd usAgE

Coco Chanel once said, “Fashion is

not something that exists in dresses only.

Fashion is in the sky, in the street, fashion

has to do with ideas, the way we live, what

is happening” (Chanel, 2010). Today, the

way we live is largely impacted by our

thoughts on sustainability, social awareness,

and environmental responsibility. In

the past, the ELLE brand has done a

phenomenal job finding the latest trends

and showing the public what it has found.

What if the latest trend has nothing to do

with fashion? What if the latest trend is

about helping each other and the planet

in times of need? ELLE has never had

a problem translating cultural trends into

fashion trends, so using the public’s new

moral position in the fashion world should

be a challenge that the ELLE brand would

want to embrace. More importantly, ELLE

needs to strategically contribute to this

movement before the brand is left behind

by its competitors. By forming a long-term

partnership with Fashion Delivers, it would

successfully combine the spirit of giving

with our culture’s love of beauty, shopping

and entertainment to directly benefit those

in need.

In the process, ELLE would be making

a strategic and beneficial marketing move

to benefit the brand. It would be publicly

kicking of a new partnership with the

Charity, Fashion Delivers through a large-

scale event, which would draw PR attention

to the brand. It would definitely increase

the overall awareness of the ELLE brand.

Additionally, it would reintroduce ELLE not

only as a fashion brand, but instead as

a socially responsible, charitable fashion

brand to the public. The newly established

co-brand, WELLE AWARE, introduced at a

major kick-off event, would be beneficial to

both parties involved in this initiative.


Chanel, C. (2010). Coco Chanel quotes. Retrieved March 28, 2010, from http://thinkexist.com/quotes/coco_chanel/

Eco-Chick • Fabulously Green. (n.d.). Retrieved March 14, 2010, from http://eco-chick.com/

Eco-fashion is more than a passing trend. (2010). Retrieved March 14, 2010, from http://www.ecouterre.com/

Ecorazzi.com. (2009). Retrieved March 22, 2010, from http://www.ecorazzi.com/Elle (magazine) -. (2010, February 26). Retrieved March 14, 2010, from http://en.wikipedia.org/wiki/Elle_%28magazine%29

Fashion - Women’s Fashion Magazine -ELLE.com. (2008). Retrieved March 14, 2010, from http://www.elle.com/

Marketing. (2010). Retrieved March 14, 2010, from http://www.hfmus.com/hfmus/media_kits/fashion_beauty_design/elle/marketing

Parsons The New School for Design. (2010). Retrieved March 14, 2010, from http://www.newschool.edu/parsons/

People.com. (2010). Retrieved March 14, 2010, from http://www.people.com/people/Project Runway | Bravo TV Official Site. (2010). Retrieved March 14, 2010, from http://www.bravotv.com/project-runway

Rocchio, C., & Rogers, S. (2008, April 7). Lifetime signs deal to grab ‘Project Runway’ from Bravo, NBCU sues - Reality TV World - News, information, episode summaries, message boards, chat and games for unscripted television programs. Retrieved March 28, 2010, from http://www.realitytvworld.com/news/lifetime-signs-deal-grab-project-runway-from-bravo-nbcu-sues-6881.php

Teen Hairstyles, Games, Dating Advice, and Fashion - Seventeen.com. (2010). Retrieved March 14, 2010, from http://www.seventeen.com/

The Associated Press. (2009, April 1). ‘Project Runway’ is cleared for move to Lifetime from Bravo. Retrieved March 28, 2010, from http://www.nydailynews.com/entertainment/tv/2009/04/02/2009-04-02_project_runway_is_cleared_for_move_to_li.html

The Green Shows Eco Fashion Week Rock New York City With Sustainable Innovation. (2009). Retrieved March 14, 2010, from http://www.ecorazzi.com/2010/02/18/the-green-shows-eco-fashion-week-rock-new-york-city-with-sustainable-innovation/

The Weinstein Company. (2010). Retrieved March 28, 2010, from http://www.weinsteinco.com/#/home

Tim Gunn | myLifetime.com. (2010). Retrieved March 14, 2010, from http://www.mylifetime.com/shows/project-runway/project-runway-judges/tim-gunn

Us Weekly’s Hot Celebrity News, Photos and Video from Usmagazine.com. (2010). Retrieved March 14, 2010, from http://www.usmagazine.com/

REfEREncEs

WoRd usAgE“fASHIon IS not SomEtHIng tHAt

ExIStS In drESSES only. fASHIon IS

In tHE Sky, In tHE StrEEt, fASHIon

HAS to do wItH IdEAS, tHE wAy wE

lIVE, wHAt IS HAppEnIng.”

- CoCo Chanel


StrAtEgy

StrAtEgy

Process taken

21

ProcEss takEnprocess, by its very definition, suggests streamlined, effective, no questions asked, time-saving, routine-like actions that repeat over and over. With this perception of “process”, is this concept something that can ever coexist with creativity? creativity eat, sleeps, and breaths differences, the unknown, exhileration, adrenaline, excitement, fervor, and the occasional agitation. the successful creative is flexible where process is anything but that.

keeping this in mind, the creative needs

a structured process. If creativity knows

no bounds, it surely won’t know when to

stop even if a fastly approaching deadline

appears. process serves as gentle guidance

that is absolutely necessary if creativity is to

be effective.

Though the concept of structure and process varies from designer to designer or even between creative places of business, the general idea remains the same at it’s core. There needs to be a consistent framework of milestones, events, or checkpoints in order for creative thinking and production to be effectively developed.

intERviEW

The interview, or br ief ing,

is the init ia l part of the

design process that is the

most crucial to an effect ive,

eff icient, and operat ional

design structure. This is when

the cl ient and the creat ive/

strategic team meet to discuss

the project at hand. In order

to completely understand what

is needed and expected, al l

questions and concerns need

to be asked and voiced.

REsEARch

At this point, i t is necessary

to educate oneself in al l

matters related to the program

being developed in order to

create successful, strategic

platforms. Research can come

in any form and come from

anywhere. I t can be found

or experienced, but i t should

always be documented.


StrAtEgy

Process taken

65 4 3concEPt

During this stage of

development, the research

found is appl ied to the goals

and objectives yet to be

achieved. The outcome wil l

be strong, conceptual ly sound

ideas that wi l l strategical ly

del iver results.

dEsign

Graphic elements are brought

to the digital level. At this

stage, there can conceivably

be mult iple rounds of

feedback both internal ly and

external ly before moving on to

the next stage.

