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William Morris was an English artist, poet and politician. He was incredibly creative and he produced decorative art in a range of different forms, including: textiles, furniture, wallpaper, stained glass windows, book design and tapestry. Below are some facts about William Morris. Some the information you will probably already know, but hopefully some will be new to you.

William Morris lived and worked during the Victorian era. He was born in 1834 and he died in 1896.

He earned a degree from Exeter College, Oxford. After his graduation he started to work as an architect.

William Morris was friends with the painters Edward Burne-Jones and Dante Gabriel Rossetti, and he soon stopped being an architect in order to become a painter.

In 1859 William Morris married Jane Burden. Soon after they had a house built for them on Bexley Heath. The house was called Red House and was designed by Philip Webb. William and Jane designed all of the interiors and decoration themselves. They spent about two years getting the house just right, doing much of the work themselves. They were so happy with the results that they decided to start their own fine art craft work company.

In 1861 their company, called Morris, Marshall, Faulkner and Co., started to make furniture, tableware, soft furnishings and wallpaper. All of the items produced were handcrafted.

By the mid-1860s, William Morris concentrated on designing wallpaper. His patterns were inspired by the natural world, and these are some his best-known works of art.

In 1875 William Morris started a new company, Morris and Co.

William Morris wrote many poems during his lifetime. Most of his best work is heavily influenced by the Icelandic sagas.

He set up the Kelmscott Press in the early 1890s. This company published books which contained beautiful illustrations.

In 1883 Morris joined a political party called the Social Democratic Federation. He also helped to start a new party called the Socialist League.

When William Morris died in 1896, his doctor said that Morris had carried out the work of ten men during his lifetime.

A famous William Morris quote is:

Have nothing in your house that you do not know to be useful, or believe to be beautiful.

Follow the link to find out more about some other famous Victorians.

Filed Under: Famous People, The Victorians

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William Morris was an English artist, poet and politician. He was incredibly creative and he produced decorative art in a range of different forms, including: textiles, furniture, wallpaper, stained glass windows, book design and tapestry. Below are some facts about William Morris. Some the information you will probably already know, but hopefully some will be ...

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The William Morris Society " About William Morris

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Embracing Marxism and influenced by anarchism, in the 1880s Morris became a committed revolutionary socialist activist. In 1883 Morris joined the Democratic Federation (soon to be renamed the Social Democratic Federation (S.D.F.)). In December 1884, with the support of Friedrich Engels, Morris and eight out of the ten members of the executive of the S.D.F.

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William Morris is best known as the 19th century's most celebrated designer, but he was also a driven polymath who spent much of his life fighting the consensus. A key figure in the Arts & Crafts Movement, Morris championed a principle of handmade production that didn't chime with the Victorian era's focus on industrial 'progress'. Our collections hold a huge amount of his work - not only wallpapers and textiles but also carpets, embroideries, tapestries, tiles and book designs.

Have nothing in your houses that you do not know to be useful or believe to be beautiful.

Morris was born in Walthamstow, east London in 1834. The financial success of his broker father gave Morris a privileged childhood in Woodford Hall (a country house in Essex), as well as an inheritance large enough to mean he would never need to earn an income. Time spent exploring local parkland, forest and churches, and an enthusiasm for the stories of Walter Scott, helped Morris develop an early affinity with landscape, buildings and historical romance. He also had precociously strong opinions on design. On a family trip to London in 1851, Morris (then aged 16) demonstrated his loyalty to craft principles by refusing to enter the Great Exhibition - which championed Machine Age design - on the grounds of taste.

After school, Morris went to Oxford University to study for the Church. It was there that he met Edward Burne-Jones, who was to become one of the era's most famous painters, and Morris's life-long friend. Burne-Jones introduced him to a group of students who became known as 'The Set' or 'The Brotherhood', and who enjoyed romantic stories of medieval chivalry and self-sacrifice. They also read books by contemporary reformers such as John Ruskin, Charles Kingsley and Thomas Carlyle. Belonging to this group gave Morris an awareness of the deep divisions in contemporary society, and sparked his interest in trying to create an alternative to the dehumanising industrial systems that produced poor-quality, 'unnatural' objects.

In 1855, Morris and Burne-Jones went on an architectural tour of northern France that made both men realise that they were more committed to art than the Church. Soon after, Morris began work in the office of George Edmund Street, the era's leading Neo-Gothic architect. Morris showed little talent for architecture and spent most of his time setting up Oxford and Cambridge Magazine, a vehicle both for his own writing and that of other members of The Brotherhood. Morris left Street's office after only eight months, to begin a career as an artist. Burne-Jones's connection with the artist Dante Gabriel Rossetti - a central figure in the Pre-Raphaelite group - soon led to Morris working with Rossetti as part of a team painting murals at the Oxford Union.

While working in Oxford Morris had a chance meeting with a local stableman's daughter, Jane Burden. Consciously flouting the rules of class, Morris married Jane in 1859 (and her striking looks were to make her a model of idealised beauty for members of the Pre-Raphaelite group for the next 30 years). Morris commissioned architect Philip Webb - whom he had met during his time at Street's - to design and build a home for himself and his wife in rural Kent. In part, Morris wanted to realise the idea of a craft-based artistic community that he and Burne-Jones had been talking about since they were students. The result was Red House, a property that would be 'medieval in spirit' and, eventually, able to accommodate more than one family.

Morris and Jane moved into Red House in 1860 and, unhappy with what was on offer commercially, spent the next two years furnishing and decorating the interior with help from members of their artistic circle. Huge murals and hand-embroidered fabrics decorated the walls, creating the feel of a historical manor house. Prompted by the success of their efforts (and the experience of 'joy in collective labour'), Morris and his friends decided in 1861 to set up their own interiors company: Morris, Marshall, Faulkner & Co. Everything was to be crated by hand, a principle that set the company firmly against the mainstream focus on industrialised 'progress'.

Initially, Morris, Marshall, Faulkner & Co. specialised in the kind of wall paintings and embroidered hangings that had been produced for Red House. Although in its first few years the company didn't make much money, it did win a series of commissions to decorate newly built churches, and became well known for work in stained glass. Morris had always wanted the firm to be based at Red House but the practical restrictions of a small, rural workshop (as well as the death of Burne-Jones's young son) meant that the idea of a medieval-style craft-based community was abandoned. Morris sold Red House in 1865 and the family moved back to London.

In the late 1860s, two prestigious decorating commissions helped establish Morris, Marshall, Faulkner & Co.'s reputation: one for a new dining room at the South Kensington Museum (later the V&A), and another at St James's Palace. During this period, Morris was also working on The Earthly Paradise, an epic poem with an anti-industrial message that established Morris as one of the foremost poets of his day. He was also busy producing his first wallpapers, whose designs were inspired by English gardens and hedgerows. To make them, he researched and revived historical printing and dyeing methods. This insistence on establishing a 'from scratch' understanding of process was to become a hallmark of Morris's career.

In 1875 Morris became sole director of the renamed and restructured Morris & Company. Over the next decade he continued to design at an impressive rate, adding at least 32 printed fabrics, 23 woven fabrics and 21 wallpapers - as well as more designs for carpets and rugs, embroidery and tapestry - to the company's range of goods. All of these were sold in the shop that Morris opened on Oxford Street in 1877, in a fashionable space that offered a new kind of 'all under one roof' retail experience. By 1881 Morris had built up enough capital to acquire Merton Abbey Mills, a textile factory in south London. This allowed him to bring all the company's workshops together in one place, and to have closer control over production.

In his political life Morris became increasingly disillusioned with parliamentary politics as a means of ending class division, and in 1884 he helped set up a new group called the Socialist League. He made frequent street-corner speeches and went on marches, but his fame protected him against the sanctions of a disapproving establishment. Increasingly, Morris began to leave matters at Merton Abbey in charge of his assistant Henry Dearle and other senior members of the firm, including his daughter, May. He did however continue his interest in tapestry, and for the last five years of his life was involved with Burne-Jones and Dearle on the design of a set of panels based on the Search for the Holy Grail.

Towards the end of his career, Morris began to focus increasingly on his writing, publishing a number of prose narratives, including his most celebrated: News from Nowhere (1890). Infused with his socialist ideas and romantic utopianism, this book offers Morris's vision of a simple world in which art or 'work-pleasure' is demanded of and enjoyed by all. In 1891 (the same year he turned down the Poet Laureateship after the death of Tennyson), Morris set up the Kelmscott Press. The books the Press produced - eventually, a total of 66 - were printed and bound in a medieval style, with Morris designing their typefaces, initial letters and borders. The most famous of these is an illustrated edition of the works of Geoffrey Chaucer, which was published in 1896, a few months before Morris's death.

Find out more in the book News from Nowhere, written by William Morris.

Read more about Morris in our comprehensive illustrated book, with chapters on painting, church decoration and stained glass, interior decoration, furniture, tiles and tableware, wallpaper, textiles, calligraphy and publishing.

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William Morris is best known as the 19th century's most celebrated designer, but he was also a driven polymath who spent much of his life fighting the consensus. A key figure in the Arts & Crafts Movement, Morris championed a principle of handmade production that didn't chime with the Victorian era's focus on industrial 'progress'.

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After a successful collaboration with GP & J Baker, H&M has tapped another British print brand to inject some quintessential craftsmanship into its high-street offering: Morris & Co.

The brand dates back to 1861, when William Morris, a trained architect-turned-print designer, embarked on a mission to improve interior design while keeping its roots in artisanal production. As he rose to become a celebrated member of the Arts and Crafts Movement, he would begin to amass a vast archive of prints that designers still call upon for inspiration today. H&M is the latest in a long line of brands to have delved into the catalogue of textiles and wallpapers baring Morris's art.

"At H&M we continuously look at collaboration ideas as we strive to give our customers new and exciting experiences," Pernilla Wohlfahrt, H&M design director, told Vogue ahead of the October 4 collection launch. "William Morris once said, 'I do not want art for a few, any more than education for a few, or freedom for a few'. This hit home for us and is exactly what we are all about."

H&M Drives Sustainability With 8th Conscious Exclusive Collection

Going through the archive was "as challenging as it was wonderful," Wohlfahrt explained of H&M's pattern selection, which "sprung from a choice of colours and themes, such as plaids, animals and wildflowers, to make the collection as vibrant as possible, and older prints to get a sense of workmanship to shine through." It was another Morris quote - "There is no excuse for doing anything which is not strikingly beautiful" - that drove the H&M design team to ensure that the motifs were transferred onto each piece in the comprehensive ready-to-wear capsule as accurately as possible.

For Morris & Co the collaboration was seamless, because the company's patterns have "never been so popular," Claire Valis, creative director of the decorative arts manufacturer, asserted. "The link between fashion and furnishings grows ever stronger, because great design is great design. And, as far as Morris is concerned, there is an energy within his patterns that seems to marry so well with the youthful energy of fashion."

The emotional link between how we shop for clothing and homeware has also grown in recent years, according to Valis. "The patterns that we are comfortable surrounding ourselves in at home have the same appeal as the clothes we like to wear," she said. "In the UK especially, Morris's patterns are almost like a subconscious part of our design psyche - many of us grew up with his patterns without realising it."

H&M Teams Up With GP & J Baker

The Pimpernel trousers are coincidentally both Wohlfahrt and Valis's favourite piece born out of the partnership, which took one year from conception to production. "We're conscious of our responsibility to protect the great legacy of the brand, [but] authenticity was important for H&M, and there was a great synergy between teams," Valis added of the timeline, which felt "extremely fast" for Morris & Co. For H&M, the collaboration is the latest in its revolving door of projects and partnerships as the Swedish giant grows stronger and stronger.

See the collection in full below, and shop the collection from October 4 at Hm.com and in select stores worldwide.

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Why H&M Has Teamed Up With Another British Heritage Brand

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After a successful collaboration with GP & J Baker, H&M has tapped another British print brand to inject some quintessential craftsmanship into its high-street offering: Morris & Co. The brand dates back to 1861, when William Morris, a trained architect-turned-print designer, embarked on a mission to improve interior design while keeping its roots in artisanal production.

