Heritage of Bauhaus: an analysis of its influence on fashion graphic communication

Bea iz Cenzi Nangi
Dezemb o de 2024
UMinho | 2024 He i age o Bauhaus: An Analysis o i s In luence on
Fashion G aphic Communica ion
Uni e sidade do Minho
Escola de Engenha ia
Bea iz Cenzi Nangi
He i age o Bauhaus: An Analysis o i s
In luence on Fashion G aphic Communica ion
Dezemb o de 2024
Disse ação de Mes ado
Mes ado em Design de Comunicação de Moda
G aphic Design
T abalho e e uado sob a o ien ação de
P o esso a Dou o a Ma ia Fá ima Fe nandes Es e es
e supe isão de
P o esso a Mes e Susana Lopes Be encou
Bea iz Cenzi Nangi
He i age o Bauhaus: An Analysis o i s
In luence on Fashion G aphic Communica ion
Uni e sidade do Minho
Escola de Engenha ia
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ACKNOWLEDGEMENTS
Fi s and o emos , I wan o hank my pa en s, Césa and Juliana, o suppo ing me in all my choices and
always encou aging me o e u n o Po ugal. Thei unwa e ing suppo made i possible o me o pu sue
my mas e ’s deg ee wi h all he necessa y assis ance. They know be e han anyone else how much his
has always been my d eam.
I wan o exp ess my g a i ude o my en i e amily o always belie ing in me. Despi e he dis ance and he
longing o hose who li e on di e en con inen s, hey ha e suppo ed me in con inuing o chase my goals.
I am g a e ul o my disse a ion ad iso , P o esso Ma ia Fá ima Es e es, and my esponsible supe iso ,
P o esso Susana Lopes Be encou , o hei guidance h oughou his p ojec .
To my iends, who may no e en ealise how much hey ha e helped me by gi ing me s eng h, lo e and
sha ing happy momen s, a huge hank you.
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STATEMENT OF INTEGRITY
I he eby decla e ha ing conduc ed his academic wo k wi h in eg i y. I con i m ha I ha e no used plagia-
ism o any o m o undue use o in o ma ion o alsi ica ion o esul s along he p ocess leading o
i s elabo a ion.
I u he decla e ha I ha e ully acknowledged he Code o E hical Conduc o he Uni e si y o Minho.
i
Bea iz Cenzi Nangi
Uni e sidade do Minho, Dezemb o de 2024
ABSTRACT
This disse a ion in es iga es he p o ound and las ing in luence o Bauhaus design p inciples on con-
empo a y g aphic communica ion in he ashion indus y. Despi e i s b ie ope a ion om 1919 o 1933,
Bauhaus ideals o unc ionalism, minimalism, and he in eg a ion o c a smanship wi h mode n echnolo-
gy con inue o shape isual aes he ics in ashion oday. Wi h he cu en indus y emphasis on sus ainabili-
y and inno a i e design, ashion b ands a e inc easingly adop ing Bauhaus-inspi ed alues in hei isual
iden i ies, esona ing wi h mode n consume s’ p e e ences o anspa ency and esponsibili y.
By examining his o ical con ibu ions om Bauhaus igu es, such as expe imen s o Laszlò Moholy-Nagy
and he colo heo ies o Wassily Kandinsky, his s udy explo es he in luence o Bauhaus p inciples on
communica ion in ashion. I highligh s how hese elemen s ha e been adap ed in a ious media, om
e-comme ce pla o ms o social media, o enhance b and accessibili y and consume connec ion. Gi en
he limi ed academic ocus on Bauhaus’s ole in ashion communica ion, his esea ch seeks o b idge
his gap by p o iding insigh s in o how hese design p inciples a e in eg a ed in o con empo a y ashion
g aphics, emphasizing hei ole in c ea ing cohesi e, inclusi e b and na a i es.
In addi ion o he conduc ed li e a u e e iew, a su ey was unde aken o comp ehend how pe cep ible
he in luence o Bauhaus on g aphic design in ashion is o bo h audiences wi h p io knowledge o he
opic and laype sons. The esul s o his esea ch we e ema kable, e ealing an almos unanimous e-
cogni ion o his connec ion. Mo eo e , ega ding unc ionali y and uni e sal design — a co e p inciple o
Bauhaus widely applied in con empo a y design — 100% o pa icipan s a i med no icing i s p esence.
In his way, his disse a ion hus aims o con ibu e a c i ical pe spec i e on he endu ing ele ance o
Bauhaus in shaping he ashion indus y’s isual communica ion landscape.
KEY WORDS: Bauhaus / Fashion Communica ion / Bauhaus P inciples / G aphic Design
TABLE OF CONTENTS
CHAPTER 1 - FRAMEWORK
1.1 Con ex ualiza ion .......................................................................................................................... 2
1.2 P oposed Solu ion ....................................................................................................................... 4
1.3 Me hodology ................................................................................................................................ 4
1.4 Es uc u e o Disse a ion ........................................................................................................... 4
CHAPTER 2 - AN OVERVIEW OF THE BAUHAUS
2.1 In oduc ion ................................................................................................................................. 7
2.2 Wal e G opius ............................................................................................................................. 8
2.3 The Fo ma ion o he Bauhaus ..................................................................................................... 9
2.3.1 Fi s Phase: 1919 - 1925 ......................................................................................................... 10
2.3.1.1 The Bauhaus Mani es o ........................................................................................................ 11
2.3.1.2 The P elimina y Cou se ........................................................................................................ 11
2.3.1.3 Wo kshops and Teaching ...................................................................................................... 12
2.4 Second Phase: 1925 - 1932 ...................................................................................................... 14
2.5 Thi d and Las Phase: 1932 - 1933 ............................................................................................ 15
CHAPTER 3 - THEORIES OF DESIGN
3.1 Design P inciples ....................................................................................................................... 18
3.2 Typog aphy ............................................................................................................................... 19
3.2.1 Ea ly Yea s and In luences ...................................................................................................... 20
3.2.2 László Moholy-Nagy and he Role o Typog aphy ...................................................................... 21
3.2.3 Jan Tschichold and he New Typog aphy ................................................................................. 21
3.2.4 He be Baye and Uni e sal Typog aphy ................................................................................. 21
3.2.5 Impac and Legacy o he New Typog aphy on Con empo a y Fashion Design .......................... 23
3.3 Pho omon ages: Collabo a ion, Expe imen a ion and Inno a ion ................................................. 24
3.4 P ima y Colou s: One o he Pilla s o he Bauhaus and G aphic Design ...................................... 27
3.4.1 Kandinsky’s Colou Theo y ...................................................................................................... 28
3.4.2 The Symbolism o Colou s ...................................................................................................... 30
3.4.3 The In luence o Kandinsky’s Colou Theo ies on Fashion Communica ion ............................... 30
3.4.4 Colou and Fo m In eg a ion ................................................................................................... 31
3.4.4.1 Use o Colou Con as and Dynamics .................................................................................. 32
CHAPTER 4 - FASHION GRAPHIC COMMUNICATION
4.1 In oduc ion ............................................................................................................................... 34
4.2 Minimalism in Fashion Communica ion ...................................................................................... 34
4.3 Bauhaus In luence on Minimalis Fashion Logos ........................................................................ 37
4.4 The In luence o Bauhaus on Accessibili y and Func ionali y in Fashion B anding ........................ 38
4.5 The Impac o Bauhaus on Emb acing Expe imen a ion on Fashion Communica ion ................... 38
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4.6 The Bauhaus Legacy in Fashion Layou s .................................................................................... 41
CHAPTER 5 - EMPIRICAL WORK
5.1 In oduc ion o he Bauhaus: A B ie His o y and I s Key P inciples in oduced o pa icipan s ...... 44
5.2 Ques ionnai e ............................................................................................................................ 46
5.3 Conclusion D awn om Pa icipan Responses ........................................................................... 48
5.3.1 Compa a i e Analysis o Responses om Pa icipan s Wi h Signi ican P io Knowledge o Bauhaus
........................................................................................................................................................ 48
5.3.2 Compa a i e Analysis o Responses om Pa icipan s wi h no P io Knowledge o Bauhaus ...... 48
5.3.3 Compa a i e analysis o esponses om pa icipan s wi h p io , bu limi ed, knowledge o Bauhaus
........................................................................................................................................................ 48
5.3.4 Common Pe cep ions .............................................................................................................. 49
CHAPTER 6 - CONCLUSION
6.1 Conclusion ................................................................................................................................ 52
6.2 Limi a ions o he S udy ............................................................................................................. 52
6.3 Fu u e P ospec s ....................................................................................................................... 53
Bibliog aphic Re e ences .................................................................................................................. 54
Appendix ......................................................................................................................................... 56
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2AN OVERVIEW OF THE BAUHAUS
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2.1 In oduc ion
To con ex ualise he p esen p ojec , a b ie in oduc ion o he his o y o he Bauhaus will be p esen ed.
This has been in es iga ed no only h ough scien i ic a icles and li e a u e bu also h ough a pe sonal
isi o he S i ung Bauhaus (Bauhaus Founda ion) in Dessau, Ge many. The isi included a ou o he
Bauhaus building, speci ically he school whe e s uden s a ended classes and wo kshops, as well as
an o e nigh s ay in he s uden do mi o y, speci ically in he do mi o y whe e s uden and la e mas e
Ma ianne B and li ed. B and collabo a ed wi h László Moholy-Nagy on collages du ing his enu e as a
p o esso and la e became he head o he me al depa men .
The isi also included a ou o he di ec o Wal e G opius’s house and he mas e houses, di ided in o
Haus Moholy-Nagy/Feininge , Haus Muche/Schlemme , and Haus Kandinsky/Klee.
Addi ionally, he e was a isi o he Bauhaus Museum, loca ed mo e cen ally in Dessau-Roßlau, which
showcases a as collec ion o ma e ials p oduced by mas e s and s uden s du ing he school’s b ie
exis ence, along wi h ideos, pho og aphs, and o he eco ds belonging o he ins i u ion.
“The o iginali y o he Bauhaus is due o he ac ha i anscended he bounda ies o mode nism,
mode n objec i e a chi ec u e, abs ac a , and unc ional design. I no only b ough oge he he e o-
geneous a an -ga de mo emen s bu also pu hem in o p ac ice. A he Bauhaus, conside ed a mel ing
po o Eu opean a an -ga des, he uni y o he a s was o ged om he ideal o a g ea collec i e wo k,
ans o ming he modes o a and he social o ganisa ion ela ed o i ”. (FERNANDES, 2005, p. 41.