ExEcutE

Components are created at

the f inal ized level. Now, there

are rarely large, conceptual

changes being requested to

be made.

EvALuAtE

The point in which the

program’s success is

measured. Did the program

achieve i ts goals? Were the

object ives met? Are there

changes to be made?


StrAtEgy

typography / color

tyPogRAPhy

coLoR

color choice for any creative

project is exceptionally important.

It not only attracts attention but

can enhance any emotion or mood

both positively or negatively.

While choosing colors, I wanted to reinforce the the natural, “green” idea that is reinforced by the partnership with social activist/aid charity fashion delivers.

Combining a natural feeling through different greens and blues with sleek grays and black will blend the sleek fashion world with that of the up-and-coming world of eco-fashion.

BLue

Is associated with trust, loyalty, wisdom, intell igence, expertise, confidence, stability and depth. It creates a calming effect, suppresses appetite and has been considered to be beneficial to both body and mind.

Green

Is the color of nature. It symbolizes growth, hope, freshness, and fertil ity. Green is associated with healing, stability, endurance, harmony, safety. life, andwell being.

BLAck

Is associated with power, elegance, formality, death, evil, and mystery. It denotes strength and authority, is seen as formal and elegant, and brings forth feelings of fear and the unknown.

GrAy

The color of sorrow, detachment, and isolation. It connotes responsibility and conservative practicality. It’s a neutral color and creates a noninvasive feeling. It’s associated with security, maturity, and dependability.

While deciding what type or

combination of type sets to

use for any given project, it is

important to take certain things into

consideration. the one ultimately

making such decisions needs to

think about where the final product

will be displayed, what medium it

will take, [relating to that] on what

substrate the final piece will be

produced, the overall tonality of the

concept, and legibility.

While developing the over arching look and feel for the WELLE AWARE sub brand, I wanted to create a specific feeling through typography. There will be instances when the logo mark and brand typography will represent the brand without the assistance of color or imagery.

Researching different typographic families, I determined that I needed my type combination to express simple yet bold information while at the same timeexhibiting classic sophistication.

The quick brown fox jumps over the lazy dogBel l Goth ic Std Bold

The quick brown fox jumps over the lazy dogCal ibr i

The quick brown fox jumps over the lazy dogCentury Goth ic Regular

The quick brown fox jumps over the lazy dogCorbel Regular

The quick brown fox jumps over the lazy dogFutura Medium

the quick brown fox jumps over the lazy dogITC Avant Garde Goth ic Ext ra L ight

The quick brown fox jumps over the lazy dogITC Avant Garde Goth ic Bold

The quick brown fox jumps over the lazy dogHelvet ica Neue (T1) 25 Ul t ra L ight

The quick brown fox jumps over the lazy dogMyr iad Pro Regular

The quick brown fox jumps over the lazy dogNews Goth ic MT Bold


StrAtEgy

typography / color


StrAtEgy

Mood board

Mood BoardcoMPositiona visuaLcoMMunication tooL

mood boards help convey the overall

style for a project or campaign to

someone other than the designer. It

can be a tool to visually describe the

look and feel of a project in terms of

simplest form: actually showing the

viewer what elements the designer

intends on using in some of the

following areas:

• typography

• photography

• colors

• textures

It can also serve to show the designer what elements function well together and which do not.

Using branding elements and design cues from ELLE’s current branding, the proposal is meant to evoke a feeling of elite style and bold attitude. With a bold color palette of cool jewel tones, gray and black, the concept conveys a sleek sense of sophistication and self-confidence in which the bright hues provide clear focal points demanding attention.

The typography is meant to be bold and eye catching but not distracting from the overall fashion-focus of the campaign.

212/255/15RGB22/0/100/0CMYKD4FF0FHEX

5/200/255RGB63/0/0/0CMYK05C8FFHEX

84/168/20RGB71/9/100/1CMYK54A814HEX

19/97/99RGB89/45/54/24CMYK136163HEX

206/238/248RGB18/0/2/0CMYKCEEEF8HEX

102/102/102RGB60/51/51/20CMYK666666HEX

18/3/3RGB67/70/66/85CMYK120303HEX


StrAtEgy

Mood board

sAMPLE PhotogRAPhy

ITC AvAnT GArde Bold CApITAl CAsei tc AvAnt gARdE gothic ExtRA L ightHelvet ica Neue (T1) 25 Ultra Light

Helvetica Neue (T1) 35 Thin

sAMPLE tExtuREs

sAMPLE tyPogRAPhy


StrAtEgy

in i t ia l concept ing

WoRd usAgE

Initial concepts are sketches

or diagrams that exemplify

the design’s conceptual

cohesiveness. these will show

the project’s progression over

time. the end result will probably

have strayed from the initial

concept, but it is important to

refer to all initial documents,

sketches, and creative thoughts

to ensure that the project hasn’t

veered off its course.

The following initial concepts il lustrate beginning thoughts for the WELLE AWARE campaign’s program elements. These helped to determine whether the elements fit into the campaign cohesively and if the individual element met the campaign’s set objectives.

As with all of the steps in the design process, each needs to be meticulously compared to the creative brief to determine if it is suitable for the program being created.

Initial concepts were created for the following campaign elements:

initiaLconcEPtingPrELiMinary thoughtExPLorations

Motion GrAphic

coMponent banner

Advertisement

print coMponent

MagazineAdvertisement

interActive coMponent

ProgramMicrosite


StrAtEgy


SPECIFICATIONS:file name: G_Salit_printad_thesis.aisafety: .25” from all TRIM edges. .125”–.1875” from each side of spread center (for type)trim: 8” x 10.875”non-bleed: 7“ x 10”bleed: 8.25” x 11.125”

Final Final Spcifications:

ACCEPTABLE MEDIA: Cd or Mass Transit Ftp FTP guest instructions will be emailed to you upon request. NOTE: A contract proof must follow the next business day. Ink specifications: 4/C process. Match colors available. Binding specifications: Perfect bound; jog to foot. Printing method: Web offset.

ACCEPTABLE FILE FORMAT:PDF-X1a—which means that it conforms to PDF version 1.3 (Acrobat 4); it has an output resolution of 2400 dpi; it is composite CMYK; it uses high-quality JPEG or lossless Zip com-pression; resolution for color and grayscale images is 300 dpi; resolution for monochrome images is 1200 dpi; and fonts are embedded and subsetted 100%; as well as other charac-teristics. This format is acceptable for full or partial pages. Trapping is the responsibility of the file provider. Further information about PDF-X1a can be found at www.pdf-x.com.