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At FatFace, passion for our customers is truly at the heart of everything we do. We believe it's not enough to satisfy our customers, we want to delight them

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Many people outside of England's capital will recognize Liberty's signature prints through their ongoing collaborations with some of the world's biggest and most respected brands like Supreme, The North Face, and Nike. What many people don't know though is that the company with the bold name has been around for over a century and is widely regarded as an authority in the fields of prints and patterns. It's no wonder then that a diverse range of brands are eager to collaborate with the English company as often as they can. Before presenting our list of the 10 best Liberty collaborations of the last decade, however, it's worth a quick look back on the historic brand.

Founded in 1875 on London's Regent Street, the company's founder, Arthur Liberty, imported Mylore silk from India before dying and hand-printing the exotic fabric with wooden blocks. In 1904 Liberty took over a print works that specialized in block-printed silks right by William Morris' works in Merton. A cooperation with Thomas Wardle, a renowned silk dyer, evolved naturally and soon Liberty introduced dyes which until then had been largely limited to the East. These pastel tints became internationally known as "Liberty Colors" and the sight of them hanging from Liberty's London shop windows became a celebrated addition to Regent Street. Now, new textile collections by both in-house and freelance designers are introduced each year while classic prints from as far back as 1880 are reintroduced to complement the season's designs. So without further ado here is our list of the company's best collaborations over the past few years starting with the most recent.
Supreme x Liberty Camp Cap Spring/Summer 2013
The latest collection was released (and promptly sold out) in collaboration with New York's Supreme. The two camp caps feature an all-over splatter print reminiscent of Jackson Pollock's seminal work - a natural addition to the streetwear brand's SS13 collection. These ones work just as well as a display piece as a daily garment.
The North Face Purple Label x Liberty "Black and White" Collection Spring/Summer 2013
The only collaboration on this list still available for purchase, the "Black and White" collaboration with The North Face Purple Label just screams Japanese sportswear takeover. The black and white coloring allows for a more easygoing approach the detailed patterning while signaling your appreciation of current trends.
Dr. Martens x Liberty Fall/Winter 2012
The good doctor has been on an upward trajectory for the past few years and to celebrate his rediscovered glory he teamed up with fellow countryman Liberty on a collection of floral patterned footwear. Sure the look isn't for everyone but it's hard come across a more on-point trend-capturing collection than this one.
Supreme x Liberty Pinwale Cord Camp Cap Fall/Winter 2012
Last season was also home to a welcomed collab with Supreme. In this case though the 2 brands opted for a classic floral print and topped it off with a leather brim for that extra sense of luxury. Like most Supreme items they've managed to appreciate a bit in value, but they can still be found through resellers at a reasonable price.
Nike Sportswear x Liberty "Lotus Jazz" Collection Spring/Summer 2012
Last summer Nike Sportswear got together with Liberty for a "Lotus Jazz" collection consisting of an Air Max 1, Free Run 2, and a LunarGlide 4. The print in combination with the lime green accenting made for a trendy pair that looks just as good today as they did a year ago.
Tokyo Natural Hiking Club x Liberty Camera Straps Spring/Summer 2011
This one went a bit under the radar but those looking to up their accessory game in a bright floral way were pleased with Tokyo Natural Hiking Club's colorful camera straps. The straps are perfect for adding a bit of detail to what might otherwise be a dull outfit.
Edwin x Liberty Denim Jeans Spring/Summer 2011
I retract what I said about the Air Force 1 Downtowns as these Edwin jeans couldn't be more subtle in their approach. Hidden in various locations are signature Liberty prints which act more as your own little secret for you to stride around in than as a fashion statement.
mastermind Japan x Liberty Silk Scarves Spring/Summer 2011
Unfortunately the Japanese brand is calling it quits after this season, so the least we can do is bow our heads in admiration for these silk scarves featuring both mastermind's skull logo and three different Liberty prints. Here's hoping those behind the brand find success wherever they end up.
Fred Perry x Liberty Blank Canvas Spring/Summer 2010
Another neighborly collaboration this time featuring a wide range of tops. Some pieces feature subtle patterning tucked away beneath plackets while some are, needless to say, a bit more in your face. As a whole though, the collection works well and caters to fans on both ends of the spectrum.
Trainerspotter x Liberty Spring/Summer 2010
Yet another collection that certainly isn't for everyone, the Spring/Summer 2010 collaboration with Trainerspotter delivered a bold take on sports fashion. Despite what the naysayers had to naysay, the collaboration was an immediate success and sold out quickly in both the UK and Japan.

Stay tuned for future collaborations featuring the historic brand and let us know which is your favorite in the comments section below.

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The 10 Best Liberty Collaborations In Recent Years | Highsnobiety

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Many people outside of England's capital will recognize Liberty's signature prints through their ongoing collaborations with some of the world's biggest and most respected brands like Supreme, The North Face, and Nike. What many people don't know though is that the company with the bold name has been around for over a century and is widely ...

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H&M's business concept is to offer fashion and quality at the best price in a sustainable way. H&M has since it was founded in 1947 grown into one of the world's leading fashion companies. The content of this site is copyright-protected and is the property of H&M Hennes & Mauritz AB.

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After a successful collaboration with GP & J Baker, H&M has tapped another British print brand to inject some quintessential craftsmanship into its high-street offering: Morris & Co.

The brand dates back to 1861, when William Morris, a trained architect-turned-print designer, embarked on a mission to improve interior design while keeping its roots in artisanal production. As he rose to become a celebrated member of the Arts and Crafts Movement, he would begin to amass a vast archive of prints that designers still call upon for inspiration today. H&M is the latest in a long line of brands to have delved into the catalogue of textiles and wallpapers baring Morris's art.

"At H&M we continuously look at collaboration ideas as we strive to give our customers new and exciting experiences," Pernilla Wohlfahrt, H&M design director, told Vogue ahead of the October 4 collection launch. "William Morris once said, 'I do not want art for a few, any more than education for a few, or freedom for a few'. This hit home for us and is exactly what we are all about."

H&M Drives Sustainability With 8th Conscious Exclusive Collection

Going through the archive was "as challenging as it was wonderful," Wohlfahrt explained of H&M's pattern selection, which "sprung from a choice of colours and themes, such as plaids, animals and wildflowers, to make the collection as vibrant as possible, and older prints to get a sense of workmanship to shine through." It was another Morris quote - "There is no excuse for doing anything which is not strikingly beautiful" - that drove the H&M design team to ensure that the motifs were transferred onto each piece in the comprehensive ready-to-wear capsule as accurately as possible.

For Morris & Co the collaboration was seamless, because the company's patterns have "never been so popular," Claire Valis, creative director of the decorative arts manufacturer, asserted. "The link between fashion and furnishings grows ever stronger, because great design is great design. And, as far as Morris is concerned, there is an energy within his patterns that seems to marry so well with the youthful energy of fashion."

The emotional link between how we shop for clothing and homeware has also grown in recent years, according to Valis. "The patterns that we are comfortable surrounding ourselves in at home have the same appeal as the clothes we like to wear," she said. "In the UK especially, Morris's patterns are almost like a subconscious part of our design psyche - many of us grew up with his patterns without realising it."

H&M Teams Up With GP & J Baker

The Pimpernel trousers are coincidentally both Wohlfahrt and Valis's favourite piece born out of the partnership, which took one year from conception to production. "We're conscious of our responsibility to protect the great legacy of the brand, [but] authenticity was important for H&M, and there was a great synergy between teams," Valis added of the timeline, which felt "extremely fast" for Morris & Co. For H&M, the collaboration is the latest in its revolving door of projects and partnerships as the Swedish giant grows stronger and stronger.

See the collection in full below, and shop the collection from October 4 at Hm.com and in select stores worldwide.

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Why H&M Has Teamed Up With Another British Heritage Brand

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After a successful collaboration with GP & J Baker, H&M has tapped another British print brand to inject some quintessential craftsmanship into its high-street offering: Morris & Co. The brand dates back to 1861, when William Morris, a trained architect-turned-print designer, embarked on a mission to improve interior design while keeping its roots in artisanal production.

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Fat Face is the leading designer of clothing and accessories perfect for an active lifestyle

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Did you know that you can now recycle your old clothes in your local FatFace store? Just look for the brown box, pop your clothes in (they don't have to be FatFace!) and I:CO will turn them into...

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Example Collaboration

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FatFace x Folk: The story behind the collaboration

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Have you seen our exclusive collaboration with leading clothing brand Folk? Combining almost fifty years of menswear experience and a shared passion to create exceptional clothes, together we've created a range of easy-to-wear, timeless pieces with a unique, contemporary style.

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Your winter wardrobe needs this

Other than the first letter of both their names, you'd be hard pushed on first inspection to find many similarities between FatFace and Folk. One is an urban menswear brand, born and bred in the city, focusing on stripped-back wardrobe staples that toe the line between classic and contemporary. The other is a laid-back lifestyle label, brought into the world in the French alps out of the reluctance of its founders to "work for a living".

That's how it would appear on the surface, but dig a little deeper and you'll realise that, for all their seeming differences, both brands value superior quality and great design above all else. It's a shared passion that has brought Folk and FatFace together recently for the first time. The result: a capsule collection of 15 items - each one showcasing the best elements of the two brands.

The collection is composed of simple, well-made pieces, rendered in a subtle palette of blues, greys and neutral tones, and spun from a range of tactile fabrics. Each garment has been meticulously designed here in Britain and produced to the highest standards. The result is a range of clothing that is fuss-free, easy to wear and timeless, featuring unique materials and details that set them aside from the rest. Prices are wallet friendly, too. And with quality this good, that means solid cost-per-wear.

From a thick-pile Sherpa fleece to textured wool tailoring, it's a collection geared towards kitting you out for the colder months in as stylishly pared-back a way as possible. To help you get a feel for it, here we rundown our six favourite items and why they're worth adding to your sartorial roster.

Key Pieces

Peacoat

So many of menswear's staples have their roots in the military, and the peacoat is no exception. Today, you're more likely to see this timeless classic being worn by style-savvy urban gents as opposed to battle-scarred naval officers, but that doesn't mean it's any less suited to stormy conditions as it used to be. Just see this razor-sharp navy option from FatFace and Folk for proof.

Spot Shirt

The words 'patterned shirt' are enough to strike fear into the hearts of many style-savvy men. However, done right they can be a powerful ally when it comes to adding personality to your outfit. Take this one from the FatFace x Folk collection. It's eye-catching, yet subtle; different, yet tasteful. If you're looking for a stylish way to bring an otherwise plain outfit to life this is it.

Marl Plain Shirt

Tired of the same old Oxford shirts? Spice up your rotation by throwing some marled cotton into the mix. This softly textured option is trans-seasonal - breezy for summer and easily layered for the colder half of the year. Slip it under some knitwear and a winter coat and you'll be ready to brave the elements in style.

Sherpa Fleece

The benefits of fleece are twofold: firstly, it's one of this season's biggest trends. And secondly, it's not half bad at keeping the cold at bay. This considered, now is about the perfect time to introduce a dash of it to your winter rotation, and this thick-pile option from Folk and FatFace fits the bill perfectly.

Wool Trousers

Experimenting with texture is a simple but effective way of adding a new, subtle dimension to your outfits. Tactile fabrics are a big part of this collaborative effort and nowhere is this better evidenced than in this handsome pair of textured wool trousers. Pair with the matching waistcoat and a linen shirt for a laid-back take on tailoring.

Puffer Jacket

Combining the best elements of a bomber and a puffer jacket in a neat, minimalist package, this padded navy number offers everything you need to wrap up in style. Perfect as a light top layer on warmer days, or layered up with a thicker coat when the mercury drops, the FatFace Folk puffer makes a welcome addition to any wardrobe.

Sun Graphic T-Shirt

The weather may not be the best but that doesn't matter, because once you don this eye-catching graphic T-shirt you can take the sun with you wherever you go. Wear it on its own during the summer, or layer with some other items from the collection during the cooler half of the year.

See the full collection at FatFace.com

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FatFace x Folk Is This Season's Must-Have Collaboration

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Your winter wardrobe needs this Other than the first letter of both their names, you'd be hard pushed on first inspection to find many similarities between FatFace and Folk. One is an urban menswear brand, born and bred in the city, focusing on stripped-back wardrobe staples that toe the line between classic and contemporary.