Bauhaus e a ins i ucionalização do design: e lexões e con ibuições)
This con ac wi h he Bauhaus was o ex eme impo ance and con ibu ion o his s udy, as i was pos-
sible o pe sonally unde s and how he expe imen s we e conduc ed, o engage wi h he ma e ials used,
and o en e en o ouch he wo ks (when pe mi ed). Possibly he mos impo an goal o he Bauhaus
p ojec was he conce n o imp o e he quali y o e e yday li e and make i accessible o e e yone.
E e y hing makes much mo e sense when one is wi hin he en i onmen whe e i all happened. I is
e en possible o unde s and whe e he inspi a ions o he c ea ions came om when su ounded by
he elemen s ha we e pa o he daily li e o he Bauhaus collabo a o s. Unde s anding his is c ucial
o comp ehending how all hese inspi a ions, om bo h he his o ical and geog aphical con ex s, led he
school’s collabo a o s o c ea e wo ks ha would se e as he ounda ion o all ypes o design p esen
in ou daily li es oday.
The Bauhaus was an inc edible his o ical momen , whe e some o he leading a an -ga de a is s ga he-
ed in one place wi h he pu pose o de ining wha a would become o he coming age. A blend o a
isiona y a is s’ mani es o and he e o m o he cu iculum a ac ed s uden s and a is s o Weima ;
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mo eo e , i was he i s ins i u ion o commence i s ac i i ies a e Wo ld Wa I (DROSTE, 2004, pp. 26-27).
The i s Bauhaus p og am om 1919, which included a mani es o along wi h a summa y o he school’s
disciplines and objec i es, pe ains o a p esen a ion o he pedagogical-a is ic e o m and, simul aneou-
sly, he idea o a comp ehensi e a aimed a he people.
2.2 Wal e G opius
In 1871, Ge many ansi ioned om an ag a ian coun y o an indus ial powe house due o a wa e o
mode niza ion spu ed by popula ion g ow h and he ise o mass cul u e. Du ing his pe iod, he B i ish
A s and C a s mo emen sp ead ac oss he coun y, encompassing Jugends il (A Nou eau) a is s who
opposed indus ializa ion and we e ac i e in majo cen es such as Munich, D esden, and Da ms ad .
Wal e Adolph Geo g G opius, known as Wal e G opius, was bo n in Be lin on May 18, 1883, amids his
e olu iona y ans o ma ion. In his you h, om 1903 o 1907, G opius s udied in Be lin and Munich, and
ollowing his amily’s adi ion, he became an a chi ec , like his a he and g ea -uncle.
In Munich, om June 1908 o Ma ch 1910, he had he oppo uni y o wo k a he Deu sche We kbund
(Ge man Associa ion o C a smen), di ec ly o i s ounde Pe e Beh ens, an a chi ec conside ed by many
o be he i s designe in his o y, alongside o he a chi ec s, a is s, and en ep eneu s, less han one yea
a e i s ounda ion. A he We kbund, G opius collabo a ed wi h o he g ea a is s o his gene a ion, such
as Le Co busie and Ludwig Mies an de Rohe.
G opius was always e y isiona y, which led him o abandon his a chi ec u e s udies a e only 5 se-
mes e s. He conside ed he his o y augh in a chi ec u e p og ams o be unnecessa y and belie ed in
imeless undamen als o a chi ec u e, including ules o p opo ion, beau y, and spa ial dis ibu ion.
He also belie ed in he cul u al alue o a chi ec u e and ad oca ed o he idea o indus ial economy,
a heme he championed in his 1910 essay P og amm zu G ündung eine allgemeinen Hausbaugesells-
cha au küns le isch einhei liche G undlage (P og am o Es ablish a Gene al Housing Cons uc ion So-
cie y on a Uni ied Basis), which ul ima ely did no con inue. Ne e heless, he ne e abandoned his ideal
and ca ied i o wa d in o all his u u e p ojec s.
In 1911, along wi h his pa ne Adol Meye , he ecei ed hei i s independen commission o cons uc
a ac o y building, he Fagus Fac o y, which only yea s la e was ecognized as a miles one o mode nis
a chi ec u e o i s no el a is ic app oach using ee-s anding glass co ne s and spa ing use o b ickwo k.
G opius had a heo y abou he union o a and echnology he lea ned om his mas e Beh ens, which
he would la e use as he ounda ion o he Bauhaus: “A building’s pu pose, i s unc ional o m, had o be
ele a ed o he le el o an a o m, enabling he building o e lec he spi i o i s ime”, s a es D os e.
8
“In a and echnology G opius saw he g ea es dicho omy o he age, one o en equa ed wi h ha o
“cul u e and ci ilisa ion” in hen con empo a y discussions. He conside ed econciling hem o be an
a chi ec ’s ask and belie ed ha a chi ec u e should e lec he Zei geis . G opius linked he concep o
Zei geis , ubiqui ous a he ime, o Kuns wollen ( he a is ’s will o o m), a e m bo owed om he a
his o ian Alois Riegl, who used i o designa e he subconscious p inciple in he c ea ion o a .” (DROSTE,
2021).
Wal e G opius had unique ideas and wo ked ha d o syn hesise his ideological p inciples wi h he aim o
c ea ing a new a chi ec u e, as well as dedica ing himsel o p omo ing his new app oach. Amids a ious
ideological opposi ions p esen in he We kbund Dispu e, a 1914 deba e, which ook place a he i s
exhibi ion o he Deu sche We kbund, in Cologne, and has o en been e e ed o as he un esol ed A
s. Indus y ques ion, G opius ound suppo om igu es like Hen y an de Velde, acclaimed a chi ec ,
designe and heo is , who also ad oca ed o he impo ance o me ging he ole o he c ea i e a is wi h
indus ial s anda disa ion, much like him.
Also in 1914, he wo ld was acing he Fi s Wo ld Wa , du ing which G opius ough as a soldie in de en-
ce o “Ge man powe and spi i ” (a p inciple o Kaise Wilhelm II), a sen imen ha would la e u n in o
disappoin men owa ds a weakened and shaken na ion in u gen need o new di ec ion.
Du ing he ou yea s o wa , G opius disco e ed his o ganisa ional alen and leade ship abili y, ising o
he ank o o ice .
A e he wa , he a chi ec e u ned as an unemployed o a chao ic Be lin, whe e he decided no o pu -
sue a poli ical ca ee . Unde going a comple e ans o ma ion o his inne sel , he esol ed o con ibu e
adically h ough his a o he imp o emen o socie y in his complex con ex which his na ion was acing.
In No embe 1918, G and Duke Wilhelm E ns o Saxony-Weima -Eisenach enounced he h one, and
a new ee s a e was decla ed, wi h a p o isional le is go e nmen alongside he old bu eauc acy. The
G oßhe zögliche Kuns gewe beschule (G and Ducal School o A s and C a s), whe e G opius ini ially ho-
ped o become di ec o , had closed in 1915. Only he Hochschule ü bildende Küns e (Academy o Fine
A s) emained. G opius hen p oposed me ging he wo schools unde he name Bauhaus (which in En-
glish could be ansla ed as some hing like ‘House o Building’), which was accep ed by bo h au ho i ies,
ma king he i s miles one o G opius’s a is ic-poli ical adicalism.
2.3 The Fo ma ion o he Bauhaus
The Fi s Wo ld Wa and all i s su e ing led Wal e G opius o conclude ha he machine should no
9
des oy humani y, bu a he wo k o i . Humani y should no le he machine domina e he wo ld, bu
ins ead, i should be an impo an ool o he c a sman in building a new socie y. Acco ding o Magdale-
na D os e, 2006, “F om hen on, he di ec o o he Bauhaus began o y o o e come he con adic ion
be ween a and echnology, which he equa ed o cul u e e sus ci iliza ion.”
As he jou nalis Amy Dempsey men ioned in he book Mode n A (A Essen ials), in 2002, “The Bauhaus
was a s a e- un c a s school ini ially loca ed in Weima , Ge many, ounded in Ap il 1919 unde he di ec-
ion o a chi ec Wal e G opius (1883-1969). I o igina ed om G opius’s p oposal o uni y he Weima
Academy o Fine A s and he School o A s and C a s, wi h he goal o aining s uden s in he heo y
and p ac ice o he a s so hey could de elop p oduc s wi h bo h a is ic and comme cial alue. On one
hand, i s aim was o c ea e mo e socially esponsible a is s, designe s, and a chi ec s, and on he o he ,
i aspi ed o ad ance he cul u al li e o he na ion and imp o e socie y. The u opian p oposals o he
Bauhaus can be unde s ood in he con ex o poli ical deba es held in Ge many and o he coun ies since
he la e 19 h cen u y. G opius belie ed in he ans o ma i e powe o a and a chi ec u e”.
2.3.1 Fi s Phase: 1919 - 1925
The i s phase o he Bauhaus began in Weima , a ci y in he s a e o Thu ingia, cen al Ge many. I was
he i s ins i u ion o begin i s ac i i ies a e Wo ld Wa I. G opius’s goal was o e o m eaching, a chi-
ec u e, and a s and c a s, by uni ing G oßhe zoglich-Sächsische Kuns schule (G and Ducal School o
Fine A s) in Weima wi h he G oßhe zoglich-Sächsische Kuns gewe beschule (G and Ducal School o
A s and C a s).
Fo 20 yea s, he e had been discussions abou e o ms in a schools in Ge many o a “uni ied a scho-
ol”, as he concep was called by B uno Paul. The membe s o he Wo ke s’ Council o A hoped ha
a chi ec u e would ake a p ominen ole in a schools. Howe e , i was only in 1919, wi h he c ea ion o
he S aa liches Bauhaus in Weima , ha his concep was pu in o p ac ice.