PROOF SPECIFICATIONS:Kodak Approval; or any other SWOP certified contract proof. All contract proofs must be made according to SWOP standards including color bars. Proofs that do not meet SWOP criteria will be used for color break only. SWOP #3 coated proof profile is available at www.idealliance.org. In addition, please supply two content (laser) proofs which are an identical match to the furnished file.

See what’s hot and what’s not

with Style Expert, Tim Gunn,

as he hosts ELLE Magazine’s

ELLEgance for all.

Proceeds from the event

benefit Fashion Delivers, a

charity that donates new

product in order to aid victims

of disasters and individuals in

need throughout the year.

BECAUSE

E L L E g a n c eSHOULD BE FOR ALL

Salit_Thesis_Wk2_DSR.indd 1 12/6/09 8:35 PM

See what’s hot and what’s not with Style Expert,

Tim Gunn, as he hosts ELLE Magazine’s

Fashion Charity Event . Proceeds benefit

a charity that donates

new product in order to

aid victims of disasters

and individuals in need

throughout the year.

SHARE THE

FLAREOCT2010BECAUSE ELLEGANCESHOULD BEFOR ALL

FASHION

only on

Thurs. oct 29 th

9PM est / 10PM pac

PreL iM iNAry LAyout, rouNd 2reF iNed tyPogrAPhy, CoLor ChoiCe , F igure/grouNd reLAt ioNSh iP oF eLeMeNtS iN LAyout.

ArrANged eLeMeNtS to hAVe More oF A V iSuAL FLoW, A NAturAL Mot ioN WheN reAd iNg the iNForMAt ioN.

iN it iAL CoNCePt, rouNd 2reAddreSSed CoMMuNiCAt ioN h ierArChy through iMAgery, Added Photo oF ModeL.

LAyout WAS deVeLoPed d ig itALLy, but WAS reeVALuAted through SketCh iNg.

PreL iM iNAry LAyout, rouNd 1More AtteNt ioN PA id to tyPogrAPh iC StyLe ANd CoLor ChoiCe , reArrANgiNg eLeMeNtS to h ighL ight d iFFereNt WordS iN body CoPy.

iN it iAL CoNCePt, rouNd 1eMPhAS iS oN t iM guNN oN FASh ioN eVeNt hoSt, Very L ittLe eLLe brANdiNg


StrAtEgy


Motion gRAPhic coMPonEnt

Prel iminary Sketch

Motion gRAPhic coMPonEntConcept Sketch

uPoN V iS it iNg eLLe .CoM:

eNt ire Web PAge iS deSAturAted exCePt For the bANNer.

“ShAre” iS the hotSPot to beg iN AN iMAt ioN:

WheN MouSe roLLS oVer the Word, i t ChANgeS to the L ight grAy CoLor.

FLour iSheS APPeAr ArouNd ModeL.

WheN “ShAre” iS CL iCked, FLour iSheS groW FroM bANNer to the reSt oF the Web PAge.

*the bANNer iS ShAr iNg itS FLA ir With the reSt oF the PAge.

FrAMe 1 FrAMe 2 FrAMe 3

PreL iM iNAry SketCh 1“hoW FASh ioN CAN heLP”h ighLy iNterACt iVe , ShoWiNg PAPer doLLS, V ieWer WAS to MANiPuLAte the doLLS W ith CorreSPoNdiNg outF itS de-PeNd iNg oN the WeAther PAtterN ShoWN oN the SCreeN.

PreL iM iNAry SketCh 2“t iM guNN”iLLuStrAteS the S iMPL iC ity ANd boLd PoWer oF FASh ioN CuLture through the FASh ioN MeNtor iCoN, t iM guNN.


StrAtEgy


AS A reSuLt oF the FLour iSheS “groWiNg” , CoLor iS returN iNg to the Web PAge ArouNd the bANNer.

CoLor reACheS the reSt oF the PAge. [exterNAL] FLour iSheS hAVe d iSAPPeAred

“CL iCk here to LeArN More” APPeArS iN CorNer

*S iNCe the CL iCk ACt ioN eNAbLed the bANNerS Mot ioN, ANother buttoN hAd to be Added to ProMPt the M iCroS ite to oPeN.

FrAMe 4 FrAMe 5 FrAMe 6

PreL iM iNAry SketCh 3“rA iNboW”ut iL iz iNg the grAPh iC eLeMeNtS AS A Method to trANS it ioN FroM FrAMe to FrAMe AS WeLL AS eNgAge the V ieWer.

iLLuStrAt iNg the iMPACt oF gLAM ANd gL itz iNVoLVed With ALL th iNgS FASh ioN.

PreL iM iNAry SketCh 4“PAPArAzz i ”i LLuStrAt iNg the iMPACt thAt FASh ioN hAS oN the CoMMuNity ANd hoW thAt CAN hAVe A PoS it iVe eFFeCt oN the eNV iroNMeNt ANd thoSe L iV iNg iN i t.


StrAtEgy


intERActivE coMPonEnt

PreL iM iNAry SketCheS, ProMot ioNAL M iCroS ite

eACh SketCh h ighL ightS the ModeL’S iMAge but d iSPLAyS the CoMMuNiCAt-iNg tyPogrAPhy iN d iFFereNt WAyS ANd We ightS.

Eco cheat sheetEvent Info About WELLE

AWAREFashion De-

liversELLE

Event Specifics

HOME

Ticket info

Soy

joy

Life

time

Tele

-vi

sion

ReM

ade

US

A

TRU

May

u

Met

hod

Pro

ject

Run

way

Alb

a

PresentingDesigners

Link: www.elle.com Link: www.fashiondeliv-

Contributors

Sep

hora

Link

: ww

w.a

lbab

otan

ica.

Link

: ww

w.s

hopm

ayu.

Link

: ww

w.m

ylife

time.

Link

: ww

w.m

ylife

time.

com

/sho

ws/

proj

ect-

Link

: ww

w.tr

uvod

ka.c

om/

Link

: ww

w.s

oyjo

y.co

m/

Link

: ww

w.m

etho

dhom

e.

Link

: ww

w.re

mad

eusa

.

Link

: http

://se

phor

a.co

m/

Blo

gger

Sha

re T

his

Goo

gle

Buz

z

Dig

g

Em

ail

Stu

mbl

eUpo

n

Face

book

privacy policyterms and conditions

Copyright© 2010 HFMUS

Link: www.hfmus.com/

single pop up with links to

share/follow

Twitt

er

donate via paypal

Link: www.paypal.com Ticket Info


StrAtEgy

Process taken

The interactive component of the

WELLE AWARE campaign is a microsite

that will provide more information

about the WELLE AWARE sub-brand,

background information about eco-fashion

and the Fashion Delivers charity, and the

Share the Fashion Flair event. When

prompted, the microsite will pop-up over

the user’s browser window in a new

window of its own. The dimensions are

800 px x 600 px.