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Previous collab example

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Top 10 Most Iconic Art and Fashion Collaborations
Art and fashion are two fields of ongoing innovation and creative expression. Yet they are decidedly distinct from another: while art is free from any restrictions, fashion is bound to the demands of a fast-paced industry. Naturally, fashion designers have repeatedly turned to art to imbue their creations with this flair of artistic freedom, giving way to sensational art-meets-fashion collaborations. Follow along some of the most iconic pairings between these two worlds...
Elsa Schapiarelli x Salvador Dalí

The "Organza Dinner Dress with Painted Lobster" is probably one of the earliest collaborations between a fashion designer and an artist. Designed by Elsa Schiaparelli and Salvador Dalí, this quirky, yet elegant piece is the result of a fruitful collaboration between these two creative minds. Worn by Wallis Simpson for a Vogue spread in 1937, the dress is considered to be one of the most iconic garments of that era.

Dubbed as "monster bags" by some critics, this accessory line was designed by Tracey Emin in collaboration with Longchamp. Coinciding with their 10th anniversary, the French luxury brand invited the British artist to design a bag collection that featured some of her signature techniques, like patchwork, destroyed textiles, and painting. Drawing from Emin's confessional work, the designer bags were linked to a love story, in which a woman would travel from one city to another in search of an "international love".

Rei Kawakubo x Merce Cunningham

As the creative director of Comme des Garçons, Rei Kawakubo has always been known for her concept-driven approach to design that blurs the lines between fashion and art. Inspired by legendary choreographer Merce Cunningham, she created the groundbreaking 'Body Meets Dress, Dress Meets Body' Summer/Spring collection in 1997. A stunning interplay between contemporary dance and avant-garde fashion that reimagines the body.

Louis Vuitton x Richard Prince

For the Spring/Summer 2008 Louis Vuitton collection, Marc Jacobs and Richard Prince decided to bring the artist's recent iconography to life. A nod to his famous Nurse paintings, the models walked down the runway dressed in see-through nurse dresses. Other references to Prince's art were worked into the LV bags - a coup that had previously proven successful with the famous Takashi Murakami x LV bag collection, as we will see in the following.

Yeezy x Vanessa Beecroft

From dressing her performers in Gucci bikinis to collaborations with Louis Vuitton, Vanessa Beecroft was no stranger to the fashion world when Kanye West invited her to collaborate with him on his Season 3 Yeezy collection in 2016. Together they staged a performance for the Yeezy runway show, which showcased hundreds of performers dressed in West's uniform like designs.

Prada x Michael Elmgreen & Ingar Dragset

Set against the stunning scenery of the Texas desert, this site-specific installation is Michael Elmgreen and Ingar Dragset's ironic take on luxury shopping. Echoing the design of Prada stores you can find in the most elegant neighborhoods around the world, the installation, succinctly titled "Prada Marfa", displays the brand's Spring/Summer 2005 collection. Since its creation, the piece has become a site of cultural pilgrimage to art lovers, but also victim to repeated vandalism.

Alexander McQueen x Damien Hirst

It was the shared skull iconography that prompted British fashion house Alexander McQueen to enlist controversial art market star Damien Hirst for a collaboration. To celebrate the 10th anniversary of the brand's iconic skull print scarf, Hirst created a limited edition of 30 designs adapted from his Entomology series. In this collection, the butterflies and insects that populate the artist's Dante inspired aesthetic are laid out to create Alexander McQueen's skull motif.

Stella McCartney x Ed Ruscha

In 2016 American artist Ed Ruscha lent his signature style to Stella McCartney's winter campaign, #Stellacares. Reflecting the fashion designer's cruelty-free production ethics, the campaign images shot by photographer Harley Weir were superimposed with phrases such as "Meat-free" and "Veg out" in Ruscha's characteristic 'Boy Scout Utility Modern'. A sans serif style font, which he created in the 1980s and became a central component of his work.

Louis Vuitton x Takashi Murakami

Probably one of the most commercially successful fashion-art collaborations, the 2003 Louis Vuitton x Takashi Murakami accessory collection revealed the economic potential that arises from a collision between fashion and art. Featuring a colorful LV monogram designed by the Japanese pop-artist, these bags can safely be considered to be some of the most paradigmatic It Bags of the 2000s.

Raf Simons x Robert Mapplethorpe

Shown at the Pitti Uomo in 2017, the Spring/Summer men's wear collection by Raf Simons took inspiration Robert Mapplethorpe's incredible photography. Some of the artist's seminal pieces like his Patti Smith portraits, as well as lesser-known, erotic photographs were worked into the garments in print form. But Mapplethorpe's art was also present in more referential ways, like in the white wide-necked shirts that could be seen on the runway in reverence to Smith's androgynous style. Incidentally, it was the Robert Mapplethorpe foundation that reached out to Simons, allowing him to go through the photographer's archive in order to translate his transgressive work into fashion.

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Top 10 Most Iconic Art and Fashion Collaborations - ARTLAND

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Art and fashion are two fields of ongoing innovation and creative expression. Yet they are decidedly distinct from another: while art is free from any restrictions, fashion is bound to the demands of a fast-paced industry. Naturally, fashion designers have repeatedly turned to art to imbue their creations with this flair of artistic freedom, giving way to sensational art-meets-fashion collaborations.

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Fat Face UK: 30 years. 30 iconic products + Don't forget your 15% off! | Milled

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Milled has emails from Fat Face UK, including new arrivals, sales, discounts, and coupon codes.

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Fat Face UK: 30 years. 30 iconic products + Don't forget your 15% off! | Milled

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Milled has emails from Fat Face UK, including new arrivals, sales, discounts, and coupon codes.

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Built to last

Crafted with care, our clothes are made to take whatever life throws at them. We make clothes to last. Which means we choose fabrics that go the distance and use rugged stitching and construction. The result? Our coats are toasty warm, jumpers uber-cosy and PJ's soft to the touch. These are clothes designed to be lived-in - and loved - for the long term.

Caring about cotton

Organic cotton is better for the environment, better for the people who produce it and better for you. Which is why we're using it more and more. We've also joined the Better Cotton Initiative, which exists to make global cotton production better for the people who produce it, better for the environment it grows in and better for the sector's future.

We do all this for you. Because we want you to love everything we do. We've come a long way in 30 years. And our journey continues. We're FatFace. More than just ordinary, since 1988.

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Crafted with care, our clothes are made to take whatever life throws at them. We make clothes to last. Which means we choose fabrics that go the distance and use rugged stitching and construction. The result? Our coats are toasty warm, jumpers uber-cosy and PJ's soft to the touch.

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Built to last

Crafted with care, our clothes are made to take whatever life throws at them. We make clothes to last. Which means we choose fabrics that go the distance and use rugged stitching and construction. The result? Our coats are toasty warm, jumpers uber-cosy and PJ's soft to the touch. These are clothes designed to be lived-in - and loved - for the long term.

Caring about cotton

Organic cotton is better for the environment, better for the people who produce it and better for you. Which is why we're using it more and more. We've also joined the Better Cotton Initiative, which exists to make global cotton production better for the people who produce it, better for the environment it grows in and better for the sector's future.

We do all this for you. Because we want you to love everything we do. We've come a long way in 30 years. And our journey continues. We're FatFace. More than just ordinary, since 1988.

# data[].attributes.attachment_link.description
Crafted with care, our clothes are made to take whatever life throws at them. We make clothes to last. Which means we choose fabrics that go the distance and use rugged stitching and construction. The result? Our coats are toasty warm, jumpers uber-cosy and PJ's soft to the touch.

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The results for the 26 weeks to 1 December showed that international sales were up 59% to £8.7m. EBITDA for the half-year was up 4% to £15.5m, and ecommerce sales rose 6%.

The lifestyle retailer also released figures for the Christmas and New Year period. It said that although early trading in November had proved to be tough, ecommerce sales over the five weeks to 5 January were up 16%, which offset a drop in bricks-and-mortar sales of 6%.

Ecommerce over the Christmas period had grown by 47% in two years, and international sales grew by 32% for the Christmas period - by 65% in two years.

Chief executive Anthony Thompson said that unusually warm weather meant that Fat Face brought forward several spring items to sell in the pre-Christmas period. In December, women's jersey rose 16%, dresses 14% and women's shirts 25%. Conversely, women's nightwear fell 14% year on year in December, knitwear fell 3% and outerwear 15%.

"We brought forward a lot of our spring season to two weeks before Christmas," said Thompson. "The warm weather in November and December was surprising - for jersey to be up that much. We're talking about T-shirts. It amazes me and shows that the weather had an impact on sales [seasonally]. As soon as the weather failed to turn I knew that we would not have a vintage Christmas [trading season].

"Coming off such a strong year, we matched sales in a much tougher environment. The investment in online and international have paid off and the US had a massive Christmas."

Thompson, who departs from his role as Fat Face chief executive at the end of January to be replaced by Liz Evans, said that he felt UK retailers needed to take stock of the mixed results on the UK high street in over the recent Christmas season.

"I do think the whole thing of discounting has come home to roost. Every year everyone, including Fat Face, will have a moment and say 'Should we go on Sale?' I saw a lot of brands go on Sale earlier than last year. When we looked at the impact of bringing forward our Sale, it didn't make financial sense.

"We would have got sales in the door, but not the profit. It was not a sustainable model. Clothing retail in the UK needs to press the reset button on what happened in November."

Thompson was also critical of the Black Friday promotions, which had been less successful in 2018 than previous years.

"Customers want more than just Sale banners on Black Friday. This year it became just an online event - if the high street wants more traffic it needs to move beyond discounting and offer something for families."

Thompson noted that the fall in UK in-store sales - both at Fat Face and across the broader high street - meant that the retailer was less likely to open a large amount of branches. However, he indicated that there was room for up to 20 new locations in the medium term.

He added: "When we reviewed our store estate we were clear that there is an absolute shift in shopping patterns across channels. We have a healthy store estate - we don't carry locations that make a loss and our average lease length is 3.8 years."

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International sales boost Fat Face revenues

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The results for the 26 weeks to 1 December showed that international sales were up 59% to £8.7m. EBITDA for the half-year was up 4% to £15.5m, and ecommerce sales rose 6%. The lifestyle retailer also released figures for the Christmas and New Year period.

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The results for the 26 weeks to 1 December showed that international sales were up 59% to £8.7m. EBITDA for the half-year was up 4% to £15.5m, and ecommerce sales rose 6%.

The lifestyle retailer also released figures for the Christmas and New Year period. It said that although early trading in November had proved to be tough, ecommerce sales over the five weeks to 5 January were up 16%, which offset a drop in bricks-and-mortar sales of 6%.

Ecommerce over the Christmas period had grown by 47% in two years, and international sales grew by 32% for the Christmas period - by 65% in two years.

Chief executive Anthony Thompson said that unusually warm weather meant that Fat Face brought forward several spring items to sell in the pre-Christmas period. In December, women's jersey rose 16%, dresses 14% and women's shirts 25%. Conversely, women's nightwear fell 14% year on year in December, knitwear fell 3% and outerwear 15%.

"We brought forward a lot of our spring season to two weeks before Christmas," said Thompson. "The warm weather in November and December was surprising - for jersey to be up that much. We're talking about T-shirts. It amazes me and shows that the weather had an impact on sales [seasonally]. As soon as the weather failed to turn I knew that we would not have a vintage Christmas [trading season].

"Coming off such a strong year, we matched sales in a much tougher environment. The investment in online and international have paid off and the US had a massive Christmas."

Thompson, who departs from his role as Fat Face chief executive at the end of January to be replaced by Liz Evans, said that he felt UK retailers needed to take stock of the mixed results on the UK high street in over the recent Christmas season.

"I do think the whole thing of discounting has come home to roost. Every year everyone, including Fat Face, will have a moment and say 'Should we go on Sale?' I saw a lot of brands go on Sale earlier than last year. When we looked at the impact of bringing forward our Sale, it didn't make financial sense.

"We would have got sales in the door, but not the profit. It was not a sustainable model. Clothing retail in the UK needs to press the reset button on what happened in November."

Thompson was also critical of the Black Friday promotions, which had been less successful in 2018 than previous years.

"Customers want more than just Sale banners on Black Friday. This year it became just an online event - if the high street wants more traffic it needs to move beyond discounting and offer something for families."