G opius s a ed in his book Bauhaus 1919-1923 ha he academies we e c ea ing an “a is ic p ole a ia ”
“unp epa ed o li e’s s uggles”, and u he a gued ha a schools did no o e su icien ins uc ion in
c a smanship and echnology. (DROSTE, 2021)
In 1968, in his book A Dou ina de Epicu o, Benjamin Fa ing on made a compa ison be ween Bauhaus
and he Ga den o Epicu us (de ined as a place whe e i s philosophy could be pu in o p ac ice, ha
is, philosophy embodied in a physical space), saying ha he i s con e gence be ween he Ga den o
Epicu us and he eme gence o he Bauhaus is ha bo h a ose in a pos -wa con ex and b ough o h
ques ions and new ideas, aiming o imp o e he quali y o human li e.
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2.3.1.1 The Bauhaus Mani es o
G opius inaugu a ed he Bauhaus h ough The Bauhaus Mani es o, in 1919. The Figu e 1 shows
his documen , h ough which he ounde o he school called o collabo a ion be ween a is s and
c a smen, and o an end o he con adic ion be ween a and echnology. The Bauhaus Mani-
es o combined a a ie y o ideas on an i-academic, a school e o m in o a single p og amme.
In i s i s phase, he Bauhaus had p ominen mas e s, in i ed by G opius, who we e al eady cubis o
abs ac a is s, such as Wassily Kandinsky, Paul Klee, Jose Albe s, Oska Schlemme , Lyonel Feininge
Johannes I en, Geo g Muche, and Lo ha Sch eye .
Wi h Exp essionism, Fu u ism, and Dadaism, he p ac ice o publishing mani es os and o ming g oups
became a cha ac e is ic o he a an -ga de, which cons an ly ein en s i sel o dis ance om he e e yday
exis ence o he bou geoisie. I can be said ha G opius was uly inno a i e and e o mis in uni ing all
hese concep s as he ounda ion o a single ins i u ion. (DROSTE, 2021)
2.3.1.2 The P elimina y Cou se
The majo inno a ion o his e a was he P elimina y Cou se, c ea ed by G opius. This cou se was man-
da o y and ini ially las ed one semes e , bu was la e ex ended o wo semes e s, a e which admission
11
Figu e 1.
The Bauhaus Mani es o, w i en by Wal e G opius in 1919. Rep in ed om
Selec ,
n.d. Re-
ie ed om h ps://selec .a .b /wp-con en /uploads/2019/06/bauhaus-mani es o-1919.png

o a wo kshop was decided. Wi h he ull pe mission and comple e eedom g an ed by G opius, he
P elimina y Cou se was de eloped by Johannes I en wi h he aim o b inging a is s and echni-
cians close oge he , as well as encou aging sel -lea ning and he explo a ion o cogni i e abili-
ies h ough expe imen a ion. S uden s had he oppo uni y o c ea e pieces using and mixing in-
no a i e ma e ials o he ime, wi h di e en ex u es, colou s, and o he unusual p ope ies, and o
e lec on p oduc ion and design in he con ex o indus ializa ion as well. This added o hei know-
ledge and con ibu ed o nume ous highly unc ional in en ions by he s uden s a he school, which
la e became e e yday objec s, ep esen ing a decisi e impac on mode n and unc ionalis aes he ics.
2.3.1.3 Wo kshops and Teaching
Fo G opius, he wo kshops ep esen ed he hea o he Bauhaus. A he Bauhaus in Weima , he e we e
wo kshops o me al, glass, po e y, wea ing, ca pen y, wall pain ing, and sculp u e in s one and wood, in
addi ion o s age, p in making, and bookbinding. These wo kshops played a c ucial ole in he i s phase
o he Bauhaus, se ing as p ac ical en i onmen s whe e s uden s could apply heo e ical knowledge o
eal-wo ld ma e ials and echniques.The s uc u e o Fo m T aining (Fo mleh e) was designed o include
bo h echnique and o m, acco ding o G opius. All design wo k a he G opius Bauhaus was based on ai-
ning ha ocused on basic o ms and p ima y colou s (DROSTE, 2021). This hands-on app oach os e ed
a unique educa ional a mosphe e ha encou aged expe imen a ion and collabo a ion among disciplines.
Each wo kshop ope a ed unde he guidance o a mas e , who impa ed no only echnical skills bu also
philosophical insigh s abou design and a . Some mas e s opposed G opius’s ideas o a ious easons
and a gued agains hem in se e al mee ings, while o he s accep ed he app oach and in eg a ed bo h
aspec s in hei own ways. Fo ins ance, Lo ha Sch eye began eaching o m in ypog aphy and callig a-
phy, Paul Klee de eloped a me hod o eaching pic o ial o m, and G opius himsel augh spa ial ela-
ionships. Wassily Kandinsky augh “Fundamen al Elemen s o Fo m,” a “Colou Cou se,” and igu a i e
d awing, while László Moholy-Nagy and Oska Schlemme p o ided concise eachings on he heo ies
unde lying hei a is ic concep s. Johannes I en was he i s mas e o es ablish a cou se o his kind,
hus se ing as a p ecu so o he o he mas e s.
The collabo a i e na u e o he wo kshops allowed s uden s o lea n om one ano he , nu u ing a sense
o communi y and sha ed pu pose. This in eg a ion o c a and heo y was pi o al in shaping he iden i-
y o he Bauhaus, as i sough o b eak down ba ie s be ween ine a s and applied a s. The emphasis
on wo kshops also highligh ed he Bauhaus’s commi men o c ea ing unc ional and aes he ically plea-
sing designs. By engaging di ec ly wi h ma e ials, s uden s de eloped an unde s anding o o m, unc-
ion, and he ela ionship be ween he wo, which became undamen al ene s o Bauhaus philosophy.
This dynamic lea ning en i onmen , combining heo y wi h p ac ice, laid he g oundwo k o he inno a-
12
i e app oaches ha would cha ac e ise la e de elopmen s a he Bauhaus. In summa y, he wo kshops
we e in eg al o he educa ional model o he Bauhaus, ul ima ely ede ining he ole o he a is in socie y.
Figu es 2 and 3 show examples o ac i i ies conduc ed in Kandinsky’s and Klee’s wo kshops.
13
Figu e 2. Wo ks c ea ed du-
ing Wassily Kandinsky’s les-
sons in he mid-1920s. Pho-
og aph aken by he au ho
a he Bauhaus Museum in
Dessau.
Figu e 3. Wo ks c ea ed du-
ing Paul Klee’s lessons in he
mid-1920s. Pho og aph aken
by he au ho a he Bauhaus
Museum in Dessau.
14
2.4 Second Phase: 1925 - 1932
The second phase o he Bauhaus began in 1925, when, amids nume ous o e s om ci ies willing o
hos and und he school, i was decided ha i s new loca ion would be Dessau, an aspi ing indus ial own
go e ned by social democ a s in Saxony-Anhal . In addi ion o he eloca ion, he e was a signi ican shi
in he Bauhaus’s objec i es, which G opius had al eady announced in Weima : he school would abandon
i s ocus on a s and c a s and ins ead concen a e on c ea ing p o o ypes o mass indus ial p oduc ion,
unde he new ideology o “a and echnology – a new uni y.” A his poin , he school was cha ac e ised
by unc ional simplici y, wi h an emphasis on simple geome ic o ms.
This phase las ed se en yea s, he longes pe iod in he school’s his o y, and saw h ee di e en di-
ec o s. The i s was G opius, he ounde and o me di ec o when he school eloca ed o Dessau.
G opius s epped down om his posi ion in 1928 due o o ganisa ional and inancial issues, which we e
compounded by con lic s he was ha ing wi h F i z Hesse, he mayo o Dessau and he Bauhaus’s main
poli ical suppo e . (DROSTE, 2021) “He hen chose o wo k as an independen a chi ec in Be lin. His
depa u e coincided wi h ha o He be Baye , Ma cel B eue , and Moholy-Nagy. As a esul , he Bauhaus
expe ienced a signi ican loss o subs ance” (WICK, 1989).
Hannes Meye was appoin ed as G opius’ successo . Unde his leade ship, he Bauhaus decisi ely shi -
ed away om he concep o an a school and emb aced a mo e p oduc ion- ocused app oach aimed
a ul illing social needs. This pe iod ma ked a ansi ion o a mo e unc ionalis s yle, d i en by Meye ’s
echnical ision, and cha ac e ised by a s onge connec ion wi h indus y. “The new ‘pe asi e ole o sci-
ence in he wo ld a ound us’ en iches li e, allowing i o be a anged mo e consciously. This was Meye s’
s andpoin when he was appoin ed di ec o o Bauhaus on 1 Ap il 1928.” (DROSTE, 2021).
Meye belie ed ha science should eplace a , leading he Bauhaus o p io i ise s anda dised models
o p oduc ion, wi h an emphasis on social unc ion o e aes he ics. His eo ganisa ion placed he a chi-
ec u e depa men a he o e on , gi ing i g ea e independence while diminishing he in luence o
pain e s. As a esul , he Bauhaus expe ienced a decline in i s a is ic quali y.
“‘The inal objec i e o all o ma i e ac i i y is he building!’ was G opius’ opening sen ence. Meye e o -
mula ed i o s a e ‘The inal objec i e o all wo k a Bauhaus is he coo dina ion o all li e-inducing o ces
o p omo e he ha monious o ma ion o ou socie y’”. (DROSTE, 2021).
Howe e , he Bauhaus con inued o be haun ed by deba es o e wha was conside ed bou geois. I is
impo an o no e ha , du ing he umul uous pe iod in Ge many, his concep was qui e luid. As a esul ,
ex emism eached such a le el ha pi ched oo s and window sills we e deemed bou geois, leading o a
new s yle o cons uc ion ea u ing smoo h acades and la oo s, despi e hei lack o unc ionali y.
The Meye e a ma ked a comple e b eak om he exp essionism o he i s phase, in oducing a ocus
15
on minimalism and s anda dised designs. The second di ec o o he Bauhaus belie ed ha he design
o a p ojec should be dic a ed by unc ion and cos , esul ing in p ac ical and a o dable p oduc s. He
expanded he Bauhaus cu iculum by in oducing new subjec s like gene al economics, Ma xism, psycho-
logy, sociology, and biology. Meye also made he decision o close he wo kshops, aiming o dis ance he
school om he s igma o a is ic ac i i ies and mo ing away om he concep o an a school. In his pu-
blished w i ings, Meye exp essed a ejec ion o a , iewing design pu ely as a ool o unc ionalism and
he democ a isa ion o accessibili y. This app oach ul ima ely led o an emphasis on ex eme minimalism.
