Below shows the current layout of the MONO look book. After my primary researching concluding that many printed look books are now being showcased digitally instead, I reassessed the situation and decided to continue as planned, and encourage and introduce interactive media/augmented reality through the look book to engage customers and bring print back to life.
I have chosen to use a simple, clean layout and grid system, ensuring the text is placed to the left or right, in keeping with two set columns. Due to the images below being exported from indesign the quality isn't that great and the grey pages should be white and the sepia style photos are actually monochrome (unsure as to why this has happened), however at this stage of the design process it doesn't detract too much from the content and layout.
The custom logo has been used on the inside opening page and the introduction page. The front cover at this moment in time is desired to be black matte vinyl. The look book will be held with the A4 poster, showcasing the logo, collection details and contact details, so I feel an intense cover is not need. A logo will be die cut however in the same place as shown below, revealing a photograph through the vinyl. I feel this will add a luxurious, hands on and different aesthetic for the brand.
Alongside the logo Helvetica Neue Ultra Light has been used throughout as the remaining body copy to compliment the logo as the structure and angles of the glyphs are quite similar. Using a sans serif typeface also ensures that the content is easily readable and legible for the user. A minimal, light typeface has been chosen to ensure that there is no detraction from the logo, concept and photography used.
The layout used allows the photograph to speak for itself, with no text on the page of the photos. This adds a luxurious tone and shows the viewer instantly the product is of high-value. A reference guide for the products has been placed in the back of the look book along with a contact list, for stockists and press information etc. The overall minimal layout and the idea of a reference page has been influenced by the Nicole Farhi and Mulberry look books which were collected whilst carrying out primary research. A luxurious and high-end design can be achieved through balance of design elements and is something I am conscious of.
By juxtaposing images (fashion photography and personal photography) I feel this complements the structural and natural forms of the clothes and the nature inspiring the concept.
The introduction of colour for S/S preview collection shown in the last 1/3 of the look book shows a different mood for the season, trend and style, as well as showing a recognisable statement between collections whilst be neutral and cool still.
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Below shows the main grid system and structure used throughout the look book, enhancing the concept and the ideology behind the collection and theme chosen to work with. Below shows the placement of the logo which is on the cover, and the initial 2 pages. It is also aligned in the same place as the look book poster. This is for continuity and solidity of the brand identity for this element in particular. Using a grid system enforces easier placement of individual elements and allows structure within design.
The same layout has been used for introductory information, showcasing the logo and the A/W headline in perfect alignment to the previous pages/cover.
A variation of 2/3 columns have been used throughout. No strict layout was needed across the entire look book as there is very, very minimal body copy and the focus is on the imagery at hand. This is also shown throughout the primary research collected. White space also shows an important part of the layout allowing the type, logo and photography to breathe.
Above shows binding mock-ups. I tried hand stitching to reflect a high-quality brand and finish, as well as reflecting the idea of clothing and fashion. The second was using 2-part metal paper fasteners. Printed at A4 Borderless landscape, the pages were separated into individual signatures before binding. This creates a form of coptic binding which is quick, easy and cheaper to produce. The stock used for the mock-ups was 90gsm white. The covers have been created using matt black vinyl covering the cover - front and back, with one logo being die-cut revealing a white background, whilst the other features a shiny black vinyl logo. I personally prefer the shiny logo due to a more luxury and high-quality feel, as well as creating a contrast with materials, substrates and textures. I would like to use this for the final booklet to be produced, however I am unsure of the binding and would like to try Japanese stab stitching as an alternate minimal stitch. I feel this may look much cleaner and sharper as well as being more suited to the aesthetic chosen and used throughout.