Thompson noted that the fall in UK in-store sales - both at Fat Face and across the broader high street - meant that the retailer was less likely to open a large amount of branches. However, he indicated that there was room for up to 20 new locations in the medium term.

He added: "When we reviewed our store estate we were clear that there is an absolute shift in shopping patterns across channels. We have a healthy store estate - we don't carry locations that make a loss and our average lease length is 3.8 years."

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International sales boost Fat Face revenues

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The results for the 26 weeks to 1 December showed that international sales were up 59% to £8.7m. EBITDA for the half-year was up 4% to £15.5m, and ecommerce sales rose 6%. The lifestyle retailer also released figures for the Christmas and New Year period.

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EBITDA increased by 5.6% to £30.2m compared with £28.6m in the same period in 2016/17. The retailer reported "strong cash generation reduce[d] external net debt by £11.4m to £112.1m".

Ecommerce sales were up 11.8% on 2017 and now represent 18.2% of turnover, compared with 17.2% last year.

Fat Face opened five new stores in the US, bringing its total in the market to 11. The business said like-for-like sales in anualising stores in the US were up 20%.

Worldwide the business has 233 stores- 216 in the UK and 17 international - up from 228 last year.

Fat Face chief executive Anthony Thompson said: "We've had a really strong year at Fat Face, growing both sales and EBITDA and maintaining the positive momentum created in the prior year. This was thanks to the hard work and investment in the business over the last 24 months. Our longstanding full-price trading stance also continued to work well, especially at key trading times.

"We made further investment in ecommerce and successfully added increased capacity at our distribution centre. As a result, the business has strong foundations on which it can build in the coming five years.

"The implementation of our longer-term strategy is on course. Expansion in the US continued and the business there is trading strongly. With the initial market trial concluded, we are now undertaking a measured roll out programme.

"Our focus remains on customers and product. During the year we continued to differentiate the Fat Face ranges based on investment in quality, unique design and exclusive collaborations.

"The current retail environment remains difficult and there appears to be no prospect of conditions improving in the short term. We will continue to be focused on quality, design and price integrity and will seek to continue the positive momentum in today's results in the coming 12 months."

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Strong growth at Fat Face despite 'difficult' retail environment

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EBITDA increased by 5.6% to £30.2m compared with £28.6m in the same period in 2016/17. The retailer reported "strong cash generation reduce[d] external net debt by £11.4m to £112.1m". Ecommerce sales were up 11.8% on 2017 and now represent 18.2% of turnover, compared with 17.2% last year.

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EBITDA increased by 5.6% to £30.2m compared with £28.6m in the same period in 2016/17. The retailer reported "strong cash generation reduce[d] external net debt by £11.4m to £112.1m".

Ecommerce sales were up 11.8% on 2017 and now represent 18.2% of turnover, compared with 17.2% last year.

Fat Face opened five new stores in the US, bringing its total in the market to 11. The business said like-for-like sales in anualising stores in the US were up 20%.

Worldwide the business has 233 stores- 216 in the UK and 17 international - up from 228 last year.

Fat Face chief executive Anthony Thompson said: "We've had a really strong year at Fat Face, growing both sales and EBITDA and maintaining the positive momentum created in the prior year. This was thanks to the hard work and investment in the business over the last 24 months. Our longstanding full-price trading stance also continued to work well, especially at key trading times.

"We made further investment in ecommerce and successfully added increased capacity at our distribution centre. As a result, the business has strong foundations on which it can build in the coming five years.

"The implementation of our longer-term strategy is on course. Expansion in the US continued and the business there is trading strongly. With the initial market trial concluded, we are now undertaking a measured roll out programme.

"Our focus remains on customers and product. During the year we continued to differentiate the Fat Face ranges based on investment in quality, unique design and exclusive collaborations.

"The current retail environment remains difficult and there appears to be no prospect of conditions improving in the short term. We will continue to be focused on quality, design and price integrity and will seek to continue the positive momentum in today's results in the coming 12 months."

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Strong growth at Fat Face despite 'difficult' retail environment

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EBITDA increased by 5.6% to £30.2m compared with £28.6m in the same period in 2016/17. The retailer reported "strong cash generation reduce[d] external net debt by £11.4m to £112.1m". Ecommerce sales were up 11.8% on 2017 and now represent 18.2% of turnover, compared with 17.2% last year.

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Evans will take up the position next year when current CEO Anthony Thompson steps down to spend time with his family.

Citing her leadership skills, product knowledge and ability to grow loyal teams, insiders told Drapers Evans is well positioned to take the lifestyle retailer into its next phase of growth.

"Liz is the most fantastic leader who has rare skills," said Moira Benigson, managing partner at recruiter MBS Group, who placed Evans in the role. "She completely understands the customer and she's good with the product, the operations and the numbers. I think she's going to take Anthony's legacy and make it better.

"As a woman with a strong background in womenswear, I think she'll perhaps make [the product] a bit more feminine."

Evans has worked at Oasis and Warehouse Group for eight years, first as managing director before being appointed CEO in 2013. She leaves the business in a strong position: Oasis and Warehouse's joint EBITDA increased 48% year on year to £9.5m, total sales edged up 0.1% for the year to 24 February 2018 to £275.2m, while like-for-like sales were up 5% for the year. Digital sales for the period also grew 20%, and online now represents a quarter of all sales.

Fat Face also had a good year: total sales were up 7.4% to £238.4m for the year to 2 June 2018, leading to an EBITDA rise of 5.6% to £30.2m.

Nicola Wensley, partner at headhunter Page Executive, believes Evans' appointment paves the way for Fat Face to expand overseas: "There's a real opportunity for Fat Face to expand internationally. You need a really strong brand DNA to grow internationally, and Evans has shown that she can do that at Oasis and Warehouse."

Fat Face currently has 17 international stores, including five recent openings in the US, compared with 216 in the UK.

Retail analyst Nick Bubb suggested Fat Face may revisit the idea of flotation under Evans. Fat Face scrapped plans for a £110m listing in May 2014, blaming market conditions.

"It seems a sensible move, as Liz is well regarded and she has a chance to cash in if, and when, Fat Face gets an IPO away," said Bubb.

However, times are difficult for anyone at the helm of a fashion retail brand, observed Fran Minogue, managing partner at executive search firm, Clarity Search: "She'll be facing the challenges any retailer is facing right now: lower footfall, consumers buying less clothing and spending more on leisure, and there is a need for greater differentiation among some of the lifestyle brands.

"[Evans] will need to focus on creating an exciting customer experience and giving them a reason to visit stores.

"Liz is very bright and incisive, and she can be tough when she needs to be, but people warm to her, are very loyal and want to work with her."

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'A real opportunity for Fat Face' under Liz Evans

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Evans will take up the position next year when current CEO Anthony Thompson steps down to spend time with his family. Citing her leadership skills, product knowledge and ability to grow loyal teams, insiders told Drapers Evans is well positioned to take the lifestyle retailer into its next phase of growth.

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Evans will take up the position next year when current CEO Anthony Thompson steps down to spend time with his family.

Citing her leadership skills, product knowledge and ability to grow loyal teams, insiders told Drapers Evans is well positioned to take the lifestyle retailer into its next phase of growth.

"Liz is the most fantastic leader who has rare skills," said Moira Benigson, managing partner at recruiter MBS Group, who placed Evans in the role. "She completely understands the customer and she's good with the product, the operations and the numbers. I think she's going to take Anthony's legacy and make it better.

"As a woman with a strong background in womenswear, I think she'll perhaps make [the product] a bit more feminine."

Evans has worked at Oasis and Warehouse Group for eight years, first as managing director before being appointed CEO in 2013. She leaves the business in a strong position: Oasis and Warehouse's joint EBITDA increased 48% year on year to £9.5m, total sales edged up 0.1% for the year to 24 February 2018 to £275.2m, while like-for-like sales were up 5% for the year. Digital sales for the period also grew 20%, and online now represents a quarter of all sales.

Fat Face also had a good year: total sales were up 7.4% to £238.4m for the year to 2 June 2018, leading to an EBITDA rise of 5.6% to £30.2m.

Nicola Wensley, partner at headhunter Page Executive, believes Evans' appointment paves the way for Fat Face to expand overseas: "There's a real opportunity for Fat Face to expand internationally. You need a really strong brand DNA to grow internationally, and Evans has shown that she can do that at Oasis and Warehouse."

Fat Face currently has 17 international stores, including five recent openings in the US, compared with 216 in the UK.

Retail analyst Nick Bubb suggested Fat Face may revisit the idea of flotation under Evans. Fat Face scrapped plans for a £110m listing in May 2014, blaming market conditions.

"It seems a sensible move, as Liz is well regarded and she has a chance to cash in if, and when, Fat Face gets an IPO away," said Bubb.

However, times are difficult for anyone at the helm of a fashion retail brand, observed Fran Minogue, managing partner at executive search firm, Clarity Search: "She'll be facing the challenges any retailer is facing right now: lower footfall, consumers buying less clothing and spending more on leisure, and there is a need for greater differentiation among some of the lifestyle brands.

"[Evans] will need to focus on creating an exciting customer experience and giving them a reason to visit stores.

"Liz is very bright and incisive, and she can be tough when she needs to be, but people warm to her, are very loyal and want to work with her."

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'A real opportunity for Fat Face' under Liz Evans

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Evans will take up the position next year when current CEO Anthony Thompson steps down to spend time with his family. Citing her leadership skills, product knowledge and ability to grow loyal teams, insiders told Drapers Evans is well positioned to take the lifestyle retailer into its next phase of growth.

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Capsule Collections

Capsule Collections were originally popularised by Donna Karan in the 1980s. The idea was to create a capsule wardrobe that features only the most essential or influential pieces from a collection. A capsule collection is essentially a condensed version of a designer's vision, often limited edition, which transcends seasons and trends by being functional - read commercial. They often focus on construction and delivering key looks, without the styling and theatrics of a show.

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Capsule Collections | Fashion A-Z | BoF Education | The Business of Fashion | #BoFEducation

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Capsule Collections were originally popularised by Donna Karan in the 1980s. The idea was to create a capsule wardrobe that features only the most essential or influential pieces from a collection. A capsule collection is essentially a condensed version of a designer's vision, often limited edition, which transcends seasons and trends by being functional - read commercial.

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Fast-fashion has enabled many of us to stuff our wardrobes to full capacity whilst still not breaking the bank. And yet, how many of us find ourselves moaning in the mornings that we have "nothing to wear"?

Perhaps a capsule wardrobe could be the solution.

There's a lot mythology surrounding the concept of a well-edited wardrobe with consumers wary of having to spend more only to end up with fewer items in their sartorial arsenal.

But with increasing numbers of us deciding to focus on sustainable living, coupled with an eagerness to simplify our busy lives, it seems we are more open than ever to the concept.

Here's everything you need to know about starting a capsule wardrobe.

What is a capsule wardrobe?

A capsule wardrobe is a limited collection of clothes that coordinate well and can be worn in a number of different ways to cater for multiple occasions.

The items should be made up of separates and include a handful seasonal pieces you can change with the unpredictable British weather.

Why is it a good idea to have one?

If you want to spend less time and money on clothes but still look good then a capsule wardrobe is for you.

They create an easy-to-understand framework that makes shopping and getting dressed in the mornings infinitely easier, as well as making your wardrobe clutter free.

Investing in a few, high-quality items can feel a little indulgent at first but when you consider the environmental ramifications of cheap, disposable clothing, the benefits speak for themselves.

Where did the concept come from?

A capsule wardrobe might sound like a contemporary concept that stylish folk are touting as the latest fashion craze but the term was actually coined in the 1970s.

British boutique owner Susie Faux, is credited with the phrase after she used the idea to help women refine their wardrobes to only include high-quality essentials that could be worn interchangeably.

The concept reached peak popularity in 1985 when designer Donna Karan introduced a capsule collection of workwear items called "Seven Easy Pieces" and it has remained a hot topic ever since.

How many pieces should a capsule wardrobe include?

The amount of pieces your capsule should include varies, while some recommend as few as 10 others will suggest as many as 50.

Ultimately, the number isn't critical and will vary from person to person. The main thing is to make sure you have all the basics covered with well-made items that fit you properly and aren't considered disposable.

