brief 06 - dc signature 1
DESCRIPTION
DC Signature 1TRANSCRIPT
16|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
Ale
xey
Bro
dovi
tch
was
an
infl u
enti
al
edit
oria
l des
igne
r in
the
1950
s. H
e w
as a
n ar
tist
, gra
phic
des
igne
r and
pho
togr
aphe
r.
How
ever
, he
was
mos
t fam
ous
for
his
art
dire
ctio
n,
prim
arily
fo
r th
e m
agaz
ine
Har
pers
B
azaa
r.
He
was
an
ae
sthe
tic
enti
ty w
hose
per
man
ent
infl u
ence
was
pe
rcei
ved
alon
g th
e en
tire
vis
ual
arts
. H
is
styl
e of
co
mbi
ning
el
egan
tly
set
typo
grap
hy w
ith
new
and
exp
erim
enta
l tr
ends
in
ph
otog
raph
y be
cam
e w
idel
y po
pula
r in
the
194
0s a
nd 1
950s
, hel
ping
to
kee
p th
e m
agaz
ine
at t
he f
oref
ront
of
its fi e
ld in
a s
wift
ly c
hang
ing
wor
ld.
B
rodo
vitc
h w
as
the fi r
st
art
dire
ctor
to in
tegr
ate
imag
e an
d te
xt. M
ost
Am
eric
an m
agaz
ines
at t
hat t
ime u
sed
text
an
d ill
ustr
atio
n se
para
tely
, di
vidi
ng
them
by
wid
e w
hite
mar
gins
. Bro
dovi
tch
AL
EX
EY
BR
OD
OV
ITC
H
crop
ped
his
phot
ogra
phs,
of
ten
off-
cent
er,
brou
ght
them
to
the
edge
of
the
page
, and
int
egra
ted
them
in
the
who
le.
He
used
his
im
ages
as
a fr
ozen
mom
ent
in ti
me
and
ofte
n w
orke
d w
ith
succ
eedi
ng
page
s to
cre
ate
a ni
ce fl
ow
thr
ough
the
en
tire
m
agaz
ine.
Th
is
brou
ght
a ne
w
dyna
mis
m in
fash
ion
layo
uts.
Th
e ty
pefa
ce h
e pr
efer
red
was
B
odon
i, bu
t w
hen
need
ed h
e sw
itch
ed
to S
tenc
il, T
ypew
rite
r or
a s
crip
t. H
e m
atch
ed t
he t
ypef
ace
wit
h th
e fe
elin
g or
w
ith
the
need
for
an
appr
opri
ate
effe
ct.
Legi
bilit
y w
as n
ot h
is p
rim
ary
conc
ern
and
his
layo
uts
are
easi
ly
reco
gniz
ed
by
his
gene
rous
us
e of
w
hite
sp
ace.
C
olle
ague
s at
oth
er m
agaz
ines
saw
his
sp
arse
des
igns
as
trul
y el
egan
t, bu
t a
was
te o
f val
uabl
e sp
ace.
HIG
H
EN
DD
ESI
GN
by K
irst
y H
air
15H
IGH
EN
D D
ESI
GN
|
Like
m
ost
grap
hic
desi
gn,
new
spap
er
and
mag
azin
e de
sign
is
an e
xerc
ise
in c
ombi
ning
tec
hnic
al d
etai
l w
ith
arti
stic
fl ai
r. T
he c
ore
com
pone
nts
of e
dito
rial
des
ign
are
text
and
pic
ture
s, s
o a
keen
und
erst
andi
ng o
f typ
ogra
phy,
la
yout
s,
grid
s an
d co
mpo
siti
on
is
esse
ntia
l. In
fa
ct,
mag
azin
es p
erha
ps m
ore
than
any
oth
er fo
rmat
show
how
th
e m
any
elem
ents
of
grap
hic
desi
gn c
an c
ome
toge
ther
in
one
pla
ce: i
mag
es, i
llust
rati
on, p
hoto
grap
hy, l
ogos
and
m
asth
eads
, inf
orm
atio
n de
sign
, pap
er s
tock
and
so
on.
W
hat
is p
erha
ps a
lit
tle
diff
eren
t fr
om o
ther
are
as
of
grap
hic
desi
gn
is
that
ed
itor
ial
desi
gn
dem
ands
co
nsta
nt r
einv
enti
on,
as J
erem
y Le
slie
of
mag
cult
ure.
com
exp
lain
s: ‘E
dito
rial
des
ign
uses
and
fus
es t
wo
key
elem
ents
of
grap
hic
desi
gn.
