In the early 1980s, the American mass-market suffered a huge “identity crisis” (Klein, 2000). ‘Household’ brands found that the customer loyalty they had built up since the 50s, suddenly dissipated during the 1981-1982 recession. According to Klein, analysts found that the only goods to ‘hold steady’ during the recession, were “beer, soft drinks, fast food and sneakers – not to mention chewing gum and Barbie dolls” (No Logo, 2000), products associated with young people.
Even in times of economic downturn it seemed, teenagers and college students were still armed with pocket money and were spending freely. For major brands, the obvious solution was to change tactics and concentrate their advertising power on this previously ignored demographic. However, as Klein says, “it was not going to be sufficient for companies simply to market their same products to a younger demographic; they needed to fashion brand identities that resonated with this new culture” (No Logo, 2000). Advertisers did this by ingratiating themselves with young people, discovering what they considered ‘cool’ and then attempting to mold new brand identities around this.
At that time, the coolest new trend amongst young people, was Hip-Hop. As Hal Espen confirms in an article for the New York Times, “Rap didn’t merely offer a useful line of demarcation for kids eager to set themselves apart from their parents. It was the expression of a genuine, undiluted, unmediated subculture; it really did come from the streets” (1999). The look included brightly coloured tracksuits, leather bomber jackets, caps and trainers and a strong penchant for brands like Kangol, Adidas and Reebok. Like The Teddy Boys before them, Hip-Hop kids were re-appropriating elements from otherwise incongruous sources to create their own look.
Nike, for example, a straightforward sportswear label at the time, unwittingly found a rising popularity amongst the Hip-Hop tribe. Nike carefully altered its brand identity to resonate with this group, and gain more ‘cool’ credentials. As I’ve mentioned, an important Hip-Hop characteristic was a loyalty and overt display of particular brand labels, signifying the wearers’ accomplished wealth and taste. Thus, the Nike ‘swoosh’ logo began to appear on all garments and trainers, becoming a staple Hip-Hop emblem. In 1988, Nike employed the advertising company Wieden+Kennedy to create the now infamous slogan, “Just Do It” (www.wk.com). Like the logo, this mantra was emblazoned across t-shirts as another visual signifier of the brand. Klein quotes Nike designer Aaron Cooper, who witnessed the power of branding at this time, “having kids tell you Nike is the number one thing in their lives – number two is their girlfriend” (No Logo, 2000).
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Hardy Amies
In 1965 Saville Row tailor Hardy Amies published the “ABC of Mens Fashion” setting out the rules and advice for men to achieve sartorial perfection. Recently the book was republished, and the Guardian ran an article testing whether these classic rules still apply. You can read it here.
Amies is a pretty interesting character. He first opened his Saville Row boutique in 1946, regularly appeared in Vogue, earned a royal appointment to the Queen, designed the 1966 winning England football teams’ suits and (even more impressively to my mind) designed the costumes for Stanley Kubrick film 2001: A Space Odyssey.
The Hardy Amies brand is synonimous with top quality materials (as I mentioned in The Suit Jacket, wool, tweed and linen are generally more expensive than cotton or polyester mixes) and bespoke tailoring. It is closely associated with vintage clothes of the 1960s – ecchoing the slender frame and sharp shouldered look of the time.
One of these vintage 60s suits would quite frankly, probably cost more than a car. Today, a modern Amies suit would set you back at least £3000.
Hardy Amies remains an iconic and influencial British tailor. Next time you chaps have trouble deciding whether to wear socks with your sandles, I highly recommend you reach for Hardy Amies ABC.