CoNCePt LAyout, ProMot ioNAL M iCroS ite

deVeLoPed the StruCture oF eACh PAge With iN the M iCroS ite ’S S ite MAP (See beLoW) .

The

Eco

Div

a

Eco

Fas

hion

Ju

nkie

s

Eco

Sho

e S

ourc

e

Eco

Mam

a

Em

eral

d M

arke

t

Eco

See

k

Eth

ical

Fa

shio

nist

a

Eco

Fab

ulou

s

Tris

tan

Grib

-bi

n &

Mar

ion

Ele

na G

arci

a

And

rew

Mar

k Li

u

Mea

dow

C

ompt

on

Son

ja d

en

Elz

en

Sha

wna

Rob

-in

son

& N

atal

ie

Gre

tche

n Jo

nes

Pau

line

Siu

Eco

Chi

ck (.

ca)

Eco

Chi

ck

Eco

Chi

c W

eddi

ngs

Ecc

o E

co

Dom

ikni

trix

Com

mer

ce w

ith

a C

onsc

ienc

e

The

Chi

c E

colo

gist

Be

Gre

en

Be

Eco

chic

Link

: ww

w.e

thic

alfa

sh-

link:

ww

w.e

mer

aldm

arke

t.

link:

ww

w.e

cosh

oeso

urce

.

link:

ww

w.e

cose

ek.n

et

link:

ww

w.e

com

ama.

link:

ww

w.e

cofa

shio

njun

k-

Link

: ww

w.e

cofa

bulo

us.

Link

: ww

w.e

coch

ick.

ca

Link

: ww

w.e

co-c

hick

.com

Link

: ww

w.e

coch

icw

ed-

Link

: ww

w.e

ccoe

co.

Link

: ww

w.d

omik

nitri

x.

Link

: http

://co

mm

erce

-

Link

: ww

w.th

echi

ceco

lo-

Link

: poc

ketc

hang

e.

Link

: ww

w.b

eeco

chic

.com

Link

: ww

w.th

eeco

diva

.

Link

: flor

aand

faun

a.ca

Link

: ww

w.th

ieve

s.ca

Link

: ww

w.tu

rkan

dtay

lor.

Link

: ww

w.m

othl

ove.

com

/

Link

: http

://by

mea

dow

.

Link

: ww

w.e

lena

garc

iast

udio

.

Link

: ww

w.s

eeno

labe

l.

Link

: ww

w.s

tique

.com

/

Link

: ww

w.g

etsu

st.c

om/


StAndArdS

StAndArdS

StAndArdS

brand standards

WoRd usAgE

Mission coRPoRAtE PARtnERs coMPEtition

To combine the philanthropic spirit of compassion and care for our planet and the people living on it with our culture’s love of beauty, shopping and entertainment to directly benefit those in need.

PositioningFor the environmentally and socially conscious fashionista who wants/needs to be fashionable yet green, ELLE and Fashion Delivers brings WELLE AWARE: a new section of a publication that provides knowledge and education. Unlike all the other fashion magazines, the ELLE and WELLE AWARE provides this AND the years of fashion heritage and culture the ELLE name carries.

proJect runwAy (A) A reality television show focusing on fashion design that is hosted by model Heidi Klum. The contestants compete with each other to create the best clothes and are usually restricted in time, materials, and theme. Their designs are judged and one or more designers are eliminated each week. http://www.mylifetime.com/shows/project-runway

FAshion deLivers (B)A charitable foundation that mobilizes the fashion community to reach out and affect the world through their donations. Donations provide relief and dignity to men, women, families and survivors of natural disasters. http://www.fashiondelivers.org

LiFetiMe network (c)A television network devoted to movies, sitcoms and dramas, all of which are either geared toward women or feature women in lead roles. The network is owned by A&E Television Networks. http://www.mylifetime.com

cosMopoLitAnPublished by Hearst Magazines, Cosmopolitan has 58 international editions, is printed in 34 languages and is distributed in more than 100 countries

voGuePublished in 18 countries + Latin America by Condé Nast Publications. Each month, Vogue publishes a magazine addressing topics of fashion, life and design.

hArper’s BAzAArPublished by NatMag

GLAMourA women’s magazine published by Condé Nast Publications

in styLeA monthly women’s fashion magazine, published in the United States by Time Inc.

vAnity FAirAn American magazine of pop culture, fashion, and politics published by Condé Nast Publications.

MArie cLAireA monthly women’s magazine providing the reader with health, beauty, and fashion information in each issue. It is published by the Hearst Corporation.

wA monthly American fashion magazine published by Condé Nast Publications

BrandstandardsPrELiMinary thoughtExPLorations

(A )

(C )

(b )

(d )


StAndArdS

brand standards

Logo usAgE & Position

incoRREct Logo usAgE

The logo has two formats: horizontal and vertical. The WELLE AWARE logo may only be reproduced in black or reversed out on white over a background within the graphic standards. The logo has been created by using ITC Avant Garde, but only the supplied .eps file should be used to represent the brand mark.

The logo is to be prominently displayed on all visual pieces branded with WELLE AWARE mark. Preferred placement should be at least 0.5 inches from all text, edges of paper, gutter, border, or visual.

0.5”0.5”

logo appearing inthe wrong color

breaking apart the logo

drop Shadow

logo distorted

covering the logo

Special Effects

lorem Ipsum lorem Ipsum


StAndArdS

brand standards

coLoR PALEttE & gRAPhic ELEMEnts

212/255/15RGB

22/0/100/0CMYK

D4FF0FHEX

5/200/255RGB

63/0/0/0CMYK

05C8FFHEX

84/168/20RGB

71/9/100/1CMYK

54A814HEX

19/97/99RGB

89/45/54/24CMYK

136163HEX

206/238/248RGB

18/0/2/0CMYK

CEEEF8HEX

18/3/3RGB

67/70/66/85CMYK

120303HEX

PhotogRAPhy

Color choice for any creative project is exceptionally important. It not only attracts attention but can enhance any emotion or mood both positively or negatively. Soothing colors can make consumers and viewers reminisce about good memories or things from the past. While bold, contrasting colors may be striking and gain attention, they may cause viewers to think of other intrusive things such as the blue and red light of a police siren or the neon yellow and black on caution tape. While choosing colors, I wanted to reinforce the natural, “green” idea that is reinforced by the partnership with social activist/aid charity fashion delivers.