Du ing his same pe iod, he app oach o design a he Bauhaus became mo e scien i ic and also mo e
poli icised. The school was being used by a g oup o s uden s o Ma xis ac i i ies. By 1930, i is es i-
ma ed ha he e we e 30 communis s uden s a he Bauhaus, which led o mo e o e and de e mined
poli ical pe secu ion.
Meye ’s many shi s in di ec ion, his poli ical in ol emen and pe sis en scep icism owa ds a spa ked
con lic s ha led him o be dismissed by he ci y au ho i ies in Augus 1930 wi hou no ice, when he des-
c ibed himsel as a “scien i ic Ma xis ” in a le e he w o e o mayo Hesse.
The successo chosen o lead he school a e Meye ’s depa u e was Ludwig Mies an de Rohe. Mies
in oduced a mo e s uc u ed and hie a chical app oach o eaching, emphasising he impo ance o a -
chi ec u e as he pinnacle o design disciplines. Unde his leade ship, he cu iculum ocused inc easingly
on he in e play o space, s uc u e, and ma e ials, mo ing away om he mo e expe imen al me hods o
p e ious di ec o s. D os e no es ha “Mies aimed o p o ide a solid g ounding in a chi ec u al p inciples,
belie ing ha a p o ound unde s anding o cons uc ion and ma e ials was essen ial o any designe ”
(D os e, 2006, p. 204). This pe iod also saw he Bauhaus eloca e om Dessau o Be lin in 1932, a mo e
ha aimed o posi ion he school wi hin a mo e u ban con ex and a ac a b oade audience.
2.5 Thi d and Las Phase: 1932 - 1933
The inal yea o he Bauhaus in Be lin, om 1932 o 1933, was a pe iod o in ense s uggle and adap-
a ion, ul ima ely leading o he school’s closu e. A e being o ced ou o Dessau by he Nazi-con olled
municipal go e nmen , he Bauhaus eloca ed o an old elephone ac o y in Be lin. Unde he di ec o ship
o Ludwig Mies an de Rohe, he cu iculum unde wen signi ican changes, wi h a g ea e emphasis on
a chi ec u e, c a smanship, and echnical skill, aiming o dis ance he school om i s p e iously pe cei-
ed poli ical associa ions.
In i s inal yea in Be lin, he Bauhaus, unde Mies an de Rohe, shi ed ocus o a chi ec u e and echni-
cal skills, dis ancing i sel om poli ics. Mies aimed o keep he school apoli ical, bu Nazi p essu e g ew,
leading o heigh ened ep ession. Despi e a emp s o nego ia e, he Bauhaus was aided by he Ges apo
ha elimina ed he use o capi al le e s, elying solely on lowe case cha ac e s. Baye belie ed ha his
simpli ica ion aimed o c ea e a mo e a ional and mode n ypog aphy, aligned wi h he indus ial age. As
Baye himsel no ed, “we ha e capi al le e s and lowe case le e s, which is nonsensical. Why wo alpha-
be s o a single pu pose?” (Baye , 1967). His wo k, pa icula ly Uni e sal, became a landma k in mode n
design his o y, exempli ying he Bauhaus’s adical app oach o isual communica ion.
Uni e sal illus a ed he Bauhaus belie ha ypog aphic design should be accessible, unc ional, and
ee o he his o ical and cul u al conno a ions linked o adi ional on s. This minimalis and unc ional
app oach had a las ing impac on ypog aphic designe s, e lec ing he Bauhaus’s mission o using a
wi h echnology and c ea ing designs o mass p oduc ion. As can be seen in Figu e 8, Baye ’s app oach
o elimina ing capi al le e s, ocusing solely on lowe case cha ac e s, mi o ed he school’s b oade phi-
losophy. As Baye explained, “we mus ne e o ge ha design is no o philosophy, bu o li e” (Baye ,
1940), a s a emen ha encapsula es his ocus on p ac icali y and unc ionali y.
Al hough Uni e sal was no widely adop ed in i s o iginal o m, i s concep ual signi icance poin ed owa d
he u u e o ypog aphy. Baye ’s ideas had a p o ound impac on g aphic design, in luencing he de elop-
men o mode n sans-se i ype aces and shaping he minimalis aes he ic ha domina es con empo a y
isual communica ion.
22
Figu e 8. He be Baye , o iginal
d awing o Uni e sal Type, 1925.
Sou ce: Le e o m A chi e. Re ie-
ed om h ps://le e o ma chi e.
o g/wp-con en /uploads/legacy/
he be -baye -uni e sal- ype-o iginal-
-d awing-le e o m-a chi e.jpg

23
3.2.5 Impac and Legacy o he New Typog aphy on Con empo a y Fashion Design
“The p inciples o New Typog aphy, de eloped a he Bauhaus and popula ised by igu es such as He be
Baye , ha e had a signi ican impac on ashion design, e lec ing a mode n and unc ional app oach o
g aphic communica ion. One o he key aspec s o New Typog aphy is i s emphasis on cla i y and legibili y,
which is c ucial in ashion g aphic design. As Jan Tschichold no ed, ‘The essence o he New Typog aphy
is cla i y,’ which s ands in con as o olde , mo e deco a i e adi ions (Tschichold, 1928). In p omo ional
ma e ials like ca alogues, ad e isemen s, and campaigns, he use o sans-se i on s and clean layou s
ensu es ha in o ma ion abou collec ions, p ices, and de ails is easily eadable. Typog aphy like Baye ’s
Uni e sal, wi h i s simplici y and lack o o namen a ion, acili a es di ec and e icien communica ion wi h
he audience.
Minimalis design, a cen al ea u e o New Typog aphy, is widely employed in ashion o c ea e a sophis i-
ca ed and elegan aes he ic. Ellen Lup on poin s ou ha ‘simplici y and di ec ness in communica ion no
only se e aes he ic pu poses bu also s eng hen he unc ional ole o ypog aphy’ (Lup on, 2004). The
applica ion o clean on s and spacious layou s in g aphic ma e ials helps educe isual clu e and keeps
he ocus on he clo hing and accesso ies. The use o simple ypog aphy and geome ic o ms con ibu es
o a mode n and e ined look, which is o en associa ed wi h high-end ashion b ands and hei design
campaigns.
Addi ionally, he p inciples o New Typog aphy, which p io i ise unc ionali y and u ili y, a e applied o g a-
phics and layou s ha no only appea isually appealing bu also se e a p ac ical pu pose. In
ma ke ing
and b anding ma e ials, such as labels, packaging, and p omo ional i ems, ypog aphy is used o con ey
in o ma ion clea ly and e ec i ely, aiding consume s in making in o med decisions. Tschichold a gued
ha ‘ he new ypog aphy c ea es i s e ec no by supe icial beau y, bu by he cla i y o o m’ (Tschichold,
1928), which is a guiding p inciple in ashion communica ion oday.
In summa y, New Typog aphy has p o oundly in luenced ashion g aphic design by p omo ing cla i y,
unc ionali y, and he seamless in eg a ion o ex and image y. I s p inciples o simplici y and mode ni y
con inue o shape how ashion is isually communica ed in bo h p in and digi al media.
The Bauhaus’s ypog aphy, wi h i s emphasis on cla i y, simplici y, and unc ionali y, p o oundly impac ed
mode n g aphic design. By mo ing away om he o namen al con en ions o classical ypog aphy and
ocusing on legibili y and di ec communica ion, he Bauhaus es ablished new s anda ds o design. Type-
aces de eloped by He be Baye , pa icula ly he Uni e sal ype ace, and he b oade p inciples o he
“New Typog aphy” laid he g oundwo k o 20 h-cen u y g aphic design.
This legacy emains e iden in con empo a y ashion g aphic communica ion. The Bauhaus’s ocus on
clean, unc ional design e olu ionised ex usage in ashion g aphics. Sans-se i on s, popula ised by he
24
Bauhaus o hei s aigh o wa d o ms, a e now in eg al o ashion ad e ising and b anding, c ea ing a
minimalis aes he ic ha enhances eadabili y and isual appeal.
The Bauhaus’s minimalis app oach, cha ac e ised by simple, geome ic ype aces and spacious layou s,
con inues o in luence mode n ashion b and isuals. The in eg a ion o ypog aphy and isual elemen s,
a p inciple championed by he Bauhaus, is cen al in ashion g aphics, whe e ex and image y a e se-
amlessly combined o con ey a b and’s message and iden i y.
Addi ionally, he Bauhaus’s emphasis on unc ional design o e deco a ion has shaped ashion g aphic
s a egies, p omo ing clea and impac ul communica ion. This app oach ensu es ha design e ec i ely
p omo es collec ions, con eys b and alues, and highligh s ends. The uni e sal design p inciples o he
New Typog aphy ha e also acili a ed he globalisa ion o ashion communica ion, leading o s anda dised
design p ac ices ha anscend geog aphical and cul u al bounda ies.
In he digi al e a, he Bauhaus p inciples emain ele an . The cla i y and simplici y ha de ined he New
Typog aphy a e c ucial in digi al ashion g aphics, including web design, social media, and mobile appli-
ca ions. These pla o ms demand clean lines and s aigh o wa d ypog aphy o enhance use expe ience
and ensu e isual cohe ence.
O e all, he New Typog aphy and he Bauhaus’s app oach o ypog aphy ha e had a ans o ma i e im-
pac on ashion g aphic communica ion. Thei p inciples o cla i y, minimalism, and unc ionali y con inue
o shape mode n design p ac ices, in luencing how ashion b ands con ey hei messages in oday’s
isually d i en wo ld.
3.3 Pho omon ages: Collabo a ion, Expe imen a ion and Inno a ion
Pho omon age played a signi ican ole in he a is ic expe imen a ion o he Bauhaus, pa icula ly du ing
i s i s phase. The echnique, which was also widely explo ed by Be lin Dadais s and Russian Cons uc i-
is s, became a c i ical medium o Bauhaus a is s o exp ess bo h hei aes he ic ision and social com-
men a y. A key example is he collabo a ion be ween László Moholy-Nagy and Ma ianne B and , whose
wo ks had las ing in luence no only on g aphic design bu also on ields like ashion, whe e concep s o
iden i y, gende , and mode ni y a e o en explo ed.