It u
ses
tem
plat
es a
nd s
ets
up r
ules
to
follo
w, w
hich
is
the
tech
nica
l si
de, i
n te
rms
of u
nder
stan
ding
str
uctu
re a
nd li
mit
ing
your
cho
ices
to
mak
e ce
rtai
n st
atem
ents
. B
ut i
t’s a
lso
abou
t ta
king
the
ru
les
that
you
hav
e se
t up
and
mak
ing
som
ethi
ng c
reat
ive
from
them
. Unl
ike
mos
t are
as o
f gra
phic
des
ign,
edi
tori
al
desi
gn is
an
ongo
ing
proj
ect.
It’s
not
a o
ne-o
ff, l
ike
a pi
ece
of p
acka
ging
or
a po
ster
, whe
re y
ou g
et it
all
set
up a
nd
then
hit
the
pri
nt b
utto
n; it
nee
ds t
o de
velo
p. S
o yo
u’re
lo
okin
g fo
r gr
aphi
c de
sign
ers
to c
ome
up w
ith
a st
rong
fu
ncti
onal
bas
is a
nd ru
les,
but
you
’re
also
look
ing
to b
end
thos
e ru
les
on a
dai
ly, w
eekl
y or
mon
thly
bas
is. T
here
has
to
be
a ba
lanc
e be
twee
n th
e fa
mili
ar, s
o pe
ople
rec
ogni
se
the
mag
azin
e th
ey b
ough
t la
st t
ime,
and
sur
pris
e, t
o le
t th
em k
now
it’s
a n
ew is
sue.
ED
ITO
RIA
LD
ES
IGN
Words taken from: www.designcouncil.org.uk/about-design
14|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
CO
NT
EN
TS
For
ewor
d
5
Ack
now
led
gem
ents
7
Ch
apte
r 1:
Hig
h E
nd
Des
ign
9
Dev
elop
ing
a br
and
conc
ept l
ogo
11
Gra
phic
Des
ign
for
Fash
ion
12
E
dito
rial
Des
ign
14
Ale
xey
Bro
dovi
tch
16 C
hap
ter
2: D
esig
ner
s &
Stu
dio
s
19
And
rew
Woo
dhea
d
20
In
terv
iew
: Bre
tt P
hilli
ps -
3 D
eep
22
Siln
t
26
In
terv
iew
: Cra
ig W
ard
- Wor
ds a
re P
ictu
res
28
Why
Not
Ass
ocia
tes
32
In
terv
iew
: And
y B
one
- Fou
r IV
34
G
BH
Des
ign
- SLS
Lux
ury
Hot
els
38
Ch
apte
r 3:
Des
ign
Ess
enti
als
41
12
In12
43
Gen
erat
ion
Pres
s
44
An&
Tip
s
48
Con
tact
Det
ails
50
4|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
13H
IGH
EN
D D
ESI
GN
|
Whe
ther
a
pure
ly
func
tion
al
vehi
cle
of c
atw
alk
imag
es e
nclo
sed
by a
log
o-em
blaz
oned
co
ver
or
a co
ncep
tual
ex
tens
ion
of
the
colle
ctio
n,
the
look
bo
ok i
s fi r
st a
nd f
orem
ost
a pr
acti
cal
tool
. H
ighl
y co
veta
ble
and
wit
h lim
ited
di
stri
buti
on,
the
seas
onal
boo
klet
s ar
e fr
ee a
nd f
eel
mor
e lik
e a
pers
onal
gift
. N
ot a
vaila
ble
to t
he g
ener
al p
ublic
, th
e lo
ok b
ook
spea
ks t
o a
sele
ct g
roup
of
pres
s, s
tylis
ts, b
uyer
s an
d ph
otog
raph
ers
insi
de th
e fa
shio
n in
dust
ry. W
ith
a ta
rget
au
dien
ce
of
such
co
llect
ive
crea
tive
awar
enes
s,
the
expe
ctat
ions
fo
r th
e gr
aphi
c de
sign
er a
re h
igh.
R
ecen
t te
chno
logy
no
w
faci
litat
es
alm
ost
imm
edia
te
tran
sfer
of
im
ages
di
rect
ly fr
om t
he c
atw
alk
to t
he in
tern
et.
Wit
h th
is
inst
ant
dist
ribu
tion
in
co
njun
ctio
n w
ith
digi
tal
arch
ivin
g, t
he
basi
c fu
ncti
on o
f lo
ok b
ooks
has
bee
n ch
alle
nged
. R
athe
r th
an
mar
gina
lize
the
prac
tice
it h
as g
ener
ated
eve
ry m
ore
inno
vati
ve c
reat
ive
resp
onse
s th
at e
xten
d th
e ca
twal
k ex
peri
ence
.