Combining a natural feeling through different greens and blues with sleek grays and black will blend the sleek fashion world with that of the up-and-coming world of eco fashion. 102/102/102

RGB60/51/51/20

CMYK666666

HEX


StrAtEgy

Process taken

WoRd usAgE

StrAtEgy

Process taken

See what’s hot and what’s not with

Style Expert, Tim Gunn, as he hosts ELLE

Magazine’s Share the Fashion Flair.

Proceeds from the event benefit

Fashion Delivers, a charity that

donates new product in order to aid

victims of disasters and individuals in


Text “FSNDLVRS” to 37160 during the event

to Share the Flair and donate $10 and visit

sharethefashionflair.com/texttowinfor more information.

NO PURCHASE NECESSARY. HOW TO DONATE BY MOBILE MESSAGE – MOBILE PHONE: To enter the mobile messaging program via your mobile device during the Entry Period. Text “FSNDLVRS” to 37160 or visit http://www.sharethefashionflair.com/texttowin. Standard Msg&data rates may apply.

PRINTED

ON

RECYC

LED PA

PER

Printstandards


StAndArdS

Pr int standards

Logo tREAtMEnt & PLAcEMEnt

tr iM

bLeed

SAFety

0.50”

0 .50”

For consistency among print elements, the WELLE AWARE logo should be placed in the bottom or right 20% of each piece.

The primary logo format is the stacked vertical arrangement. When this absolutely cannot be used because of the background and the surrounding layout, the secondary horizontal arrangement may be used.

tyPE tREAtMEnt

typographic standards follow the guidelines set in the visual

Id section. should specific typographic rules break standards

set in the previously mentioned section, they will be clearly

mentioned in this section.

hEAdLinEsHeadlines in print pieces using the WELLE AWARE logo or other brand elements must use ITC Avant Garde Gothic BOLD in all capital letters. Point sizes vary according to the specifications of each piece. The point size of the typography should be 20% larger than the leading point size. The kerning point size should be 93% less than the typography’s point size. These proportions should carry throughout all print elements.

body coPyTypography reserved for body copy must be set in ITC Avant Garde Gothic Book with normal sentence capitalization. Point sizes vary according to the specifications of each piece. The point size of the typography should be 40% larger than the leading point size. The kerning point size should be 17% more than the typography’s point size. These proportions should carry throughout all print elements. In most cases, body copy should only be printed in black. Do not apply photo effects to typography.

Pr iMAry Logo ArrANgeMeNt

SeCoNdAry Logo ArrANgeMeNt

shAre The fAshIonflAIr oCT 2010

See what’s hot and what’s not with Style

Expert, tim gunn, as he hosts EllE magazine’s

Share the fashion flair.

proceeds from the event benefit fashion

delivers, a charity that donates new product

in order to aid victims of disasters and

individuals in need throughout the year.

exAMPLe heAdL iNe tyPogrAPhy

exAMPLe body CoPy tyPogrAPhy

StrAtEgy

Process taken

tyPogRAPhy

Welle aWare uses the typeface families Itc avant garde gothic

* (10/12/25 pt. rat io) and helvetica neue (ti) * (10/12/75 pt. rat io).

itc Avant garde gothic Extra Light Aa bb cc dd Ee ff gg hh ii Jj Kk Ll Mm nn oo Pp Qq Rr ss tt uu vv Ww xx yy zz 1234567890

itc AvAnt gARdE gothic ExtRA Light AA bb cc dd EE ff gg hh ii JJ KK LL MM nn oo PP QQ RR ss tt uu vv WW xx yy zz 1234567890

Itc Avant garde gothic bookAa bb cc dd Ee ff gg Hh Ii Jj kk ll mm nn oo pp Qq rr Ss tt uu Vv ww xx yy zz 1234567890

ITC Avant Garde Gothic Medium Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890

itc avant garde gothic demiaa Bb cc dd Ee ff gg hh ii Jj kk Ll Mm nn oo Pp Qq rr ss tt uu vv ww xx yy Zz 1234567890

ITC Avant Garde Gothic BoldAa Bb Cc dd ee ff Gg hh Ii Jj Kk ll Mm nn oo pp Qq rr ss Tt Uu vv Ww Xx Yy Zz 1234567890

Helvetica Neue (T1) 35 Thin Aa Bb Cc Dd Ee Ff Gg Hh I i Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890

helvetica neue (t1) 55 thin aa Bb cc dd ee ff gg hh Ii Jj kk ll mm nn oo pp Qq rr ss tt uu vv Ww Xx yy Zz 1234567890

helvetica neue (t1) 55 thin Aa Bb cc dd ee Ff Gg hh ii Jj kk Ll Mm nn oo pp Qq rr ss tt uu vv ww Xx yy zz 1234567890

heLveticA neue (t1) 55 thin AA BB cc dd ee FF GG hh ii JJ kk LL MM nn oo pp QQ rr ss tt uu vv ww XX yy zz 1234567890


StrAtEgy

Process taken

WoRd usAgE

ABBreviAtions ELLE’s environmentalism and social ism init iative is called

WELLE AWARE. In headline format, it may be referred to as

“ELLE’s WELLE AWARE”. After f irst mention, it may be referred

to as “WELLE AWARE” to the public.

The public is NEVER to see the words: ADVERTISING,

MARKETING, FINANCE, or CORPORATE.

cApitALizAtion Use capital case when displaying the The WELLE AWARE brand name

without using the logo mark. (Using typography instead of the logo mark

is only permissible when the typographic point size is under 10 point).

dAtes Dates are to be expressed as Day of the Week, Month

Date, Year (ex. Tuesday, March 9, 2010) Dates can also be

expressed numerically as two digits for the month fol lowed

by a period, two digits for the date fol lowed by a period, and

four digits for the year (ex. MM. DD. YY).

tiMes Time should always be expressed with the fewest amount

of characters as possible. Do not insert a space between

the digit denoting the hour and “pm” or “am” (ex. 6pm).

Additionally, when a timespan needs to be represented, do

not insert spaces between the “am” or “pm” and the hyphen

character (ex. 6pm-9pm).

weB For al l URLs and email addresses, use lowercase typography.

If a URL or email address is used in body copy, use ital ics.