How do you start a capsule wardrobe?

While there are no hard and fast rules about how to build a capsule wardrobe, it's safe to say that the best place to start is with a clearout.

Take every single piece of clothing out of your closet and consider the last time you wore it, if it's been more than six months pop it into storage or donate to charity.

Next, you're going to want to build a base wardrobe of pieces that transcend trends. These are staple pieces that you should take time to source; make sure they fit properly and are made from the best quality fabrics you can afford.

For most women, this will involve some combination of the following: a pair of tailored trousers, denim jeans that look good with heels and flats, a neutral shirt, T-shirts for layering, a little black dress, a trench coat, high heels and a pair of boots.

Of course, it can take some trial and error to find the right mix and this will vary depending on your lifestyle and where you work.

After that, you will need to add in a few seasonal pieces depending on the time of year such as good quality knitwear, a warm coat or camisole tops.

Don't be afraid to introduce new pieces to your capsule but make sure that they work with what you already have and can be worn in a variety of ways. If you're concerned about your wardrobe becoming cluttered try using a "one in, one out" rule where you remove an item every time you add something new.

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Everything you need to know about having a capsule wardrobe

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Fast-fashion has enabled many of us to stuff our wardrobes to full capacity whilst still not breaking the bank. And yet, how many of us find ourselves moaning in the mornings that we have "nothing to wear"? Perhaps a capsule wardrobe could be the solution.

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Colour Research AW20

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Morris prints linked to AW20 Colour Forecast

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Women's Fatface Bestsellers

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Womens product assortment

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Womens pattern assortment

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Womens colour assortment

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Previous Fatface prints: Inspo

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Previous Fatface prints: Inspo

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Fatface new brand identity

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Fashion and apparel brand Fat Face has launched a new identity and brand proposition created by design consultancy The One Off.

In a project spanning three months, The One Off worked with the brand to develop an identity including new brand collateral across graphics, photography, film and advertising. The new identity and brand proposition ensures that 'style, life and purpose' remain at the heart of the Fat Face identity and global campaigns.

Matt Burnett, head of marketing at Fat Face said: "Through life and style, and a revitalised and defined brand purpose, The One Off have provided us with a unique and relevant platform on which to continue to grow the Fat Face brand and to communicate with both existing and prospective customers in the UK and globally."

"The new brand identity and campaign more accurately present what the brand is doing now and in the future; a combination of life and style with a compelling brand purpose", added Adam Devey Smith, creative strategic partner at The One Off.

Based in Derbyshire and London The One Off employs 65 staff working across brand communications, retail environments, digital, photography and advertising.

// Featured in this article
Find out more

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Fat Face unveils new brand identity created by The One Off

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Fashion and apparel brand Fat Face has launched a new identity and brand proposition created by design consultancy The One Off. In a project spanning three months, The One Off worked with the brand to develop an identity including new brand collateral across graphics, photography, film and advertising.

# data[].attributes.attachment_link.readable_text
Fashion and apparel brand Fat Face has launched a new identity and brand proposition created by design consultancy The One Off.

In a project spanning three months, The One Off worked with the brand to develop an identity including new brand collateral across graphics, photography, film and advertising. The new identity and brand proposition ensures that 'style, life and purpose' remain at the heart of the Fat Face identity and global campaigns.

Matt Burnett, head of marketing at Fat Face said: "Through life and style, and a revitalised and defined brand purpose, The One Off have provided us with a unique and relevant platform on which to continue to grow the Fat Face brand and to communicate with both existing and prospective customers in the UK and globally."

"The new brand identity and campaign more accurately present what the brand is doing now and in the future; a combination of life and style with a compelling brand purpose", added Adam Devey Smith, creative strategic partner at The One Off.

Based in Derbyshire and London The One Off employs 65 staff working across brand communications, retail environments, digital, photography and advertising.

// Featured in this article
Find out more

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Fat Face unveils new brand identity created by The One Off

# data[].attributes.attachment_link.description
Fashion and apparel brand Fat Face has launched a new identity and brand proposition created by design consultancy The One Off. In a project spanning three months, The One Off worked with the brand to develop an identity including new brand collateral across graphics, photography, film and advertising.

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Previous Marketing Example

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FatFace Shopper Marketing Campaign - Into the Blue

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We didn't just stay on land though! We took to the water in our FatFace RIB to hand out FatFace goodie bags to keen sailors or water users, creating a great brand experience.

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Responsible sourcing

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At FatFace we care about our social and environmental footprint and the relationships we build with key stakeholders

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Mens company bestsellers

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Womens company bestsellers

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William Morris Museum - Walthamstow. 7/05/19

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Design is having a "Morris moment". This summer, the market is overflowing with products inspired by the great 19th-century Arts and Crafts maestro William Morris. His designs have been revived for rugs, homeware, wallpapers and china.

Born in 1834, Morris was a poet, an expert in medieval art and a political activist. But it is his fabrics and wallcoverings that have bagged him a place in the hall of pattern fame. His signature style raided British nature for leaves, flowers, birds and animals, which he turned into flowing, detailed motifs.

He was a supreme colourist, using his own brews of plant-based dyes, such as cochineal, indigo, yellow from weld, and red from the madder plant. The effect is rich and saturated, but has a romantic softness.

In 1861, together with friends, Morris set up a business in London to make and sell his prolific output of wallpapers, furniture, stained glass and tapestries.

Fourteen years later, he took over as a sole trader, simply calling his company Morris & Co. His designs became wildly fashionable with Victorian decorators. They were rediscovered in the Sixties and have had a fan club ever since.

Indeed, Morris & Co still flourishes, owned by the wallpaper specialist Sanderson, who bought "the brand" in 1940.

Housed in a climate-controlled strongroom in Denham, Buckinghamshire, is a precious archive of original fabrics, wallpaper books and printing blocks/records, with a constant stream of pattern pilgrims.

"Interest in Morris is greater than ever," says Alison Gee, head of design at Morris & Co. "The Morris philosophy of craft and making is an antidote to a fast-moving throwaway culture that's dominated by technology. His work is beautifully crafted and long-lasting."

This spring, there was a third Morris & Co collection of Morris designs, with fabrics and papers all made in the UK and with patterns also appearing on rugs and china.

Others are not so faithful to Morris originals. Designers Frieda Gormley and Javvy Royle run the wildly trendy House of Hackney, shaking up design in Shoreditch High Street. Now the Morris Gallery in Walthamstow has invited the pair to create furnishings and fashion inspired by Morris designs, which will launch in autumn.

A sneak peak reveals an in-your-face Morris revamp with bright colours on luxurious velvets. "We share a bold-nonconformist approach with Morris, and we have similar values, including respect for the environment," says Gormley.

The Glasgow design duo Alistair McAuley and Paul Simmons have traded as Timorous Beasties for 25 years. These are the celebrated iconoclasts who added, for example, drug dealers and vagrants to their pictorial London toile fabric design. In their early days someone said their work was "like William Morris on acid".

Now the Glasgow boys have mellowed somewhat to create three Morris tribute designs, printed digitally.

"Morris was ever the craftsman and it might seem ironic that we use digital technology," says Simmons. "But the essence of our work remains emphatically in the realm of Arts and Crafts and the skill of the artisan."

Mural specialists Surface View are also digitally recreating Morris designs, and have access to the Morris archive at the Victoria and Albert Museum.

Morris, who died in 1896, continues to inspire fashion designer Joe Richards, who worked with Burberry, Dior and Lanvin, before setting up his own London label. He will base his autumn collection on Morris & Co.

"His techniques, references and colour combinations are almost shocking in their beauty," says Richards.

See Morris this summer

William Morris Gallery, Lloyd Park, Forest Road, Walthamstow E17. This Georgian house set in a park was Morris's family home from 1848 to 1856. Beautiful rooms tell the Morris story, using original textiles, furniture, ceramics and paintings. There is a changing programme of shows, a café and a well-stocked shop.

The Arts and Crafts House: a special exhibition (June 27 to September 13) at Compton Verney House & Gallery, nine miles east of Stratford-upon-Avon. The Arts and Crafts movement revolved around the home - see how, and why. Explore the work and ideas of Morris and his contemporaries and their effect on later designers.

Red House, Red House Lane, Bexleyheath, Kent. This was Morris's home from 1880. The National Trust, which bought it 10 years ago, has uncovered and restored many original features, including wallpapers and furnishings.

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Wild about William Morris: young designers take inspiration from Arts and Crafts master

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Design is having a "Morris moment". This summer, the market is overflowing with products inspired by the great 19th-century Arts and Crafts maestro William Morris. His designs have been revived for rugs, homeware, wallpapers and china. Born in 1834, Morris was a poet, an expert in medieval art and a political activist.

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The William Morris Gallery displays the life and work of the radical Victorian designer, craftsman and campaigner, William Morris, and explores his continuing relevance today.

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Fatface sales increase 2018

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Hampshire-based clothing retailer Fat Face has posted an increase of 7.4 percent in its annual sales to 238.4 million pounds (303 million dollars) in the 52 weeks to June 2, 2018 with a like-for-like growth of 4.9 percent, reports Yorkshire Post, quoting a company statement.

Fat Face's Chief executive Officer, Anthony Thompson said in the statement: "The current retail environment remains difficult and there appears to be no prospect of conditions improving in the short term."

Online sales, contributing around 20 percent to the total revenue at FatFace, increased 11.8 percent year-on-year. The company's EBITDA rose 5.6 percent to 30.2 million pounds for the year under review. Fat Face operates around 216 stores in the UK and 17 in international markets. The company opened five new stores in the US and plans to continue its retail network expansion this year.

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Fat Face posts 7.4 percent annual sales growth

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Hampshire-based clothing retailer Fat Face has posted an increase of 7.4 percent in its annual sales to 238.4 million pounds (303 million dollars) in the 52 weeks to June 2, 2018 with a like-for-like growth of 4.9 percent, reports Yorkshire Post

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Anthony Thompson claims on fatface

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Thompson is stepping down from his role in January 2019 after 10 years with the business. Before that he was managing director at George at Asda from 2007 to 2010, and held several senior roles at Marks & Spencer. He said he was leaving the business "in a great place" and would be taking time out to spend with his family.

"The reasons [for the move] are really straightforward," he told Drapers. "I'm 54 and have been in retail for 30 years, and on Sunday we dropped our youngest daughter off at university, so Sally and I will be empty-nesters now.

"I'd been looking for point with the board where the business was in good health and it made sense for me to take time out and have a sabbatical.

"That's exactly what I'll do from spring next year, and we'll think about next stage of our lives. After 30 years of marriage, it's a wonderful opportunity to do that."

Drapers understands his successor as CEO at Fat Face will be announced in the next two weeks. Industry observers said Thompson had done a "great job" and would leave the company in a "healthy position".

"When he joined as CEO the business was clearly in a precarious place," said James Hyde, director at FH Executive Search. "Since then, the company is very profitable, has a new distribution centre, has doubled in size and expanded into the US."

He added that, going forward, the business could drive greater online sales: "The brand to date has held its own at best, on reputation. [The team] needs to really start to market the brand [internationally] now."

Victoria Nightingale, director at recruitment firm Barracuda Search said the new leader will need to maintain a focus on product to keep shoppers coming back for more: "As with a lot of businesses this is a British brand with good heritage. That can work well internationally, but needs to be done in the right way.

"There has been a lot of change in the product handwriting, but they seem to have settled. It's imperative they keep some hero product, but they need to make sure there is change each season to keep driving the customer back and giving them a reason to shop.

"Different channels may well open up different types of customer too, so the product needs to acknowledge that," she added.

Private equity group Bridgepoint purchased Fat Face in 2007.

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Thompson leaving Fat Face 'in a position of strength'

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Thompson is stepping down from his role in January 2019 after 10 years with the business. Before that he was managing director at George at Asda from 2007 to 2010, and held several senior roles at Marks & Spencer. He said he was leaving the business "in a great place" and would be taking time out to spend with his family.

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Acorn Classification

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What separates Generation Y from X, and is Generation Z a thing? How old is each generation? Are they really that different? It's easy to see why there is so much confusion about generational cohorts.