László Moholy-Nagy, an impo an igu e in in e na ional Cons uc i ism, was no only a isual a is bu
also a eache and a heo is who ad oca ed he in eg a ion o echnology and a o c ea e inno a i e
designs. As a p o esso and head o he Me al Depa men a he Bauhaus, Moholy-Nagy b ough a new
wa e o ideas, ansi ioning om Exp essionism, which had domina ed he ea ly Bauhaus yea s, o a mo e
Cons uc i is app oach. He in oduced he concep o “To al Space” (Raumges al ung), ocusing on how
25
space could be designed holis ically, me ging aes he ic and unc ional elemen s. His pho omon ages e-
lec ed hese ideas, o en inco po a ing b oad, comple e pho og aphic elemen s in ways ha emphasized
o m and emo ion, a con as o he agmen ed and chao ic s yle o Be lin Dadais s.
Ma ianne B and , a s uden o Moholy-Nagy in he Bauhaus Me al Depa men , became an accomplished
designe and pho og aphe . He designs pushed he bounda ies o mode n ma e ials and e lec ed a
cons uc i is app oach o bo h o m and unc ion.
Bo h Moholy-Nagy and B and ’s wo ks demons a e he usion o o mal isual expe imen a ion wi h a
deep engagemen in he poli ical, cul u al, and social issues o he Weima Republic. Th ough pho omon-
age, hey explo ed issues like he econs uc ion o socie y, he changing oles o gende , and he po en ial
o mode ni y o eshape he wo ld. As O o (2009) s a es, “B and and Moholy-Nagy used pho omon age
o expand he medium’s powe , add essing cons uc i is ideas o o de while e lec ing he chao ic socie-
al landscape o he pos -wa e a.”
One key example o hei a is ic dialogue is seen in Pneuma ik (1923) by Moholy-Nagy and Tempo-Tem-
po, P og ess, Cul u e (1927) by B and (Figu e 9). Moholy-Nagy’s wo k used dynamic image y o em-
phasize he speed and po en ial o mode n i es, while B and ’s piece depic ed a Cons uc i is enginee
con olling machines, symbolizing human powe o e indus ial echnology. These pieces e lec hei
op imis ic ye i onic iews on mode ni y’s abili y o eshape he wo ld. As O o (2009) obse es, Moholy-
-Nagy’s use o “mechanical image y embodied he a an -ga de’s belie in echnology as a ool o shaping
a be e u u e”), while B and ’s pho omon age p esen ed he “a is -builde ” concep , whe e human
in ellec and skill con olled indus ial powe .
Ano he key wo k is B and ’s Wi h All Ten Finge s (ci ca 1930), which highligh ed gende dynamics and
powe s uggles. I po ays a businessman manipula ing s ings a ached o a woman’s inge s, symbo-
lizing he subjuga ion, e lec ing socie al s uggles aced by women a he ime. In pa allel, Moholy-Na-
gy’s Ci y Ligh s (ci ca 1928) simila ly c i iques adi ional gende oles, con as ing Cha lie Chaplin’s Li -
le T amp wi h mode n, empowe ed women. Bo h pieces (Figu e 10) explo e he male gaze and socie al
expec a ions, a ecu ing heme in Bauhaus a is s’ c i iques o pos -wa gende cons uc s.
Moholy-Nagy’s Jealousy (Ei e such , 1925) and B and ’s Sel -Po ai , Double Exposu e (ci ca 1930-1931)
(Figu e 11) o e u he insigh in o hei explo a ion o iden i y and sel - ep esen a ion. Moholy-Nagy o en
po ayed himsel as a “mon eu ” o a is -enginee , d awing on he indus ial conno a ions o he e m.
His pho o mon age Jealousy, based on a pho og aph by his wi e, depic s him d essed as a mechanic,
embodying he Cons uc i is ideal o he a is as a p oduc i e, echnical wo ke . This iden i y, ied o
he mechaniza ion o he pos -wa e a, highligh s he a an -ga de’s emb ace o indus ial echniques and
ma e ials in a is ic p oduc ion.
26
Simila ly, B and ’s sel -po ai depic ed he as an enginee igu e, d essed in a lab coa , wi h he image
mul iplied h ough double exposu e. The wo k e lec s B and ’s con ol o e he a is ic and echnical
p oduc ion, symbolizing he ole as bo h a c ea o and a echnician. The clean, mode n aes he ic o he
sel - ep esen a ion aligns wi h he indus ial designs in he Bauhaus Me al Wo kshop, showcasing he
Bauhaus ideal o me ging a is ic c ea i i y wi h unc ional design o eshape socie y.
Figu e 9. Pneuma ik (1923) by
László Moholy-Nagy, and Tempo-Tempo,
P og ess, Cul u e (1927) by Ma ianne
B and . Sou ce: A Blas . Re ie ed
om h ps://a bla .com/wp-con en /
uploads/2010/11/pneuma ik-1924.jpg
Figu e 10. Ci y Ligh s (ci ca 1928)
by László Moholy-Nagy, and Wi h All
Ten Finge s (ci ca 1930) by Ma ianne
B and . Sou ce: Resea chGa e and
Mode nism Mode ni y. Re ie ed om
h ps://www. esea chga e.ne /p o ile/
Elizabe h-O o/publica ion/249882464/
igu e/ ig8/AS:298263518433287@1
448122972520/Ma ianne-B and -Wi-
h-All-Ten-Finge s-Mi -allen-zehn-Finge -
n-ca-1930-mon age-o .png and h ps://
mode nismmode ni y.o g/si es/de aul /
iles/media/Amad%20Figu e%2025%20
Ci y%20Ligh s.jpg
27
3.4 P ima y Colou s: One o he Pilla s o he Bauhaus and G aphic Design
The Bauhaus, ounded by Wal e G opius in 1919, was ins umen al in shaping mode n a and design,
wi h i s explo a ion o p ima y colou s playing a undamen al ole in i s pionee ing app oach. The s udy
o p ima y colou s a he Bauhaus was deeply in luenced by he heo ies o Russian a is Wassily Kan-
dinsky and Swiss designe Johannes I en, bo h o whom we e key in de eloping he school’s aes he ic
and heo e ical p inciples. As design his o ian S. Whi o d no es, “Kandinsky and I en’s con ibu ions o
he unde s anding o colou a he Bauhaus we e pi o al in shaping he mode nis aes he ic” (Bauhaus:
A as Li e).
P ima y colou s— ed, blue, and yellow—we e iewed as essen ial elemen s o design. The Bauhaus be-
lie ed ha hese colou s we e pu e and ounda ional, se ing as he basis o c ea ing all o he colou s
h ough hei combina ions. This ocus on p ima y colou s aligned wi h he Bauhaus’s commi men o
simplici y, unc ionali y, and cla i y. Acco ding o D os e in The Bauhaus: 1919–1933, “p ima y colou s
we e conside ed undamen al o he Bauhaus isual anguage, e lec ing i s goal o educing o ms o hei
mos essen ial and communica i e s a e”.
Johannes I en, one o he ini ial eache s a he Bauhaus, was ins umen al in o mula ing he school’s co-
lou heo y. He p oposed ha p ima y colou s could be mixed o p oduce seconda y and e ia y colou s,
c ea ing a colou wheel ha illus a ed hue ela ionships. I en’s eachings also explo ed he psychological
Figu e 11. Jealousy (1925) by Lás-
zló Moholy-Nagy, and Sel -Po ai ,
Double Exposu e (ci ca 1930–1931)
by Ma ianne B and . Sou ce: Ano-
he Magazine and Resea chGa e.
Re ie ed om h ps://images-p od.
ano he mag.com/786/azu e/ano he -
-p od/380/6/386800.jpg and h ps://
www. esea chga e.ne /p o ile/Elizabe-
h-O o/publica ion/249882464/ igu e/
ig6/AS:298263518433285@1448122
972377/Laszlo-Moholy-Nagy-Jealousy-
-Ei e such -1925-mon age-o -newspape -
-clippings-and.png

28
and emo ional e ec s o colou s, ad oca ing hei use o e oke speci ic esponses and con ey meaning
in design. As men ioned by I en in his seminal wo k The A o Colo , “colou di ec ly in luences he soul
and can p oduce psychological and emo ional e ec s in design”.
In p ac ical applica ions, p ima y colou s we e employed o c ea e bold, clea , and impac ul isual com-
posi ions. The Bauhaus u ilised hese colou s o achie e high con as and cla i y ac oss a ious design
disciplines, including g aphic design, a chi ec u e, and p oduc design. They we e used o es ablish isual
hie a chies, di ec a en ion, and ensu e ha designs we e bo h unc ional and aes he ically compelling.
Design heo is M. Whi e adds, “ he s a egic use o p ima y colou s a he Bauhaus acili a ed cla i y in
communica ion while ensu ing designs emained engaging and e ec i e ac oss mediums” (Mode nis
Design P inciples).
Beyond g aphic design, p ima y colou s we e in eg al o ex ile design, whe e hey we e used o c a dyna-
mic pa e ns, and a chi ec u e, whe e hey enhanced spa ial ela ionships and isual impac . In Bauhaus
a chi ec u e, p ima y colou s no only se ed an aes he ic unc ion bu also played a key ole in de ining
and enhancing spa ial dynamics.
The Bauhaus’s emphasis on p ima y colou s has le a las ing legacy on mode n design. The p inciples
es ablished by I en and Kandinsky con inue o in luence con empo a y p ac ices in ad e ising, b anding,
digi al design, and a . The school’s ocus on p ima y colou s was cen al o i s design philosophy, e lec-
ing i s dedica ion o simplici y, unc ionali y, and cla i y, and signi ican ly shaping mode n design p inci-
ples and p ac ices. T he Bauhaus’s app oach o p ima y colou s emains a co ne s one o con empo a y
design, e lec ing i s las ing in luence on minimalism and isual communica ion.
3.4.1 Kandinsky’s Colou Theo y
Wassily Kandinsky de eloped a colou heo y ha p o oundly in luenced mode n a and design, in eg a-
ing his sys ema ic app oach in o his abs ac a . His wo k was cen al o unde s anding he psychological
and emo ional e ec s o colou s, which he belie ed had in insic impac s on iewe s. Kandinsky heo ised
ha colou s could e oke speci ic eelings and esponses, in luencing pe cep ion and emo ional s a es.