(ex. www.sharethefashionflair.com or gil l iansalit@sharetheflair.

com).

contAct The contact information wil l always be expressed on as few

l ines as possible. When a normal l ine break would occur

within USPS standards, use a period and two spaces to

denote a new line. When expressing a telephone or fax

number, leave spaces instead of using hyphens. Don not use

parentheses to encapsulate the area code. To denote whether

a number is a telephone number, a cellphone number, or a fax

number, use a single letter. (ex.123 Street Road, Cityname,

St 98765. t 800.123.4567. www.sharethefashionflair.com.

[email protected])

WoRd usAgE

a large part of the Welle aWare’s brand development and

consistency of style is word and grammar usage. not only is it

imperative to use correct language but it is also important to use the

same literary style as is set in the Welle aWare brand style guide.

please refer to the associated press stylebook for basic elements of

grammatical style and for terms and spelling, use merriam-Webster’s

dictionary.

StrAtEgy

Process taken

WoRd usAgE

StAndArdS

Pr int standards













PRINTED

ON

RECYC

LED PA

PER

3 3 3

4

5

1

6

2

MAgAzinEAdvERtisEMEnts• Four Color

• Full Bleed

• Bleed: 8.25 x 11.125

• Trim: 8 x 10.875

• SAFETY: Leave .25” from all TRIM edges.

Gutter safety for TYPE: .125”–.1875” from

each side of spread center.

• Format:PDF-X1a—which means that it

conforms to PDF version 1.3 (Acrobat 4);

• Output resolution of 2400 dpi

• CMYK Composite

• Zip compression; resolution for color and

gray scale images is 300 dpi; resolution

for monochrome images is 1200 dpi;

body coPyAd consists of a large gray scale image with

selected colored areas. The body copy

is set in 7.75 pt. ITC Avant Garde Gothic

Book with 20 pt. leading and spacing and

30 pt. tracking/kerning. The body copy in a

magazine advertisement should never exceed

two short paragraphs.

Logo The WELLE AWARE logo should be placed in

the approved lower right corner of the layout.

It should be ≈1.25” x ≈.64”.

1. The logo is reversed out of a dark

background (image)

2. The logo is located within the safety

guideline on the lower right

corner of the layout

gRid3. Layout is arranged in a three-column

grid. Body copy lies in the first of three

columns

4. There is an invisible diagonal grid line

reaching from the upper right corner to

the lower left corner creating the space for

the bold headline.

5. The headline takes up approximately 50%

of the layout

6. The headline is on the top 50% if the page

hEAdLinEtREAtMEnt7. Type: ITC Avant Garde Bold

8. Size: 102.85 pt.

9. Left Justified

10. Leading: 81.39 pts.

11. Kerning: -20 pts.

12. Typography Horizontal Proportion: 97%

tyPogRAPhyItc Avant garde book

Aa bb cc dd Ee ff gg Hh Ii Jj kk ll

mm nn oo pp Qq rr Ss tt uu Vv ww

xx yy zz 1234567890

itc avant garde demiaa Bb cc dd Ee ff gg hh ii Jj kk Ll Mm nn oo Pp Qq rr ss tt uu vv ww xx yy Zz 1234567890

helvetica Neue 37 thin Condensed

Aa bb Cc dd ee Ff gg hh ii Jj kk Ll Mm Nn oo Pp

Qq rr Ss tt uu Vv Ww xx yy zz 1234567890

LAyout sEctions


StAndArdS

Pr int standards

coLoR PALEttE & gRAPhic ELEMEnts

212/255/15RGB

22/0/100/0CMYK

D4FF0FHEX

5/200/255RGB

63/0/0/0CMYK

05C8FFHEX

84/168/20RGB

71/9/100/1CMYK

54A814HEX

19/97/99RGB

89/45/54/24CMYK

136163HEX

206/238/248RGB

18/0/2/0CMYK

CEEEF8HEX

18/3/3RGB

67/70/66/85CMYK

120303HEX

PhotogRAPhy

While choosing colors, I wanted to reinforce the natural, “green” idea that is reinforced by the partnership with social activist/aid charity fashion delivers.

Combining a natural feeling through different greens and blues with sleek grays and black will blend the sleek fashion world with that of the up-and-coming world of eco-fashion.

The photography used in the print elements of the WELLE AWARE campaign are to be taken from approved images within this guide. The main, large image is a gray scale image of a model with predetermined areas highlighted in color.

The secondary image is also a gray scale image. It is an image of Tim Gunn and this will be provided.

102/102/102RGB

60/51/51/20CMYK

666666HEX


StAndArdS

interact ive standards

7 Px FroM edge oF Logo

Logo edge



WoRd usAgE

Depending on the image background presented, the WELLE AWARE logo should go in the same general location as it was for all print advertising created. The logo is to be placed in the lower right corner of the piece created. Because leaving a 0.5” safety gutter space around the logo isn’t always feasible for interactive media, leave enough space around the logo so that the background behind the logo is presented in the same color and extends outside the logo’s area for at least 7 pixels.

In interactive layouts, the stacked vertical format of the logo is the primary logo arrangement and the horizontal format is the secondary arrangement.

Typographic standards follow the guidelines set in the Visual ID section. Should specific typographic rules break standards set in the previously mentioned section, they will be clearly mentioned in this section.

The photography used in any interactive elements of the WELLE AWARE campaign is to be approved before the proof stage of campaign publication. Because of the extensive nature of interactive elements, Images within this guide serve as frame of reference.

intEractivEstandards

Logo tREAtMEnt PhotogRAPhy


StAndArdS

interact ivestandards

tyPE tREAtMEnt coLoR

WoRd usAgE

exAMPLe iNterACt iVe heAdL iNe

exAMPLe iNterACt iVe body CoPy

212/255/15RGB

D4FF0FHEX

5/200/255RGB

05C8FFHEX

84/168/20RGB

54A814HEX

19/97/99RGB

136163HEX

206/238/248RGB

CEEEF8HEX

102/102/102RGB

666666HEX

18/3/3RGB

120303HEX

hEAdLinEsHeadlines in interactive pieces using the WELLE AWARE logo or other brand elements must use ITC Avant Garde Gothic BOLD in all capital letters. Point sizes vary according to the specifications of each piece. The point size of the typography should be 20% larger than the leading point size. The kerning point size should be 93% less than the typography’s point size. These proportions should carry throughout all interactive elements in all locations.

body coPyTypography reserved for body copy must be set in

Arial Regular with normal sentence capitalization

with working in an interactive medium. Though

monitor size does vary and will change the way

each page is viewed, the type size of body copy

should always be set the same.