If you've ever felt muddled by this "alphabet soup" of names...you're not alone. The real frustration hits when you realize that Gen Y consumers will earn 46% of income in the U.S. by 2025. And unless you understand who they are and what they want, you won't capture a dollar of their money. Furthermore, as one generation's spending power decreases (i.e. Boomers) another is increasing.

People Grow Older, Birthdays Stay the Same

A common source of confusion when labeling generations is their age. Generational cohorts are defined (loosely) by birth year, not current age. The reason is simple, generations get older in groups. If you think of all Millennials as college kids (18 - 22), then you are thinking of a stage in life and not a generation. Millennials are out of college and that life stage is now dominated by Gen Z.

Another example, a member of Generation X who turned 18 in 1998 would now be nearly 40. In that time, he or she cares about vastly different issues and is receptive to a new set of marketing messages. Regardless of your age, you will always belong to the generation you were born into.

As of 2019, the breakdown by age looks like this:

Baby Boomers: Baby boomers were born between 1944 and 1964. They're current between 55-75 years old (76 million in U.S.)

Gen X: Gen X was born between 1965 - 1979 and are currently between 40-54 years old (82 million people in U.S.)

Gen Y: Gen Y, or Millennials, were born between 1980 and 1994. They are currently between 25-39 years old.

Gen Y.1 = 25-29 years old (31 million people in U.S.)

Gen Y.2 = 29-39 (42 million people in U.S.)

Gen Z: Gen Z is the newest generation to be named and were born between 1995 and 2015. They are currently between 4-24 years old (nearly 74 million in U.S.)

The term "Millennial" has become the popular way to reference both segments of Gen Y (more on Y.1 and Y.2 below).
Realistically, the name Generation Z is a place-holder for the youngest people on the planet. It is likely to morph as they leave childhood and mature into their adolescent and adult identities.

Why are generations named after letters?

It started with Generation X, people born between 1965-1979. The preceding generation was the Baby Boomers, born 1944-1964. Post World War II, Americans were enjoying new-found prosperity, which resulted in a "baby boom." The children born as a result were dubbed the Baby Boomers.

But the generation that followed the Boomers didn't have a blatant cultural identifier. In fact, that's the anecdotal origin of the term Gen X - illustrating the undetermined characteristics they would come to be known by. Depending on whom you ask, it was either sociologists, a novelist, or Billy Idol who cemented this phrase in our vocabulary.

From there on it was all down-alphabet. The generation following Gen X naturally became Gen Y, born 1980-1994 (give or take a few years on either end). The term "Millennial" is widely credited to Neil Howe, along with William Strauss. The pair coined the term in 1989 when the impending turn of the millennium began to feature heavily in the cultural consciousness.

Generation Z refers to babies born from the mid-2000s through today, although the term isn't yet widely used. This may signal the end of 'alphabet soup' (it does coincide with the literal end of the alphabet, after all). A flurry of potential labels has appeared, including Gen Tech, post-Millennials, iGeneration, and Gen Y-Fi.

Splitting Up Gen Y

Javelin Research noticed that not all Millennials are currently in the same stage of life. While all millennials were born around the turn of the century, some of them are still in early adulthood, wrestling with new careers and settling down, while the older millennials have a home and are building a family. You can imagine how having a child might change your interested and priorities, so for marketing purposes, it's useful to split this generation into Gen Y.1 and Gen Y.2.

Not only are the two groups culturally different, but they're in vastly different phases of their financial life. The younger group are financial fledglings, just flexing their buying power. The latter group has a credit history, may have their first mortgage and are raising toddlers. The contrast in priorities and needs is vast.

The same logic can be applied to any generation that is in this stage of life or younger. As we get older, we tend to homogenize and face similar life issues. The younger we are, the more dramatic each stage of life is. Consider the difference between someone in elementary school and high school. While they might be the same generation, they have very different views and needs.

Marketing to young generations as a single cohort will not be nearly as effective as segmenting your strategy and messaging.

Why are generation cohort names important?

Each generation label serves as a short-hand to reference nearly 20 years of attitude, motivations, and historic events. Few individuals self-identify as Gen X, Millennial, or any other name.

They're useful terms for marketers and have a tendency to trickle down into common usage. Again, it's important to emphasize that referring to a cohort simply by the age range gets complicated quickly. 10 years from now, the priorities of Millennials will have changed - and marketing tactics must adjust instep.

Whatever terminology you use, the goal is to reach people with marketing messages that are relevant to their phase of life. In short, no matter how many letters get added to the alphabet soup, the most important thing you can do is seek to understand the soup du jour for the type of consumer you want to attract.

What makes each generation different?

Before we dive into each generation, remember that the exact years born are often disputed, but this should give you a general range to help identify what generation you belong in.

The other fact to remember is that new technology is typically first adopted by the youngest generation and then is gradually adopted by the older generations. As an example, 95% of Americans have a smartphone, but Gen Z (the youngest generation) is the highest user.

The Baby Boomer Generation

Years Born

: 1944 to 1964

Current Ages

: 55 to 75

Generation Size

: 76 Million

Media Consumption

: Highest consumers of traditional media like television, radio, magazines, and newspaper. However, 90% have a Facebook account.

Banking Habits

: Prefer to go into a branch to do transactions.

Shaping Events

: Post WWII optimism, the cold war, and the hippie movement.

What's next on their financial horizon

: Unexpectedly, this generation is experiencing the highest growth in student loan debt. They have a belief that you should take care of your children enough to set them on the right course but don't plan on leaving any inheritance.

Generation X

Years Born

: 1965 to 1979

Current Ages

: 40 to 54

Other Nicknames

: "Latchkey" generation, MTV generation

Generation Size

: 82 Million

Media Consumption

: Gen X still reads newspapers, magazines, listens to the radio, and watches TV -- about 165 hours worth of TV a month. However, they are also digitally savvy and spend roughly 7 hours a week on Facebook.

Banking Habits

: Since they are digitally savvy, Gen X will do some research and financial management online, but still prefer to do transactions in person. Believe banking is a person-to-person business and exhibit brand loyalty.

Shaping Events

: End of the cold war, the rise of personal computing, and feeling lost between the two huge generations.

What's next on Gen X's financial horizon

: Gen X is trying to raise a family, pay off student debt, and take care of aging parents. These demands put a high strain on their resources. The average Gen Xer carries $142,000 in debt. They are looking to reduce their debt while building a stable saving plan for the future.

Millennials (Gen Y)

Years Born

: 1980 to 1994

Current Ages

: 25 to 39

Other Nicknames

: Gen Y, Gen Me, Gen We, Echo Boomers

Generation Size

: 95 Million

Media Consumption

: 95% still watch TV, but Netflix edges out traditional cable as the provider. Cord-cutting in favor of streaming services is the popular choice. This generation is extremely comfortable with mobile devices but 32% will still use a computer for purchases. They typically have multiple social media accounts.

Banking Habits

: Millennials have less brand loyalty than previous generations. They prefer to shop product and features first and have little patience for inefficient or poor service. Because of this, Millennials place their trust in brands with superior product history such as Apple and Google. They seek digital tools to help manage their debt and see their banks as transactional as opposed to relational.

Shaping Events

: The Great Recession, the technological explosion of the internet and social media, and 9/11

What's next on their financial horizon

: Millennials are entering the workforce with high amounts of student debt. This is delaying major purchases like weddings and homes. Because of this financial instability, Millennials prefer access over ownership which can be seen through their preference for on-demand services. They want partners that will help guide them to their big purchases.

Gen Z

Years Born

: 1995 to 2015

Currently Aged

: 4 to 24

Other Nicknames

: iGeneration, Post-millennials, Homeland Generation

Generation Size

: Roughly 25% of the population

Media Consumption

: The average Gen Zer received their first mobile phone at age 10.3 years. Many of them grew up playing with their parents' mobile phones or tablets. They have grown up in a hyper-connected world, and the smartphone is their preferred method of communication. On average, they spend at least 3 hours a day on their mobile device.

Banking Habits

: This generation has seen the struggle of Millennials and has adopted a more fiscally conservative approach. They want to avoid debt and appreciate accounts or services that aid in that endeavor. Debit cards top their priority list followed by mobile banking. Over 50% have not entered a bank branch in at least 3 months.

Shaping Events

: Smartphones, social media, never knowing a country not at war, and seeing the financial struggles of their parents (Gen X).

What's next on Gen Z's financial horizon

: Learning about personal finance. They have a strong appetite for financial education and are opening savings accounts at younger ages than prior generations.

If you want to know more about Gen Z, check out this deep dive into their media consumption and banking habits.

Do Generations Bank Differently?

Absolutely, and for several reasons.

Each generation has been in the workforce for different lengths of time and accumulated varying degrees of wealth.

Baby Boomers have an average net worth of $1,066,000 and a median net worth of $224,000.

GenXers average net worth is around $288,700, but the median is $59,800.

Millennials have an average net worth around $76,200, but their median net worth is only $11,100

Gen Z's average net worth is difficult to report on since so much of the generation has no net worth or career.

Each generation is preparing and saving for different life stages; be that retirement, children's college tuition, or buying a first car.

Each generation grew up in evolving technological worlds and has unique preferences in regard to managing financial relationships.

Each generation grew up in different financial climates, which has informed their financial attitudes and opinions of institutions.

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Who Are Boomers, Gen X, Millennials, and Gen Z?

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What separates Generation Y from X, and is Generation Z a thing? How old is each generation? Are they really that different? It's easy to see why there is so much confusion about generational cohorts. If you've ever felt muddled by this "alphabet soup" of names...you're not alone.

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Shopping for need or want

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Ideas are sticky. Share them!

We are all well versed in how to handle a customer with a need. Even if you're not a professional salesperson, you can sell to someone who needs your expertise.

The challenge is the percentage of companies in your marketplace who are proactively shopping and looking for your expertise is small. Approximately three percent of your market is buying at any given time, the rest is not.

I call this the 3% Rule (which I discuss in detail in my book Sticky Branding). It's a model to segment your market into buying groups.

The 3% Rule: When People Buy

The model is presented in the image at the top of this page. The triangle represents your marketplace and includes anyone who can buy your services: prospects, current customers, past customers.

The 3% Rule divides your marketplace into five buying segments:

3% are active buyers. These are the people and companies that have a need and are actively shopping for vendors. They want to make a purchase in the next thirty to ninety days. These are sales leads.

7% intend to change. These prospects have a need, but aren't proactively searching for options. A well timed cold call or marketing campaign can be very effective on this segment, because they are receptive to new ideas.

30% have a need, but not enough to act. This group is not buying. They may look like and act like prospects, but they won't make a commitment. They have other priorities. Until the need becomes more pressing, they won't make a purchase.

30% do not have a need. This segment of the market do not have a need for your products and services, and are not receptive to any marketing messages. They may have just made a purchase, they may be too small, or they may not be ready for your services.

30% are not interested in your company. There is a segment of the market that do not fit your brand. Basically, these companies are never going to choose you. They may be loyal to the competition. They may have had a bad experience with your firm. They may use alternative options. Don't sweat it. Just recognize that this dynamic occurs, and your brand can't be all things to all people.

Two Modes of Marketing

The 3% Rule demonstrates that there are two modes of marketing:

1. Top 10%: Marketing to people and companies who have a need for your services right now, typically described as "inbound marketing."

2. Lower 90%: Marketing to people who don't have a need for your services, but will some day.

The first mode is where companies feel the most confident, and it receives the lion's share of the marketing budget. The challenge is much of that marketing investment is ineffective, because it falls on deaf ears.

Paul Emond, CEO of Versature, sums up the situation nicely, "When people aren't in the buying mode, they don't want to be sold."

The second mode of marketing is the opportunity. Rather than trying to engage people when they have a need, engage them earlier in the Lower 90%. Establish the relationship and develop rapport before they're ready to buy.

Create an opportunity where your customers know, like, and trust your company long before they have a need. That way they'll skip right over the inbound marketing messages, and call your company first when they have a need.

Sticky Brands Are Built In the Lower 90%

Sticky Brands engage their market early and often.

They focus a significant portion of their marketing resources on the Lower 90%, build relationships, and secure their place as their customers' first call when they're ready to buy.

Sticky Brands are built in the Lower 90 Percent, because they understand the importance of relationships. Their brand is not based on aggressive marketing and pitching. It's based on a personal connection where their customers know them, like them, and trust them.

