Communicating Fashion Brands by Emily Huggard Jon Cope

Author:Emily Huggard, Jon Cope [Emily Huggard, Jon Cope]
Language: eng
Format: epub
ISBN: 9781138613553
Barnesnoble:
Publisher: Taylor & Francis
Published: 2020-03-10T00:00:00+00:00

The MNZ woman

On February 25, 2013, just two months after the launch of her personal Instagram account, Maryam Nassirzadeh posted a photo of a model getting her picture taken on the roof of a building (Nassirzadeh, 2013c). The setting is easily identifiable to those who know New York’s cityscape; that is, the legs of a water tower are visible in the background of the scene, immediately marking this place as a Manhattan rooftop. The model, as Nassirzadeh would note in a later post, is Mari Giudicelli—a slender, shaggy-haired model and shoe-designer. Giudicelli is not only one of the first MNZ models, she continues, six years after the label’s launch, to appear in MNZ lookbooks and e-commerce photography as well as walk in the MNZ runway shows. Giudicelli is off to the left of the image, standing in front of a white-painted door and appearing to be bracing herself against the cold winter wind that has whipped her hair around her face. In the foreground is the back of a second woman, the official photographer, who goes unnamed (i.e. untagged) in the image.

Through this post, and several others posted to Nassirzadeh’s Instagram account in the following weeks, the designer announced her new line, debuting for Spring 2013. The image itself also introduces two characteristics that would be core to the MNZ visual communication strategy in the following six years: (1) the repeated use of friends as models, muses, and occasional photographers, and (2) the gritty setting of the downtown New York Cityscape as the context in which the models, garments and accessories would be staged. Through repetition of these people and spaces across the brand’s multiple communication sites, the ideal MNZ woman is produced: individual, stylish and a daughter of downtown NYC.

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