It is 8.5 pt.; the kerning is at 11 pt.; the leading

is at 20 pt.

In addition to the guidelines for color found in this section, the color palette for branded Web and screen items adheres to the color palette guidelines set forth in the Visual ID section of this guide. Where to two sections contradict, Web color guidelines must be followed first and foremost above those guidelines set in the Visual ID section.

A large part of the WELLE AWARE’s brand development and consistency of style is word and grammar usage. Not only is it imperative to use correct language but it is also important to use the same literary style as is set in the WELLE AWARE brand style guide. Please refer to The Associated Press Stylebook for basic elements of grammatical style and for terms and spelling, use Merriam-Webster’s dictionary.


ELLE pledges that even while we change—as every living thing must—we will never lose our intelligence, our wit, our cool, and our ability to be just a little ahead of the times.

In order to do this, it is imperative to fully understand and appreciate the environment in which we live and the people with whom we share it.

ABBreviAtions ELLE’s environmentalism and social ism init iative is called WELLE AWARE. In headline format, it may be referred to as “ELLE’s WELLE AWARE”. After f irst mention, it may be referred to as “WELLE AWARE” to the public.

The public is NEVER to see the words: ADVERTISING, MARKETING, FINANCE, or CORPORATE.

cApitALizAtion Use capital case when displaying the The WELLE AWARE brand name without using the logo mark. (Using typography instead of the logo mark is only permissible when the typographic point size is under 10 point).

dAtes Dates are to be expressed as Day of the Week, Month Date, Year (ex. Tuesday, March 9, 2010) Dates can also be expressed numerically as two digits for the month fol lowed by a period, two digits for the date fol lowed by a period, and four digits for the year (ex. MM.DD.YYYY).

tiMes Time should always be expressed with the fewest amount of characters as possible. Do not insert a space between the digit denoting the hour and “pm” or “am” (ex. 6pm). Additionally, when a timespan needs to be represented, do not insert spaces between the “am” or “pm” and the hyphen character (ex. 6pm-9pm).

weB For al l URLs and email addresses, use lowercase typography. If a URL or email address is used in body copy, use ital ics. (ex. www.sharethefashionflair.com or gil l [email protected]).

contAct The contact information wil l always be expressed on as few l ines as possible. When a normal l ine break would occur within USPS standards, use a period and two spaces to denote a new line. When expressing a telephone or fax number, leave spaces instead of using hyphens. Don not use parentheses to encapsulate the area code. To denote whether a number is a telephone number, a cellphone number, or a fax number, use a single letter. (ex.123 Street Road, Cityname, St 98765. t 800.123.4567. www.sharethefashionflair.com. [email protected]).


StAndArdS

interact ivestandards

LAyout sEctions

3

1

13

10

2

6

7

8

911

12

45

The interactive graphics for the WELLE AWARE brand will be displayed online. These specific graphics have been created for a temporary microsite so each component is permanent.

All interactive elements will i l lustrate the same overall look and feel. By doing this, each interactive piece will evoke the same emotional and visual connection, and therefore further the overall creation and build of the WELLE AWARE brand.

1. STAGE

800 px x 600 px

2. HEADLINE

Type: ITC Avant Garde Bold

Size: 49.566 pt.

Left Justified

Leading: 65.887 pts.

Kerning: -40 pts.

Typography Vertical Proportion: 97%

3. SUB BRAND LOGO

White (#FFFFFF)

4. PRIMARY NAVIGATION

5. SECONDARY NAVIGATION

6. SECTION HEADING


Size: 37 pt.

Leading: 29 pts.

Kerning: -25 pts.


7. BODY COPY

Type: Arial Regular

Size: 8.5 pt.

Leading: 11 pts.

Kerning: 20 pts.


8. SUBSECTION HEADLINE


Size: 21 pt.

Leading: 25.2 pts.

Kerning: 0 pts.


9. SECONDARY SECTION

10. TERTIARY SECTION

Does not change

11. SECTION CAPTION

Type: Arial Regular

Size: 8.5 pt.

Leading: 11 pts.

Kerning: 20 pts.


12. LEGAL INFO/SECTION NAVIGATION

Type: Arial Regular

Size: 8 pt.

Leading: 9.6 pts.

Kerning: 0 pts.


Color: 50% Black (#000000)

13. SOCIAL LINKS


StAndArdS

Motion graphic standards

WoRd usAgE

Depending on the image background presented, the WELLE AWARE logo should go in the same general location as it was for all print advertising created. The logo is to be placed in the lower right corner of the piece created. Because leaving a 0.5” safety gutter space around the logo isn’t always feasible for interactive media, leave enough space around the logo so that the background behind the logo is presented in the same color and extends outside the logo’s area for at least 7 pixels.

Typographic standards follow the guidelines set in the Visual ID section. Should specific typographic rules break standards set in the previously mentioned section, they will be clearly mentioned in this section.

A large part of the WELLE AWARE’s brand development and consistency of style is word and grammar usage. Not only is it imperative to use correct language but it is also important to use the same literary style as is set in the WELLE AWARE brand style guide. Please refer to The Associated Press Stylebook for basic elements of grammatical style and for terms and spelling, use Merriam-Webster’s dictionary.

hEAdLinEsHeadlines in print pieces using the WELLE AWARE logo or other brand elements must use ITC Avant Garde Gothic BOLD in all capital letters. Point sizes vary according to the specifications of each piece. The point size of the typography should be 20% larger than the leading point size. The kerning point size should be 93% less than the typography’s point size. These proportions should carry throughout all print elements.

Logo tREAtMEnt tyPogRAPhic tREAtMEnt



exAMPLe Mot ioN grAPh iC heAdL iNe

7 Px FroM edgeLogo edge


Motion graPhicstandards


StAndArdS


212/255/15RGB

D4FF0FHEX

5/200/255RGB

05C8FFHEX

84/168/20RGB

54A814HEX

19/97/99RGB

136163HEX

206/238/248RGB

CEEEF8HEX

102/102/102RGB

666666HEX

18/3/3RGB

120303HEX

WoRd usAgE

ABBreviAtions ELLE’s environmentalism and social ism init iative is called WELLE AWARE. In headline format, it may be referred to as “ELLE’s WELLE AWARE”. After f irst mention, it may be referred to as “WELLE AWARE” to the public.