That relationship separates Sticky Brands from average brands. When your customers know you, like you, and trust you, they will call you first. And that's the best place to be in the buying cycle.

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3% Rule: Engage Customers Before They Need Your Services

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Ideas are sticky. Share them! We are all well versed in how to handle a customer with a need. Even if you're not a professional salesperson, you can sell to someone who needs your expertise. The challenge is the percentage of companies in your marketplace who are proactively shopping and looking for your expertise is small.

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4.5/5 customer service AW 2018

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Drapers' secret shopper went undercover at the Lexicon to score retailers out of 25, analysing their menswear product offer, store presentation, customer service, value for money and shopping experience.

The Lexicon opened last September, so most of the stores have new formats and fresh layouts, and generally achieved high marks for presentation. However, this season showed that no matter how pretty your store, the simplest of things can ruin the shopping experience.

The biggest issue that arose was customer service - or, at some stores, the lack of it. Retailers must place more emphasis on creating welcoming environments through the presence of approachable and helpful staff. In today's competitive retail climate, a hello and a smile can go a long way.

This autumn, several retailers played it too safe in terms of product. Businesses need to provide a point of difference in their collections to attract customers and give them something they cannot get elsewhere.

Stores were visited on 8 October.

Read on to discover out who stood out and who lagged behind.

Stores:
Fat Face: 22/25 Superdry: 22/25 Charles Tyrwhitt: 21.5/25 River Island: 20/25 Burton: 19/25 Jack Wills: 18/25 Primark: 17/25 Joules: 15.5/25 Topman: 15.5/25 Marks & Spencer: 15/25 New Look: 14.5/25 Return to top.
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Drapers' secret shopper went undercover at the Lexicon to score retailers out of 25, analysing their menswear product offer, store presentation, customer service, value for money and shopping experience. The Lexicon opened last September, so most of the stores have new formats and fresh layouts, and generally achieved high marks for presentation.

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5/5 Customer service for womenswear AW 18

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Leaves are falling, the nights are drawing in and the high street's autumn collections have landed on shop floors. As customers turn their attention to cosy jumpers and thick outerwear (or so retailers hope), Drapers' secret shoppers headed to Berkshire's Lexicon Bracknell shopping centre for our twice-yearly high street Hit or Miss review. First up for examination were womenswear retailers, including Marks & Spencer, Next and H&M.

The Lexicon Bracknell is a relatively new retail development. Designed to reflect the area's surrounding greenery, the Lexicon first opened its doors to the public in September last year. A cathedralesque roof made from a lattice of glass and wood welcomes shoppers, making the development feel light and bright. The ambitious £240m shopping destination aims to become a new retail hub for Berkshire, drawing consumers away from nearby Reading and Guildford.

Stores were judged on their product offer, presentation, value for money, customer service and overall shopping experience. On today's tough high street, retailers should be bringing their "A" game across all of these categories to encourage shoppers to part with their cash. Each category was marked out of five, for a maximum total score of 25.

Given that Lexicon is a new retail destination, the general standard of store design was high. Most stores were at the very least easy to shop and there was some eye-catching visual merchandising. Fat Face, Seasalt and Jack Wills have all clearly invested in quirky design. However, the level of service failed to live up to the polished surroundings. All too often, retailers neglected basic customer service - for example, changing rooms were left unattended. Fat Face again shone for service. Primark and New Look deserve an honourable mention for being the only two fast fashion retailers that had staff working on the changing rooms.

Read on to find out who impressed and who needs to improve. Look out for our secret shoppers' verdict on the Lexicon Bracknell's menswear and footwear retailers in upcoming issues and online.

Drapers' visit took place on 8 October.

Store list:
Fat Face 21/25 Seasalt 20.5/25 New Look 17.5/25 Primark 17/25 River Island 16/25 Marks & Spencer 15.5/25 Topshop 15/25 Joules 14/25 Superdry 14/25 Dorothy Perkins 13/25 Jack Wills 12/25 Peacocks 9/25
Primark
An impressively trend-focused offer makes up for a well-designed but slightly messy store 17/25
Quirky neon lights spelling out the word "Primark" pack a youthful punch as I enter this vibrant store. Doodles and scribbles on the walls add to the playful design.

I am impressed by the trend-driven product offer. A blue, grey and white jumper (£13) displayed in the window is prominently displayed on the shop floor and is easy to find. It is a fun, bright product, and the detailed design makes the already bargain price tag feel even better value. The same goes for a vivid rainbow jumper, also £13. A rust wrap dress with tie sides and pearly buttons (£15) is also desirable and on trend, and looks as though it could cost twice its actual price, offering great value for money.

The store is nicely merchandised, which makes it easy for customers to create full outfits.

Although the entrance is spick and span, I do spot some mess as I move towards the back of the store. Hoodies and tops that should be neatly folded on tables have been rummaged through and left jumbled. A dishevelled Sale section also needs a tidy but, that said, this store is in significantly better shape than other branches of Primark visited on previous Drapers' Hit or Miss shopping trips.

A seating area complete with charging points should be welcomed by millennial customers who are welded to their phones.

There is a member of staff working in the changing rooms, who politely checks the number of items I have and directs me to a free cubicle. Although not as detailed as the changing rooms at retailers such as Seasalt and Fatface, walls here are decorated with blue graphics and cartoon Primark shopping bags. The changing rooms are spotlessly clean and the mirrors are big. The only criticism is that some parts of the changing rooms are a little dark, although the lighting inside my cubicle is fine. As I leave, the same member of staff is waiting to take back any unwanted items. Service elsewhere is slightly lacking - I do not spot anyone on the shop floor to help customers with queries.

River Island
A well-designed store and fairly good service 16/25
Triangular neon lights dangling from the ceiling of River Island's shopfront catch the eye and provide a bright, fun welcome. Mannequins clad in leather and leopard print pose against posters depicting two curvy models in black velvet dresses, part of the retailer's #Labelsareforclothes campaign. The overall effect is dynamic and high impact, although it is let down slightly by the lack of music playing in the store. Getting the soundtrack right can be a difficult balancing act for retailers, but shopping in silence feels odd, particularly given River Island's youthful target customer.

A "Just arrived" section at the front of the store makes it easy for customers to find the newest product. Fake leather paperbag-waist trousers (£46) look and feel more expensive than they are. However, value for money is inconsistent in places. A red fake shearling cropped jacket is a fun take on the textured outerwear trend, but the £85 price tag is a little high for the quality.

River Island has clearly put some thought into its changing rooms. Floor-to-ceiling grey curtains with red-trimmed edges provide a dramatic touch, as do the gold-and-white-flecked walls behind the mirrors. Industrial stools in cheerful pastel shades add another welcome point of interest. The great design is let down by a lack of staff and, once again, I am left to wander in and out of the changing rooms without being assisted.

That said, there is some good customer service happening in this store. I can hear staff talking to another customer about her upcoming trip away, offering to order her size in to store and advising on next-day delivery. Staff come over to the till quickly when they see me waiting, and are friendly once engaged.
Marks & Spencer Good product at affordable prices, but more service is needed to make M&S sparkle 15.5/25
Effort has been paid to the visual merchandising at Marks & Spencer. As I enter the store, I am welcomed by a display of autumnal product set against a pretty indoor tree and graphic grey carpet. Cacti, vases and glossy fashion magazines dotted around the shop floor lend a premium finishing touch. New product is neatly flagged with yellow signs, making it easy for regular shoppers to cut to the chase and find something they have not seen before.However, the store is deathly silent. The M&S customer probably does not want to be blasted with loud pop music, but something to add a bit of atmosphere to this store would be welcome.The womenswear area is split into sections for each of the retailer's sub-brands, including Per Una, Limited Edition and M&S Collection. I spot some good product across the various brands, including a Limited Edition floral print tea dress (£45) with contrasting cuffs and tie waist and a Per Una animal print jumper with a hint of sparkle (£35.) A contrasting animal print pleated midi-skirt (£35) is another star product and has clearly been a hit - it is almost completely sold out when I look for it online later. Prices are excellent for the quality of the product, and offer good value for money.However, there is not a clear enough handwriting across the sub-brands to distinguish them from each other. It is difficult to tell what makes one product Per Una, another Limited Edition and another M&S Collection.M&S could excel on service to give it a clear identity and point of difference on the high street, but my experience was only so-so. I am not greeted by staff when I enter the store, unlike Fat Face and Seasalt, and I do not see staff on the shop floor itself while I am browsing. There are assistants at the changing room, who are pleasant and smiley, but they wave me through without counting how many items I have.

Superdry
14/25 A lack of service lets Superdry down
Pumping music drifts out of the front of Superdry's large shop into the relative calm of the surrounding shopping centre. The Lexicon Bracknell branch is a typical example of the retailer's industrial store design. Blue glass decorates the front of the store and, inside, product hangs on hooks from thick ropes and sits on oversized wooden tables.

Superdry is known for big branding, and has cleverly tapped into the current popularity of 1990s logos for its more trend-driven product. This works well on a pair of skinny jeans with logo detailing down both legs (£49.99) and a scarlet sweater with vintage-inspired branding (£44.99). However, a sports-inspired bodysuit emblazoned with "Superdry" is expensive at £26.99 - younger customers to whom the style would most likely appeal can find considerably cheaper alternatives online. I am impressed by Superdry's extensive outerwear offer. A cropped bomber jacket (£114.99) available in array of colours has an impressively luxuriant fake fur collar and cosy fleece-lined hood. The level of detail makes it good value. A camouflage parka jacket, also fairly priced at £99.99, feels like it would protect from the elements once the temperature plunges.

Wooden changing rooms are well designed and there is seating outside, complete with plugs for customers to charge their phones. Some wear and tear is starting to show, however - the floor of my cubicle is stained and dusty. It could do with a sweep. Most disappointing is the lack of interaction between customers and staff.

Someone on the nearby till point watches me both enter and exit the changing rooms, but makes no effort to approach me. She is friendly when I go over and ask for a product to be reserved.

Dorothy Perkins
This retailer lacks a clear handwriting on today's crowded high street 13/25
Windows at Dorothy Perkins lack personality when compared with much of the rest of the high street, including Primark, Fat Face and Seasalt. Although there is some nice visual merchandising - such as a mirrored glass wall and campaign images set against light boxes - the store also does not feel as fresh or exciting as some of the others I visit during my time at the Lexicon Bracknell. There could be significantly more attention to detail to lift the otherwise simple design. Although the store is neat and tidy, the amount of product crammed into the space makes it feel a little overcrowded in places.

Dorothy Perkins delivers a grown-up take on the season's trends. A leopard print mini-shift dress (£29) with three-quarter-length sleeves is an elegant spin on what has the potential to be a garish print. My eye is also drawn to a chain print red top (£26), which is distinctive, on trend and good value. I am impressed by the level of detail, including metallic threads and a ribbon-tie back, on a green, pink and white striped jumper (also £26). All offer good value for money.

The changing rooms, which are unmanned, are a bit disappointing. There are none of the quirky design details spotted at retailers such as Fat Face and River Island. All the stools have been taken out of the cubicles and lined up against one wall, which does not add much to the overall effect.

I am not greeted or approached by staff during my time in the store, which is a shame. I spot one member of staff who stays by the till point but happily talks another shopper through the best way to use the retailer's app.

Next
Bland product combined with absent service makes for a disappointing visit 13/25
Despite good store design, the overall experience at Next is disappointing. Windows are promising, showing off some seasonally appropriate knitwear nicely accessorised with hats and scarves. Digital screens add movement.

There are also some eye-catching details scattered around the large store, such as folding decorative glass screens embossed with leaves and plants. However, dusty mirrors could do with a good wipe and I also spot some discarded plastic wrapping left abandoned on the floor.

A display of mannequins clad in jeans and simple navy jumpers clustered at the front of the store is an unexciting way to welcome customers. It feels like a missed opportunity - why not show off something customers could not get elsewhere on the high street?

Masses of simple tops and checked shirts make for a repetitive and samey product offer, although Next has cracked knitwear. The level of detail on a pale pink jumper with an applique heart and red piping on the sleeves makes the £26 price tag a bargain and great value. A cream jumper with rainbow-hued bobbles (£36) is another unique product at a good price. Quality is patchy in places. A short Borg coat in rust (£52) is soft to the touch, but I am disappointed by the scratchiness of a glittery navy party dress (£45).