In his book Conce ning he Spi i ual in A , he posi ed ha “colou s a e he keyboa d, he eyes a e he
ha monies, he soul is he piano wi h many s ings,” highligh ing his belie in he deep connec ion be ween
colou and emo ion.
Fo him, colou s we e no jus isual elemen s bu had he powe o communica e and esona e wi h he
human psyche, enabling hem o elici pa icula moods o emo ions. Kandinsky’s colou heo y included
he de elopmen o a colou wheel—a ci cula diag am illus a ing he ela ionships be ween di e en
hues.
29
He iden i ied h ee p ima y colou s— ed, blue, and yellow—which could be combined o c ea e seconda y
colou s (g een, o ange, and pu ple). This colou wheel demons a ed he ha mony and con as be ween
colou s, se ing as a ounda ional ool o unde s anding colou ela ionships in a and design.
The colou wheel no only illus a es basic colou ela ionships bu also se es as a guide o a is s o
explo e emo ional esonances.
Wassily Kandinsky explo ed he in e play be ween colou and o m, as shown in Figu e 12, emphasising
ha colou s could in luence and be in luenced by shapes and o ms. He a gued ha di e en o ms
and lines could enhance o al e he emo ional impac o colou s. Fo ins ance, he belie ed ha ce ain
shapes, such as ci cles o iangles, could in e ac wi h colou s o ampli y hei psychological e ec s. Kan-
dinsky’s explo a ion o he ela ionship be ween colou and o m laid he g oundwo k o u u e abs ac
a is s, demons a ing ha isual elemen s could e oke complex emo ional esponses.
Kandinsky also explo ed how con as ing colou s could in e ac and c ea e isual ension. He belie ed
ha con as ing colou s could p oduce dynamic e ec s and enhance he ib ancy o a composi ion. This
unde s anding o colou dynamics in luenced his abs ac wo ks, whe e he used colou con as s o c e-
a e isual in e es and emo ional dep h. Kandinsky’s use o con as is no me ely a s ylis ic choice, i ’s a
delibe a e s a egy o engage he iewe ’s emo ions and p o oke a isce al esponse.
Figu e 12. Explana ion o he
ela ionship be ween o ms and
colo s, acco ding o Kandinsky in his
book
Poin and Line o Plane
(1923).
Sou ce: Mass Media and Cul u e.
Re ie ed om h ps://massmediand-
cul u e.com/kandinsky/
30
3.4.2 The Symbolism o Colou s
Kandinsky assigned symbolic meanings o a ious colou s, linking hem o di e en emo ions and con-
cep s. Red, o example, was associa ed wi h ene gy, passion, and in ensi y, e oking s ong emo ions
and dynamism. Acco ding o Kandinsky, ed “is like a s ong, powe ul umpe sound” ha s i s ac ion
and exci emen . Blue, on he o he hand, was linked o calmness, anquilli y, and spi i uali y, and was
conside ed o ha e a soo hing and se ene e ec . Kandinsky amously s a ed ha “ he deepe he blue
becomes, he mo e i d aws man owa ds he in ini e”, e lec ing i s connec ion o dep h and in ospec ion
(Conce ning he Spi i ual in A ).
Yellow was connec ed wi h wa m h, happiness, and op imism, being iewed as a ib an and s imula ing
colou . Kandinsky’s associa ion o yellow wi h joy and ene gy cap u es i s po en ial o s imula e and in-
igo a e he senses. G een symbolised ha mony, balance, and g ow h, and was seen as a calming and
e eshing hue. In Kandinsky’s iew, g een ep esen ed a “ es ul s a e,” one o s abili y and peace.
Black ep esen ed dep h, mys e y, and he unknown, o en associa ed wi h he absence o ligh and o m.
In Conce ning he Spi i ual in A , Kandinsky desc ibed black as “ he silence o dea h,” a colou de oid o
sound and ligh , which aligns wi h i s po ayal o mys e y and he unknown. In con as , whi e deno ed
pu i y, cla i y, and he po en ial o new beginnings, embodying simplici y and openness. As he pain e
and mas e exp essed in W i ings on A , “whi e, al hough o en silen , esona es wi h he possibili ies o
a esh s a ”, symbolising he essence o pu i y and po en ial.
3.4.3 The In luence o Kandinsky’s Colou Theo ies on Fashion Communica ion
Kandinsky’s colou heo y was e olu iona y o i s ime, shi ing he ocus om ep esen a ional a o
abs ac exp ession. His ideas abou colou and emo ion in luenced nume ous a is s and designe s, sha-
ping he de elopmen o abs ac a and mode n design p inciples. Kandinsky’s explo a ion o colou as
an au onomous o ce b oke away om adi ional ep esen a ion, pa ing he way o mode n abs ac a .
The emphasis on he emo ional and psychological aspec s o colou laid he g oundwo k o u u e ex-
plo a ions in bo h a and design. Kandinsky a gued ha “colou is a powe which di ec ly in luences
he soul,” and his concep con inues o be ele an ac oss a ious design ields oday (Conce ning he
Spi i ual in A ). His heo ies ha e had a signi ican in luence on g aphic communica ion in he ashion
indus y, shaping how colou s and o ms a e used o con ey b and iden i y, mood, and aes he ic di ec-
ion. Kandinsky’s colou heo y has been ins umen al in es ablishing he emo ional esonance o b and
iden i ies, pa icula ly wi hin he ashion sec o .
Kandinsky’s belie ha colou s e oke speci ic psychological and emo ional esponses has become a cen-
31
al p inciple in ashion b anding and g aphic communica ion. Fashion b ands ca e ully selec colou s ha
align wi h hei desi ed iden i y and message, using colou psychology o e oke emo ions in hei audien-
ce. Fo example, luxu y b ands o en employ black and gold o communica e sophis ica ion, exclusi i y,
and imeless elegance. As no ed in Fashion B anding: S a egy and Communica ion by ma ke ing analys
P. Johnson, “black has long been associa ed wi h luxu y and au ho i y in ashion b anding, while gold
adds a sense o p es ige and exclusi i y”.
You h-o ien ed b ands migh use b igh colou s like yellow o ed o con ey ene gy, un, and passion. Red
and yellow a e equen ly used in you h ma ke ing due o hei ib ancy and abili y o cap u e a en ion qui-
ckly, as explained by Swa naka , S. (2023). Eco- iendly b ands end o a ou g een, signalling ha mony
wi h na u e and sus ainabili y. G een is o en pe cei ed as calming and connec ed o na u al elemen s,
making i a equen choice o b ands p omo ing en i onmen al consciousness” (San os and Lemos, in
The psychological dimension o colo s: A sys ema ic li e a u e e iew on colo psychology).
This use o colou o e oke speci ic emo ions is a di ec applica ion o Kandinsky’s heo y, whe e colou
choice becomes a powe ul ool in connec ing wi h consume s on a deepe , emo ional le el. The s a egic
applica ion o colou psychology in b anding is a di ec inhe i ance om Kandinsky’s pionee ing wo k,
linking isual elemen s wi h emo ional and psychological impac .
3.4.4 Colou and Fo m In eg a ion
Kandinsky’s explo a ion o he ela ionship be ween colou and o m is e iden in ashion g aphics, whe e
logos, ad e ising layou s, and p oduc designs o en in eg a e colou wi h geome ic shapes o enhance
b and messaging. Acco ding o he a icle Colou s in b anding: C ea ing b and iden i y and in luencing
consume pe cep ion, he in eg a ion o geome ic shapes wi h colou in isual communica ion helps
b ands achie e bo h aes he ic appeal and psychological esonance wi h consume s (Dingliwal, U. (2023).
Fashion g aphic design equen ly uses simple ye s iking o ms combined wi h bold colou choices o
c ea e a memo able and dis inc i e isual iden i y.
Geome ic shapes, such as ci cles, iangles, o squa es, pai ed wi h speci ic colou s a e
used o c ea e unique logos ha con ey di e en b and a ibu es. B ands use geome ic sha-
pes no only o hei simplici y bu o hei symbolic powe in e oking speci ic emo ions, es-
pecially when pai ed wi h he igh colou s. A ci cula logo in blue, o ins ance, migh e oke e-
elings o calmness and uni y, esona ing wi h Kandinsky’s iew o blue as spi i ual and peace ul. In
Conce ning he Spi i ual in A , Kandinsky desc ibes blue as “ he colou o he hea ens, a ep esen-
a ion o calm and spi i uali y”, a concep applied widely in b anding o sugges us and anquilli y.
In ad e ising layou s, he use o angula shapes wi h sha p colou con as s can c ea e a sense o dyna-
38
o m ollows unc ion. The emphasis on unc ional design in con empo a y b anding e lec s a b oade
end owa ds simplici y and e iciency in consume communica ion.
Accessibili y is ano he c i ical aspec o unc ionalism in ashion b and communica ion. B ands like Uni-
qlo exempli y how Bauhaus p inciples o unc ionali y and accessibili y enhance consume connec ion. By
using s aigh o wa d g aphics and concise messaging, Uniqlo ensu es ha i s campaigns esona e wi h
a di e se audience.
Mo eo e , he in eg a ion o accessibili y in g aphic communica ion is essen ial o eaching all consu-
me s, including hose wi h disabili ies. Fashion b ands inc easingly ecognise ha hei messaging mus
be inclusi e and comp ehensible. This is whe e Bauhaus ideals shine: he ocus on simplici y and di ec -
ness can help elimina e ba ie s in isual communica ion. Fo ins ance, u ilising high-con as colou s and
eadable ype aces no only enhances aes he ic appeal bu also ensu es ha in o ma ion is accessible o
all.
The in luence o he Bauhaus ex ends beyond indi idual b ands o impac he en i e ashion indus y,
encou aging a shi owa ds mo e unc ional and p agma ic communica ion s yles. The ocus on u ili y in
design, as a icula ed by I en and Kandinsky, emains ele an oday. Thei ideas abou he impo ance
o unc ional aes he ics ha e pa ed he way o mode n ashion b ands o adop s a egies ha p io i ise
bo h isual appeal and usabili y, ensu ing ha hei messaging is clea and accessible.