Words and images taken from: Hess, J. (2010) Graphic Design for Fashion. London: Laurence King.
12|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
GR
AP
HIC
DE
SIG
NF
OR
FA
SH
ION
Ent
ry to
the
catw
alk
show
is o
nly
gran
ted
for
a se
lect
few
and
, as
such
, inv
itat
ions
to
the
se e
vent
s ar
e re
stri
cted
and
sig
nify
th
e ex
clus
ivit
y of
the
fas
hion
ind
ustr
y.
Bey
ond
the
prac
tica
l det
ails
of t
he e
vent
, th
is i
s an
opp
ortu
nity
to
stim
ulat
e th
e in
tere
st
in
the
pres
enta
tion
-
for
the
audi
ence
, th
e ex
peri
ence
be
gins
w
ith
the
invi
tati
on.
The
invi
tati
on m
ust
be
rele
vant
to
the
colle
ctio
n bu
t it
mus
t be
ab
stra
ct
to
avoi
d re
veal
ing
too
man
y de
tails
. U
sual
ly v
ery
few
inv
itat
ions
are
pr
oduc
ed, p
rovi
ding
the
grap
hic
desi
gner
w
ith
the
chan
ce
to
expl
ore
spec
ialis
t pr
oduc
tion
te
chni
ques
. A
mbi
tiou
s,
crea
tive
sol
utio
ns i
nevi
tabl
y ha
ng u
pon
last
-min
ute
date
and
tim
e co
nfi r
mat
ion.
E
very
thin
g m
ust
com
e to
geth
er i
n th
e ti
ghte
st o
f all
fash
ion
dead
lines
. The
mos
t su
cces
sful
invi
tatio
n tr
ansc
end
thei
r br
ief
purp
ose
and
beco
me
cher
ishe
d m
emen
tos
of th
e ev
ent.
Ther
e is
a s
impl
icit
y to
the
mos
t ef
fect
ive
bran
ding
tha
t be
lies i
ts u
nder
lyin
g co
mpl
exit
y. M
ore
than
an
iden
tifi a
ble
logo
, br
andi
ng i
s co
nsid
ered
a p
rom
ise,
an
expe
rien
ce
and
a m
emor
y. T
he m
essa
ge m
ust
com
mun
icat
e th
e am
biti
on o
f the
labe
l and
the
pers
onal
and
soc
ial b
enefi
ts
of a
ssoc
iati
on. T
he n
atur
e of
fas
hion
ele
vate
s as
pira
tion
ab
ove
auth
enti
city
. C
ompe
titi
on i
s fi e
rce
and
grow
ing:
th
e co
nsum
er i
s bo
mba
rded
wit
h hu
ndre
ds o
f br
ande
d m
essa
ges
ever
y da
y. T
he c
halle
nge
lies
in c
ontr
ollin
g th
ese
very
inta
ngib
le e
lem
ents
wit
h ve
ry ta
ngib
le m
eans
.
5FO
RE
WO
RD
|
This
aim
of t
his
book
was
to c
olla
te a
ran
ge o
f opi
nion
s, th
ough
ts
and
case
stu
dies
from
des
ign
stud
ios
that
cre
ate
wor
k fo
r the
hig
h en
d, to
act
as
a so
urce
of i
nspi
rati
on fo
r fut
ure
refe
renc
e, a
nd a
lso
to m
ark
whe
re m
y pr
acti
ce li
es a
t thi
s m
omen
t in
tim
e.
Look
ing
at h
igh
end
desi
gn fo
r br
andi
ng a
nd p
ublic
atio
n, fo
r th
e fa
shio
n, l
uxur
y an
d lif
esty
le s
ecto
rs,
I ai
med
to fi n
d ou
t m
ore
abou
t thi
s sw
iftly
cha
ngin
g su
bjec
t, fr
om s
ome
of th
e be
st d
esig
n st
udio
s in
the
fi el
d. T
he s
tudi
os I
hav
e ch
osen
to
inve
stig
ate
are
sim
ply
the
ones
that
insp
ire
me
pers
onal
ly, a
nd h
ave
done
sin
ce I
bega
n m
y st
udio
s, th
eref
ore
does
not
take
in a
full
and
fair
ran
ge
need
ed to
dra
w c
oncl
usio
ns o
n th
is la
rge
topi
c, o
nly
obse
rvat
ions
.