Changing rooms have the potential to be first class. Gold lights, greenery and plenty of seating give the space a homey and welcoming air. Dark wood and curtains, alongside charcoal grey stools, make each cubicle feel premium and private. However, there is also rubbish on the floor here, and there are no staff around to help the various customers coming in and out of the changing rooms. This is both a missed opportunity for customer service and a security risk.

Peacocks
This lacklustre store needs a refurb to highlight some nice product 9/25
Peacocks' budget product offer is matched by an equally budget - and unattractive - store design. This branch feels old fashioned and in need of a refit. Leaves have blown into the entrance of the shop from the street outside, making a mess. A crisp packet lies abandoned on the floor. Stark white walls, grey floors and harsh lighting make the store environment feel cheap and unwelcoming. There is also a lot of product - not all of it fashion - crammed into the store. Random displays of sweets and garish toys do not make this a relaxing or pleasant place to purchase clothing.

The changing rooms are unquestionably the worst I see all day. They are extremely close to the shop floor, offering little privacy. Rickety black doors make the space feel flimsy and exposed. There is no seating and no staff. The space is clean, but this is probably the only upside - customers would be better off trying things on in the comfort of their home.

I spot a few people working on the shop floor but am not greeted or approached. Staff stay together in a cluster chatting as I head towards the changing rooms to try an item on.

The product offer, however, is much better than the surrounding store would suggest. There are lots of basics, including roll-neck tops for an affordable and good value £6, and vest tops for £3. There are also flashes of the season's key trends. A 1970s-inspired mustard floral dress (£12) displayed in the windows is easy to find on the shop floor and feels like good quality given the very budget price. Tie-waist trousers in olive, navy and white stripes (£18) are a great product at a purse-friendly price. A grey jumper with pearl embellishment (£22), also available in mustard, is a fun statement piece. Prices are fair for the quality. It is a shame the store itself does not provide a better backdrop for the product.

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Leaves are falling, the nights are drawing in and the high street's autumn collections have landed on shop floors. As customers turn their attention to cosy jumpers and thick outerwear (or so retailers hope), Drapers' secret shoppers headed to Berkshire's Lexicon Bracknell shopping centre for our twice-yearly high street Hit or Miss review.

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An Opinion on Gen X and social media use

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(How to become more productive without giving up your use of the internet)

Social media use is the new hub of the 21st Century, and no generation is exempt from its addictive and obsessive over-indulgence.

According to a 2016 result from the Pew Research Center, and published by statista.com, it was found that 96 percent of Americans ages 30-49 are internet users.

The report reveals that Generation Xers rely heavily on mobile internet connections and that their internet usage rate is second only to that of the Millennial generation.

More alarming from the same report is the number of hours per month, spent by the Generation Xers on different digital equipment.

The report shows that in the U.S., mobile app users aged 35 to 44 years used mobile apps via smartphones for an average of 80 hours per month in 2016, while the average use of tablet apps of this age group stood at 17.3 hours during the same time frame.

The statistic reports that the social media giant Facebook, recorded the highest user participation rate, compared to other social media networks such as Twitter, Instagram, Pinterest, Snapchat or YouTube.

These results indicate the heavy reliance of Generation Xers, on the internet and social media, which many have erroneously believed was basically a problem of the millennial generation.

In fact, another report released by Nielsen Social indicate that Generation X users spend an average of 7 hours a week on social media outlets like those listed above, compared to 6 hours for the Millennial generation, which indicates that Generation X consumption of social media, is slightly higher than the younger generation.

I am a Generation Xer, and the nature of my job demands that I work on multiple projects at the same time. Working on very complicated Clinical Research projects with varying degrees of complexities, meant that I needed to adopt more productive work strategies.

This was especially important for me, because other than posting regularly on my personal improvement and development blog ( www.pearlsglobalimpact.org), I also tend to follow what goes on in the social media arena.

Therefore, adopting the strategies which I highlight in the section below, has not only improved my productivity at work at greater than 75%, owing to the fact that I tend to finish my projects on time and even demand for more work from my supervisor (who even does that!), but it has also made me more disciplined in keeping with schedules, and meeting deadlines.

As people in the Baby Boomer's generation gradually retire out of the workforce, the chances are high for many generation Xers like me, to assume leadership positions, across various firms.

Therefore, there has to be a way to increase workplace productivity by generation Xers, without completely giving up the use of social media.

The question, therefore, becomes, "how can those in my generation (and maybe other generations too) leverage their social media usage, while still becoming proficient and effective in the workplace?" Let's find out how.

How to Improve Workplace Productivity without Giving Up Your Use of Social Media

1. You may want to start by dividing your work day into designated hour blocks and scheduling specific tasks for those hour blocks. Rather than lumping the entire workday into an 8-hour block and doing work haphazardly, productivity can be better enhanced by dividing it into smaller hour blocks, with definite assignments. And one should be responsible enough to adhere to that schedule, in order to get more productive work done. In addition, while focusing on the designated tasks within the smaller hour blocks, distractions from other work commitments or social media should be avoided, until the designated assignment is completed.

2. Due to the distracting effects of social media, I usually schedule high concentration tasks for earlier in the day when the brain is more active, and thus requires maximal concentration. According to a study published in the Journal of Psychology and Aging, Canadian researchers studied brain rhythms in 32 adult subjects. 16 of the participants were between the ages of 19 and 30, and the other 16 participants were aged 60-82. The study concluded that optimal functioning occurs more in the morning, as we age. In addition, all social media alerts should be set to silent mode and a conscious effort to prevent engagement with the platform during those early workday hours should be made.

3. In between designated hour blocks, social media breaks may be scheduled, for those unable to deal with its absence for that much longer. This has been really helpful for me. At several times during the day, scheduled breaks to check in on social media may be built into the work schedule, after completing designated tasks. Setting 3-5 minute breaks in between completed assignments and adhering strictly to that schedule, is a way to condition the brain to align with the day's schedule. In line with responsibility, one should be responsible enough to stick to the days' timetable, in order to improve productivity.

4. Multi-tasking during designated hour blocks should be avoided. For a long time, professionals including myself were made to believe that multi-tasking is a critical skill which increases workplace productivity. And so many job postings, actually list the skill as being critical for the successful candidate. Well, that assumption may after all not be entirely correct. Because, according to research reported by the American Psychological Association, workplace productivity is actually diminished by 40%, when people multi-task across various activities. The reason being that, when you leave a task uncompleted and jump onto another, it takes an average of 23 minutes and 15 seconds to get back to the original task according to a study conducted by researchers from the University of California at Irvine.

5. E mail check-in times should be designated at specific times during the workday. We are all familiar with those little boxes that pop up every now and then at the bottom of our computer screens to notify us of the receipt of new emails. What do you think is usually the first reaction when people see those notifications pop up? I am assuming that our first instinctual response would be to quickly check out what the new message is all about. But, the problem is that we may find ourselves spending more than the 30 seconds we had originally anticipated to read and assimilate the email content. And the reason is that, even though we may have initially planned to spend a few seconds reading the new email, its content may necessitate an immediate reply, which may take a couple more minutes crafting, and send off. Just imagine the amount of time that may be wasted responding to 10 or more of those emails every day! The solution? Email breaks should be scheduled during the work day, i.e. times designated to only check and respond to emails. In order to achieve this, I make sure I do not have my email opened, especially when working on high concentration tasks.

6. I f possible (and that is a big "if"), it is advisable to completely keep social media at bay and out of sight while working on designated tasks. This would involve setting phones or other mobile devices to silent mode and keeping them far away from where they can be seen or heard. This may require them being tucked away in bags or cabinets. I needed to do this because I found that having my phone lying on my desk made it impossible not to peek in. So, I have it always tucked away in my bag, and only check it out during my designated 'social media breaks'.

In wrapping this up,

It is important to understand that millennials are not the only ones with a social media addiction problem.

Generation Xers, are also caught in this web. And with many Generation Xers rising up into leadership roles across multiple teams, industries and corporations, strategies for improving productivity in the workplace, while still interacting with social media should be adopted.

A good place to start may be to adopt the above strategies. It has been very effective for me, and I am hoping that it would do the same for others.

To your continued success. Cheers!!!

Evi Abada ( www.pearlsglobalimpact.org)

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(How to become more productive without giving up your use of the internet) Social media use is the new hub of the 21st Century, and no generation is exempt from its addictive and obsessive over-indulgence. According to a 2016 result from the Pew Research Center, and published by statista.com, it was found that 96 percent of Americans ages 30-49 are internet users.

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Millennials, Gen Z and Baby boomers on social media

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In order to use social media effectively for your brand, it's important to understand your audience's demographic. Information about what influences purchasing behavior and shopping habits can make your social media dollars work harder. According to MarketingProfs, a Sprout Social survey conducted in January 2017 of 1,000 Millennials (ages 18-34), Gen Xers (ages 34-54), and Baby Boomers (age 55+), showed subtleties about how and which social media platform each generation uses.

Facebook, which began as a social community on campuses across America, is now the most popular social network across all generations with some 65% of Gen Xers, Baby Boomers, and Millennials.

But no one social platform should be considered a magic bullet. A further breakdown by age revealed that although Facebook is the favored social network with most Millennials (33%), Instagram (22%), and Snapchat (16%) are close behind. Gen X and Baby Boomers named YouTube as their second favorite. In fact, younger Millennials aged 18-24, chose Instagram for the top spot with 25%, beating Facebook and Snapchat by 1% and 2% respectively. All three generations align when it comes to preferring YouTube over Twitter.

All this information provides new challenges for your brand.

Spending money in multiple social networks that aren't used by your audience is a waste of time and resources.

Furthermore, knowing the preferred social networks of Millennials, Gen Xers, and Baby Boomers is just the beginning. To effectively apply an understanding of their habits by generation, you need to know if and why your audience will actually opt in to follow your brand. The survey found that Millennials and Gen Xers are more brand loyal, with almost 50% more likely to follow brands on social media than Baby Boomers.

When it comes to the purchasing timeline, Millennials (58.9%), Gen Xers (50.4%), and Baby Boomers (55%) all tend to follow a brand on social media prior to purchase, but they aren't looking for the same experience. Millennials follow for entertainment value (38%) and information (42%), whereas Gen X is more likely following for contests (41%) and deals/promotions (58%). Baby Boomers are looking for a balanced mix of deals and promotion (60%) and information (53%).

Frequency of communication is also a factor in how each generation interacts with the brands they follow. When this data is segmented out, it tells who is starting a dialogue or interacting with your brand. On a monthly basis, 32% of Gen Xers engage with a brand they follow, 30% of Millennials, and 14% of Baby Boomers, who are mainly observers.

When it comes to offensive content from brands on social media, Gen Xers are 160% more likely than the other generations to click "unfollow." Millennials are most likely to unfollow brands (22%) on social platforms if the marketing posts are considered annoying, and 29% of the Baby Boomers are most likely to unfollow if they consider brands' posts to be spam and too frequent.

When people follow a brand on social, the thumbs up, shares, and likes can mean profit. 70% of Gen Xers will likely purchase something from a brand they follow. That number lowers to 60% of Millennials and 51% of Baby Boomers-all impressive numbers. When someone has a positive interaction with a brand, 71% said they're more likely to buy from that company.

Regardless of what business you're in, social media provides your brand with an opportunity to stand out from competitors. Investing a few minutes of thought and effort per interaction can make an impact on your business.

Start by identifying the best growth audience for your brand. Understand why you're trying to reach them and what your goal is for this target. Then, strategize and plan against one of their preferred social networks and re-focus your strategy accordingly.
MDG Advertising, a full-service advertising agency with offices in Boca Raton and New York, NY, is one of Florida's top branding firms. MDG's capabilities include print advertising, direct mail marketing, branding, logo design, creative, media buying and planning, radio and TV advertising, outdoor, newspaper, digital marketing, website design and development, online video advertising, infographic development, email marketing, video marketing, mobile marketing, content marketing, social media marketing, paid search marketing, and SEO. To learn about the latest trends in advertising and branding, contact MDG Advertising today at 561-338-7797 or visit mdgadvertising.com.

Written by Michael Del Gigante

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