In conclusion, he Bauhaus legacy con inues o shape unc ionalism in ashion b and communica ion, os-
e ing an en i onmen whe e cla i y, accessibili y, and pu pose a e pa amoun . This empowe s al e na i e
b ands o communica e hei alues e ec i ely while engaging consume s in meaning ul ways.
As he ashion indus y e ol es, he p inciples es ablished by he Bauhaus will undoub edly emain a
co ne s one o e ec i e communica ion s a egies, ein o cing he necessi y o b ands o p io i ise unc-
ionali y and accessibili y in hei messaging.
4.5 The Impac o Bauhaus on Emb acing Expe imen a ion on Fashion Communica ion
Expe imen al use o new echniques and ma e ials is p ominen ly e lec ed in he audio isual and isual
communica ion s a egies o con empo a y ashion b ands. The Bauhaus’s inno a i e spi i , which encou-
aged explo a ion beyond adi ional bounda ies, has signi ican ly shaped how ashion communica es i s
iden i y and alues h ough di e se media.
The Bauhaus’s e hos o in eg a ing a ious disciplines—such as a chi ec u e, a , and design— os e s a
mul idisciplina y app oach in ashion b anding oday.

39
B ands like Loewe, Comme des Ga çons and I is an He pen exempli y his expe imen al mindse , o en
u ilising cu ing-edge ma e ials and echniques in hei isual campaigns. Fo ins ance, Comme des Ga -
çons equen ly challenges adi ional silhoue es and con en ions, using unexpec ed ma e ials and o ms
ha p o oke hough and con e sa ion. This aligns wi h he Bauhaus p inciple o unc ionali y, as seen in
he wo k o Oska Schlemme , who emphasised he mo emen and in e ac ion o o ms.
Ano he o m o inno a ion is collabo a ions. In ecen yea s, collabo a ions be ween luxu y b ands ha e
eme ged as a signi ican end in he ashion indus y, os e ing inno a ion and c ea i i y. A s andou
pa ne ship is he collabo a ion be ween Adidas and Gucci, which seamlessly blends he wo lds o high
ashion and a hle ic wea by combining he unique aes he ics o bo h b ands. This collabo a ion exem-
pli ies how luxu y b ands can me ge dis inc iden i ies o c ea e inno a i e p oduc s ha esona e wi h
consume s.
Such collabo a ions a e inno a i e because hey challenge adi ional bounda ies wi hin he ashion indus-
y, allowing b ands o explo e new design e i o ies. By le e aging each o he ’s s eng hs, luxu y b ands
can a ac new demog aphics and enhance hei cul u al ele ance. Addi ionally, pa ne ships like Adidas
x Gucci o en gene a e buzz and exci emen , esul ing in limi ed-edi ion i ems ha become highly sough
a e .
The spi i o collabo a ion seen in con empo a y ashion pa ne ships echoes he ounda ional p inciples
o he Bauhaus, whe e he in e play be ween a is s and s uden s os e ed a dynamic exchange o ideas
and c ea i i y. A he Bauhaus, enowned mas e s encou aged hei s uden s o expe imen and inno a e,
blu ing he lines be ween disciplines and ele a ing he collec i e design p ocess. Simila ly, mode n colla-
bo a ions uni e es ablished luxu y b ands wi h esh pe spec i es, c ea ing a dialogue ha enhances bo h
a is ic ision and comme cial appeal. This syne gy no only e lec s he Bauhaus e hos o collabo a ion
bu also ein o ces he idea ha inno a ion h i es in en i onmen s whe e di e se alen s con e ge, lea-
ding o g oundb eaking designs ha esona e wi h a wide audience.
This end e lec s a b oade shi owa ds inclusi i y and adap abili y in luxu y ashion, whe e collabo a-
ion is iewed no only as a ma ke ing s a egy bu also as a pla o m o c ea i e exp ession. The blending
o di e en design philosophies enables b ands o push he en elope, ul ima ely en iching he ashion
landscape.
Fu he mo e, he Bauhaus’s commi men o abs ac ion and simplici y inspi es many al e na i e ashion
b ands. The use o digi al echnologies, such as 3D p in ing and i ual eali y, allows b ands o push he
bounda ies o adi ional ashion communica ion. As no ed by Pookulanga a and Shepha d (2013), “The
po en ial o new echnologies o enhance consume engagemen in he ashion indus y is becoming
inc easingly ecognised, enabling b ands o con ey hei na a i es mo e i idly”. This esona es wi h he
Bauhaus’s explo a i e na u e, whe e expe imen a ion wi h ma e ials was cen al o design philosophy.
40
Fashion b ands a e also adop ing bold and uncon en ional aes he ics in hei isual communica ions.
B ands like Ade E o o en use s iking image y and play ul g aphics ha challenge no ms, e oking he
Bauhaus spi i o b eaking away om adi ion (Figu es 14 and 15). The use o laye ed ex u es and con-
as ing ma e ials in hese b ands’ campaigns e lec s he Bauhaus emphasis on ma e iali y, as explo ed
by László Moholy-Nagy, who ad oca ed o he inno a i e use o ligh and new ma e ials in isual a .
Addi ionally, he in eg a ion o sound and isual elemen s in ashion ilm has become a powe ul ool o
s o y elling, eminiscen o he Bauhaus’s in e disciplina y app oach. By me ging isual a wi h music
and pe o mance, b ands can c ea e imme si e expe iences ha engage audiences on mul iple le els.
This aligns wi h Wal e G opius’s ision o a as a collec i e expe ience, whe e di e en o ms come oge-
he o c ea e a holis ic unde s anding o a b and’s iden i y.
Figu e 14: Ins ag am eed o he
Sou h Ko ean b and Ade E o .
41
Figu e 15. Ins ag am eed o he
Sou h Ko ean b and Ade E o . Sou -
ce: Ins ag am. Re ie ed om h ps://
www.ins ag am.com/ade _e o /
Bauhaus’s expe imen alism has p o oundly in luenced he audio isual and isual communica ion o mo-
de n ashion b ands. Th ough he explo a ion o new echniques and ma e ials, b ands no only con ey
hei aes he ic bu also engage wi h hei audience in inno a i e ways, e lec ing he endu ing legacy o
Bauhaus p inciples in oday’s ashion indus y.
4.6 The Bauhaus Legacy in Fashion Layou s
The p inciples o Bauhaus con inue o shape he communica ion s a egies o ashion b ands, pa icula ly
in he design o magazine layou s, ad e ising, websi es, and digi al con en . By p io i ising simplici y,
unc ionali y, and cla i y, he Bauhaus e hos has in luenced how b ands p esen hei isual na a i es,
c ea ing cohesi e and engaging expe iences o consume s.
Fo ins ance, Jil Sande ’s magazine sp eads and digi al pla o ms exempli y he minimalis app oach
ha Bauhaus champions. The layou s a e cha ac e ised by a delibe a e use o whi e space ha allows
he ga men s o ake cen e s age. This ocus on he p oduc , combined wi h a sys ema ic g id s uc u e,
echoes he Bauhaus’s belie in cla i y and o de , enabling consume s o na iga e con en e o lessly.
Simila ly, Jacquemus u ilises bold ypog aphy and s iking image y in bo h p in and digi al o -
ma s, d awing a en ion while main aining a e ined aes he ic. The b and’s websi e is designed
wi h an in ui i e in e ace ha p io i ises use expe ience, making in o ma ion eadily accessible.
42
Sain Lau en ’s ad e ising campaigns o en ea u e layou s ha blend con empo a y design wi h a sense
o imelessness. The magazine sp eads employ d ama ic image y and minimal ex , c ea ing a powe ul
isual impac ha e lec s he b and’s iden i y. The in eg a ion o s iking isuals wi h hough ully desig-
ned layou s esona es wi h he Bauhaus app oach o me ging a and unc ion.
his end e lec s a b oade shi owa ds inclusi i y and adap abili y in luxu y ashion, whe e collabo a ion
is iewed no only as a ma ke ing s a egy bu also as a pla o m o c ea i e exp ession. The blending
o di e en design philosophies enables b ands o push he en elope, ul ima ely en iching he ashion
landscape.
S ella McCa ney’s websi e exempli ies sus ainabili y and mode ni y, u ilising eco- iendly ma e ials and
clea , engaging layou s ha communica e he b and’s alues. The si e’s design emphasises s aigh o-
wa d na iga ion and easy access o in o ma ion, ensu ing ha use s can e o lessly engage wi h he con-
en . This ocus on use - iendly design aligns wi h Bauhaus p inciples, ein o cing he idea ha aes he ics
and unc ionali y can coexis ha moniously.
Fu he mo e, he in luence o Bauhaus on he design o ad e ising ma e ials and digi al con en ex ends
beyond aes he ics o encompass a b oade unde s anding o consume engagemen . Fashion b ands o-
day a e inc easingly awa e o he need o hei communica ion s a egies o be inclusi e and accessible.
This aligns wi h he Bauhaus’s commi men o unc ional design ha se es a di e se audience.
B ands like Jacquemus and S ella McCa ney ensu e ha hei digi al pla o ms a e no only isually
appealing bu also accessible o all use s, employing clea ypog aphy and esponsi e layou s ha accom-
moda e a ious de ices and use needs. This ocus on inclusi i y e lec s he Bauhaus belie in se ing
he communi y h ough design, which is c ucial in oday’s digi al landscape.
In summa y, he in luence o Bauhaus on he layou o magazines, ad e isemen s, and digi al con en
is e iden in he way ashion b ands p io i ise cla i y, unc ionali y, and isual cohe ence. This app oach
aligns wi h he Bauhaus belie in “less is mo e,” as a icula ed by I en: “The simples o m o exp ession
is o en he mos e ec i e.” This legacy no only enhances he consume expe ience bu also e lec s a
commi men o design p inciples ha anscend ends, ensu ing ha he communica ion emains e ec-
i e and engaging ac oss a ious pla o ms.
5EMPIRICAL WORK
43

5.1 In oduc ion o he Bauhaus: A B ie His o y and I s Key P inciples in oduced o pa i-
cipan s
To be e unde s and whe he and how people pe cei e Bauhaus’s in luence on mode n ashion g aphic
communica ion, a su ey was conduc ed consis ing o 15 open-ended and discu si e ques ions answe ed
by 9 pa icipan s. Among hem, h ee had signi ican p io knowledge o Bauhaus, ou had ne e hea d
o i be o e, and wo we e supe icially amilia wi h he school bu had no deeply explo ed he subjec .