The public is NEVER to see the words: ADVERTISING, MARKETING, FINANCE, or CORPORATE.

cApitALizAtion Use capital case when displaying the The WELLE AWARE brand name without using the logo mark. (Using typography instead of the logo mark is only permissible when the typographic point size is under 10 point).

dAtes Dates are to be expressed as Day of the Week, Month Date, Year (ex. Tuesday, March 9, 2010) Dates can also be expressed numerically as two digits for the month fol lowed by a period, two digits for the date fol lowed by a period, and four digits for the year (ex. MM.DD.YYYY).

tiMes Time should always be expressed with the fewest amount of characters as possible. Do not insert a space between the digit denoting the hour and “pm” or “am” (ex. 6pm). Additionally, when a timespan needs to be represented, do not insert spaces between the “am” or “pm” and the hyphen character (ex. 6pm-9pm).

weB For al l URLs and email addresses, use lowercase typography. If a URL or email address is used in body copy, use ital ics. (ex. www.sharethefashionflair.com or gil l [email protected]).

contAct The contact information wil l always be expressed on as few l ines as possible. When a normal l ine break would occur within USPS standards, use a period and two spaces to denote a new line. When expressing a telephone or fax number, leave spaces instead of using hyphens. Don not use parentheses to encapsulate the area code. To denote whether a number is a telephone number, a cellphone number, or a fax number, use a single letter. (ex.123 Street Road, Cityname, St 98765. t 800.123.4567. www.sharethefashionflair.com. [email protected])

PhotogRAPhy coLoR

The photography used in the motion

graphic elements of the WELLE AWARE

campaign are to be taken from approved

images within this guide. The main, large

image is a gray scale image of a model

with predetermined areas highlighted in

color.

In addition to the guidelines for color

found in this section, the color palette for

branded Web and screen items adheres

to the color palette guidelines set forth in

the Visual ID section of this guide. Where

to two sections contradict, Web color

guidelines must be followed first and

foremost above those guidelines set in

the Visual ID section.

A large part of the WELLE AWARE’s brand

development and consistency of style is

word and grammar usage. Not only is it

imperative to use correct language but it is

also important to use the same literary style

as is set in the WELLE AWARE brand style

guide. Please refer to The Associated Press

Stylebook for basic elements of grammatical

style and for terms and spelling, use

Merriam-Webster’s dictionary.


StAndArdS


LAyout sPEcifics

the motion graphics for the Well

aWare brand will be displayed

online. all components will

i l lustrate the same overall look

and feel. By doing this, each

interactive element will evoke

the same emotion and visual

connection, therefore further the

overall creation and build of the

well aware brand.

tyPogRAPhyType: ITC Avant Garde DemiSize: 47 pt.Left JustifiedLeading: 36 pts.Kerning: -50 pts.Typography Horizontal Proportion: 97%Capital CaseBlack type

Logo PLAcEMEntDepending on the image background presented, the WELLE AWARE logo should go in the same general location as it was for all print advertising created. The logo is to be placed in the lower right corner of the piece created. Because leaving a 0.5” safety gutter space around the logo isn’t always feasible for interactive media, leave enough space around the logo so that the background behind the logo is presented in the same color and extends outside the logo’s area for at least 2 pixels.

LinK styLE Type: ITC Avant Garde BoldSize: 15 pt.Left JustifiedLeading: 36 pts.Kerning: -5 pts.Typography Horizontal Proportion: 97%Capital CaseBefore state: type color R:223 G:0 B:160Hover state: type color R:255 G:18 B:0


StrAtEgy

Process taken

WoRd usAgE

SolutIon

SolutIon

Pr int

SPECIFICATIONS:file name: G_Salit_printad_thesis.aisafety: .25” from all TRIM edges. .125”–.1875” from each side of spread center (for type)trim: 8” x 10.875”non-bleed: 7“ x 10”bleed: 8.25” x 11.125”

Final Final Spcifications:

ACCEPTABLE MEDIA: Cd or Mass Transit Ftp FTP guest instructions will be emailed to you upon request. NOTE: A contract proof must follow the next business day. Ink specifications: 4/C process. Match colors available. Binding specifications: Perfect bound; jog to foot. Printing method: Web offset.

ACCEPTABLE FILE FORMAT:PDF-X1a—which means that it conforms to PDF version 1.3 (Acrobat 4); it has an output resolution of 2400 dpi; it is composite CMYK; it uses high-quality JPEG or lossless Zip com-pression; resolution for color and grayscale images is 300 dpi; resolution for monochrome images is 1200 dpi; and fonts are embedded and subsetted 100%; as well as other charac-teristics. This format is acceptable for full or partial pages. Trapping is the responsibility of the file provider. Further information about PDF-X1a can be found at www.pdf-x.com.

PROOF SPECIFICATIONS:Kodak Approval; or any other SWOP certified contract proof. All contract proofs must be made according to SWOP standards including color bars. Proofs that do not meet SWOP criteria will be used for color break only. SWOP #3 coated proof profile is available at www.idealliance.org. In addition, please supply two content (laser) proofs which are an identical match to the furnished file.













PRINTED

ON

RECYC

LED PA

PER

Salit_Thesis_Wk2_DSR.indd 1 5/20/10 1:18 PM



StrAtEgy

Process taken


SolutIon

interactive

MiCroS ite : “hoMe” PAge

MiCroS ite : “About” PAge MiCroS ite : “eVeNt oVerV ieW” PAge


SolutIon

interact ive

MiCroS ite : “eVeNt SPeC iF iCS” PAge MiCroS ite : “t iM ’S b io” PAge

MiCroS ite : “eVeNt CoNtr ibutorS” PAge

With hoVer iNg MouSe

MiCroS ite : “eVeNt CoNtr ibutorS” PAge

MiCroS ite : “eCo CheAt Sheet” PAgeMiCroS ite : “Pr iVACy PoL iCy” PAge


SolutIon

interact ive

MiCroS ite : “PreSeNt iNg deS igNerS” PAge

With hoVer iNg MouSe

MiCroS ite : “PreSeNt iNg deS igNerS” PAge

MiCroS ite : “terMS ANd CoNdit ioNS” PAgeMiCroS ite : “t iCket iNFo (ANd PurChAS iNg) ” PAge



SolutIon

Motion graphic

MotioN grAPh iC : FrAMe 2

Mot ioN grAPh iC : FrAMe 4






MdMfaMedia Design Master of Fine Arts

Brand DevelopmentDesign StrategyProduction Workflow

Campus: 800.226.7625 | Online: 888.993.73383300 University Boulevard | Winter Park, Florida 32792


Documents

Welle Aware: Incorporating Eco-fashion Into the ELLE Brand