Thes
e in
spir
atio
nal p
eopl
e ar
e w
ho I
hav
e lo
oked
at f
or g
uida
nce
on a
dai
ly b
asis
, and
so
it h
as b
een
a pl
easu
re t
o br
ing
them
all
toge
ther
in
this
boo
k as
a c
eleb
rati
on o
f th
e w
ork
that
, in
my
opin
ion,
has
bee
n th
e le
adin
g lig
hts.
It i
s th
e cl
ose
atte
ntio
n to
det
ail,
aest
heti
c qu
alit
y an
d th
e ca
re
and
effo
rt t
hat
is p
ut i
nto
desi
gn f
or t
he h
igh
end,
tha
t m
akes
it
som
ethi
ng I
am
dra
wn
to. I
t is
not
onl
y th
e fi n
ishe
d pr
oduc
t th
at in
tere
sts
me,
but
als
o th
e cr
eati
ve d
esig
n pr
oces
s as
a w
hole
, w
hen
desi
gnin
g fo
r the
fash
ion,
luxu
ry a
nd li
fest
yle
sect
ors m
eans
co
mpl
etel
y im
mer
sing
you
rsel
f in
the
cult
ure.
FO
RE
WO
RD
6|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
11H
IGH
EN
D D
ESI
GN
|
Wha
t is
the
mos
t im
port
ant t
hing
you
w
ant t
o sa
y ab
out w
hat
you’
re g
oing
to p
rese
nt?
Who
are
you
co
mm
unic
atin
g w
ith?
St
uden
ts, t
each
ers,
pe
ople
wit
h lo
ts o
f tim
e,
som
eone
pas
sing
by?
Onc
e yo
u ha
ve w
hat t
he
mos
t im
port
ant t
hing
is,
how
are
you
tryi
ng to
say
th
is?
Are
peo
ple
fam
iliar
wit
h w
hat y
ou a
re p
rese
ntin
g?
Wha
t is
the
hist
ory
of
the
peop
le/t
hing
bei
ng
pres
ente
d?
DE
VE
LO
PIN
G A
BR
AN
DC
ON
CE
PT
LO
GO
Ther
e ar
e a
few
thi
ngs
that
sho
uld
be c
onsi
dere
d w
hen
deve
lopi
ng a
bra
nd c
once
pt l
ogo,
and
a f
ew q
uest
ions
th
at s
houl
d be
add
ress
ed,
to e
nsur
e th
e re
solu
tion
will
re
ach
its
full
pote
ntia
l and
req
uire
men
ts.
Wha
t ton
e or
att
itud
e do
yo
u w
ant t
o co
nvey
?
Wha
t is
the
emot
iona
l co
nnec
tion
and
how
do
you
mak
e it
res
onat
e w
ith
them
?
Wha
t do
you
wan
t pe
ople
to th
ink
of th
e ti
ng b
eing
pre
sent
ed?
Whe
re w
ill th
is b
e re
pres
ente
d an
d ho
w
can
you
mak
e it
sta
nd
out f
orm
oth
er th
ings
pr
esen
ted
in th
e sa
me
way
?
Wha
t is
in it
for
the
dem
ogra
phic
?
Words taken from: www.conceptgenius.com/brand-logo-concept-development
10|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
“Pro
du
cts
are
crea
ted
in t
he
fact
ory.
Bra
nd
s ar
e cr
eate
d in
th
e m
ind
.”
- Wa
lter
La
nd
or
7A
CK
NO
WLE
DG
EM
EN
TS |
AC
KN
OW
LE
DG
EM
EN
TS
I w
ould
lik
e to
giv
e a
spec
ial
than
k yo
u to
the
des
ign
stud
ios
and
desi
gner
s w
ho g
ot i
n to
uch
and
took
the
tim
e to
ans
wer
m
y qu
esti
ons.
You
hav
e of
fere
d m
e a
real
and
fi rs
t ha
nd in
sigh
t in
to t
he w
orki
ngs
of y
our
stud
ios
and
to w
hat
desi
gnin
g fo
r th
e hi
gh e
nd e
ntai
ls.
This
has
allo
wed
me
to l
earn
mor
e ab
out
the
disc
iplin
e in
whi
ch I
hav
e en
tere
d, a
nd t
he s
ecto
rs t
hat
I am
in
tere
sted
in d
esig
ning
for.
You
incl
ude:
Bre
tt P
hilli
ps- 3
Dee
p
Cra
ig W
ard
- Wor
ds
are
Pic
ture
s
And
y B
one
- Fou
r IV
8|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context8
| H
IGH
EN
D D
ESI
GN
Kirsty Hair | Design Context
9H
IGH
EN
D D
ESI
GN
|
HIG
H E
ND
DE
SIG
N
9H
IGH
EN
D D
ESI
GN
|
HIG
H E
ND
DE
SIG
N