Yes, Spring/Summer 2012 may be all about the runway shows and the patterns and colours unveiled but let’s give love to the fabulous ad campaigns that the fashion houses come up with. Most of them adhere to the safe route of having high-profile models sprawled over an ambiguous background, but the tradition seems to have been broken of late. Here, we’ve rounded up our 10 favourite Spring/Summer ad campaigns of 2012. As this post progresses, you will slowly find that there is a general over-arching theme in most of the ads – saddle up in the DeLorean as fashion zaps you back in time.
Simple and timeless as per Karl Lagerfield’s photography style, the Chanel Spring/Summer 12 ad speaks of silent femininity that stemmed from the 1950s, and right now, Joan Smalls & Saskia de Brauw have completely convinced us of that.
Huge umbrellas and pastels reminds us of old-school trips to the beaches where ice-cream trucks would roll by with ringing bells announcing its arrival, and we would run around with our spades and buckets. There is a certain graininess to the photo that lends it a touch of authentic vintage, which we reckon is exactly what Mulberry is trying to achieve.
Band of Outsiders
Minimalistic and kooky has always been the route that Band Of Outsiders opt to take, and we have to say that no one does it quite like them. Featuring Michelle Williams, this fashion house has managed to capture a series of Polaroids that basically epitomizes what Michelle Williams is really like – innately chic sans frills – as is the brand’s campaign focus.
While we never thought bold prints and loud colours would become Mia Wasikowska (or for the uninitiated, Alice from Alice In Wonderland), she carries off the ad’s overall concept on her sturdy shoulders and elegant long neck. Continuing the trend of casting young upcoming faces like Lindsey Wixon and Hailee Steinfeld, the ad could be the push that Wasikowska needs to breakout in the fashion industry.
Gisele Bundchen oozes class and sexiness in its entirety, which makes her the perfect fit for Versace, who has build their name on these very two traits. Although we can’t deny being drawn to her sculpted body, what caught our eye most was the blue, almost dream-like film, making Bundchen look like a high fashion mermaid.
Dolce & Gabbana
Just by looking at this ad alone, there is a high possibility of you being infected with tiny flecks of happiness, because c’mon – it’s a picture of a happy family, and Monica Belluci. We love that this ad isn’t pushing the products directly into your face, but instead selling the idea of a happy Italian family basking in the sunlight… wearing designer goods. It certainly pushes the notion that style runs in the genes!
Right out of the 1950s Stepford Wives era, the Louis Vuitton lady does her own thing (read: gossiping) whilst looking immaculate and classy at the same time. The pastel shades of the curtains and the outfits of the models really pull everything together, lending a vision of classic opulent luxury.
The Prada men ad campaign nails the brand’s sensibility, reflecting sophisticated simplicity in Michael Pitt who projects a true studio icon of Golden Age Hollywood. The subtle mix of deeply saturated colours and rich tones corresponds with the retro 1950s sentiment in the spring/summer women’s imagery.
It may seem like simple strategy to use men’s best friend as a lure to catch a passerby’s eye, well, if Coco Rocha didn’t already, but you will notice upon closer inspection that everything in this ad has been planned down to the very last minute detail, including the cheeky animal print bag and shoe. It is fun, relatable and kooky without losing the high fashion touch that it requires.
We’re not going to deny it – this series of ad gives us the creeps. But it is definitely an effective angle to come from, as it attracts a reader’s attention and ignites curiosity. Natasha Poly & Daria Strokous look like they belong in a classic horror film with creepy shadows and fifties-inspired silhouettes. These femme fatales are ever stylish to their possibly abridged end.
Text by: Sue Lynn