Pa icipan s we e p o ided wi h b ie explana ions o Bauhaus’s his o y, co e p inciples and a isual boa d
wi h some key Bauhaus imagess, and based on hese e e ences, hey we e able o sha e hei obse a-
ions in hei esponses. He e we can see he suppo ing e e ences ha he pa icipan s ecei ed be o e
he ques ionnai e, including Figu e 16:
His o y:
The Bauhaus was a e olu iona y a and design school ounded in Ge many in 1919 by a chi ec Wal e
G opius. I s goal was o b ing oge he a , design, and c a smanship o c ea e unc ional, beau i ul ob-
jec s ha could be p oduced o e e yday use. The school eme ged a a ime when Ge many was ebuil-
ding a e Wo ld Wa I, and i sough o e hink adi ional a and design educa ion, ocusing on inno a ion
and b eaking away om pas s yles.
One o he Bauhaus’s mos impo an ideas was he concep o “ o m ollows unc ion.” This mean ha
he design o an objec should be de e mined by i s pu pose, and unnecessa y deco a ion should be a oi-
ded. This idea led o simple, clean designs ha we e no only beau i ul bu also p ac ical.
The Bauhaus also emphasised he use o basic shapes like ci cles, squa es, and iangles, as well as
p ima y colou s— ed, yellow, and blue. I encou aged expe imen a ion wi h new ma e ials and indus ial
echniques, making i one o he i s ins i u ions o ecognize he impo ance o mass p oduc ion and he
po en ial o design o shape he mode n wo ld.
The school’s in luence was as , sp eading ac oss a chi ec u e, u ni u e design, ypog aphy, and e en
ashion. Despi e being shu down by he Nazis in 1933, i s ideas con inued o inspi e designe s wo ldwide
and a e s ill isible oday in e e y hing om mode n buildings o minimalis logos.
In summa y, he Bauhaus changed how we hink abou design by emphasising simplici y, unc ionali y,
and a close ela ionship be ween o m and pu pose. I s legacy li es on in coun less aspec s o con em-
44
po a y design, including ashion, whe e i s p inciples o clean lines, p ac icali y, and inno a i e hinking
emain impo an .
Key p inciples:
Fo m Follows Func ion: The design o an objec should be based on i s in ended unc ion, elimina ing
unnecessa y deco a ion.
Uni y o A and C a smanship: The Bauhaus sough o elimina e he dis inc ion be ween ine a s
and applied a s, blending a wi h c a smanship o c ea e unc ional, aes he ically pleasing designs.
Focus on Simplici y and Minimalism: Bauhaus designs emphasised clean lines, geome ic shapes,
and a minimalis aes he ic, a oiding excessi e o namen a ion.
Use o Basic Shapes and P ima y Colou s: Bauhaus design equen ly used simple shapes like
ci cles, iangles, and squa es, along wi h a limi ed colou pale e, pa icula ly ocusing on p ima y colou-
s— ed, blue, and yellow.
Mass P oduc ion and Accessibili y: The Bauhaus emb aced indus ial echniques and ma e ials,
ocusing on c ea ing designs ha could be mass-p oduced and accessible o a wide audience.
Inno a i e Use o Ma e ials: The Bauhaus encou aged expe imen a ion wi h mode n ma e ials s uch
as s eel, glass, and conc e e, pa icula ly in a chi ec u e and u ni u e design.
In eg a ion o A , Technology and Socie y: The Bauhaus belie ed in he social ole o design, s i-
ing o c ea e wo ks ha we e no only unc ional and aes he ically pleasing bu also bene icial o socie y
as a whole.
45
Figu e 16. Visual boa d wi h some key Bauhaus images. C ea ed by he au ho .
5.2 Ques ionnai e
1) Be o e seeing hese images and eading he explana ions, had you e e hea d o he Bauhaus? I so,
b ie ly desc ibe you p e ious con ac wi h he school.
2) Do you see aces o he Bauhaus in e e yday li e? P o ide examples.
3) Can you pe cei e any ela ionship be ween he Bauhaus and g aphic communica ion (ad e ising,
g aphic ma e ials, digi al con en aes he ics, pho og aphic and audio isual campaigns, among o he
examples) o p oduc s and se ices in gene al? Please commen .
4) Do you see any ela ionship be ween he p inciples o he Bauhaus and ashion g aphic communica-
ion (ad e ising, g aphic ma e ials, digi al con en aes he ics, pho og aphic and audio isual campaigns,
among o he examples)? Please commen .
5) Based on he images and explana ions p e iously p esen ed, and you p io knowledge o he
Bauhaus (i any), ci e 1 o 3 cha ac e is ic elemen s o he school mos p esen in ashion g aphic
46
communica ion.
6) Do you belie e ha ashion communica ion has become mo e minimalis and unc ional o e ime?
7) Knowing ha he main p inciple o he Bauhaus is unc ionalism, do you belie e ha he Bauhaus has
in luenced ashion communica ion o e he yea s since i s exis ence?
8) The Bauhaus emphasised he concep o “ o m ollows unc ion.” How do you see his concep being
applied in he c ea ion o ashion campaigns o in he design o ashion b and websi es?
9) In you opinion, how has he legacy o he Bauhaus in luenced he way ashion b ands use g aphic
design o con ey hei alues and iden i y?
10) The Bauhaus encou aged expe imen a ion and inno a ion. How do you see his mindse e lec ed in
mode n app oaches o isual communica ion in ashion, such as in digi al ashion campaigns o in colla-
bo a ions be ween g aphic designe s and ashion designe s?
11) Conside ing ha he Bauhaus alued in e disciplina i y, how do you see he collabo a ion be ween
g aphic designe s and ashion designe s in he c ea ion o ashion pieces o in he de elopmen o isual
campaigns?
12) The Bauhaus had a s ong belie in accessible and democ a ic design. How do you hink his p inciple
can be seen in he communica ion o ashion b ands ha seek o a ac a b oade and mo e di e se
audience?
13) The Bauhaus in luenced he pe cep ion o design as a o m o uni e sal communica ion. Do you hink
his idea is isible in he global communica ion s a egies o ashion b ands?
14) Simplici y and clean design a e hallma ks o he Bauhaus. How do you see hese elemen s being
inco po a ed in o he design o logos and isual iden i ies o con empo a y ashion b ands?
15) How do you see he ypog aphic p inciples o he Bauhaus, such as he use o geome ic o ms and
sans-se i on s, being e lec ed in he o e all g aphic con en o con empo a y ashion, including p omo-
ional ma e ials, edi o ial design, websi e and digi al media?
47
Bibliog aphic Re e ences
Ba na d, M. (2002).
Fashion as communica ion
(2nd ed.). Rou ledge.
Demo, P. (2003).
Me odologia cien í ica em ciências sociais
[PDF]. Re ie ed om h ps://u b.edu.b /
educacaodocampoc p/images/DEMO_Ped o._Me odologia_cien í ica_em_Siências_Sociais.pd
Dempsey, A. (2002).
Mode n a (A essen ials)
. New Yo k: Thames & Hudson.
D os e, M. (2021).
Bauhaus 1919-1933
. Taschen.
G opius, W. (1935).
The new a chi ec u e and he Bauhaus
. Fabe & Fabe .
Johnson, P. (2019).
Fashion b anding: S a egy and communica ion
. Ma ke ing P ess.
Kandinsky, W. (1994).
W i ings on a
(K. C. Lindsay & P. Ve go, T ans.). Da Capo P ess.
Kandinsky, W. (2010).
Do espi i ual na a e
. Dom Quixo e.
Lup on, E. (2004).
Thinking wi h ype: A c i ical guide o designe s, w i e s, edi o s, & s uden s
. P ince on
A chi ec u al P ess.
McKinsey & Company. (2022).
The s a e o ashion 2022
. Re ie ed om h ps://www.mckinsey.com/
indus ies/ e ail/ou -insigh s/ he-s a e-o - ashion
Mo oz, M., & Gian aldoni, M. H. T. A. (2006).
O p ocesso de pesquisa: iniciação
(2nd ed.). B asília: Líbe
Li o.
O o, E. (2009). A “schooling o he senses”: Pos -Dada isual expe imen s in he Bauhaus pho omon ages
o László Moholy-Nagy and Ma ianne B and .
New Ge man C i ique
, (107), 89-131. h ps://www.js o .
o g/s able/25609148
Pookulanga a, S. (2013).
Slow ashion mo emen : Unde s anding consume pe cep ions—An explo a-
o y s udy
. Resea chGa e. h ps://www. esea chga e.ne /publica ion/257431028_Slow_ ashion_mo e-
men _Unde s anding_consume _pe cep ions-An_explo a o y_s udy
54

San os, D. S., & Lemos, L. A. (2022).
The psychological dimension o colo s: A sys ema ic li e a u e
e iew on colo psychology
. Resea chGa e. h ps://www. esea chga e.ne /publica ion/359858317_The_
psychological_dimension_o _colo s_a_sys ema ic_li e a u e_ e iew_on_colo _psychology
San os, J. C. P. da. (2011).
Bauhaus e a ins i ucionalização do design: e lexões e con ibuições
(1s ed.).
Es ação das Le as e Co es.
Swa naka , S. (2023).
The ole o colo psychology in ad e isemen : De eloping b and iden i y and
i s impac on he buying habi s o consume s
. Resea chGa e. h ps://www. esea chga e.ne /publica-
ion/381999143_THE_ROLE_OF_COLOR_PSYCHOLOGY_IN_ADVERTISEMENT_-De eloping_B and_
Iden i y_and_i s_Impac _on_ he_Buying_Habi s_o _Consume s
Whi o d, S. (2013).
Bauhaus: A as li e
. Thames & Hudson.
WGSN. (2023).
The u u e o ashion: T ends shaping he indus y
[Whi e pape ]. Pe sonal a chi e.
Wick, R. (2017).
Pedagogia da Bauhaus
(J. R. Fe nandes, T ans.). Ma ins Fon es.
55
APPENDIX
INTERVIEWS
Juliana, 28, publishe .
1) Be o e seeing hese images and eading he explana ions, had you e e hea d o he Bauhaus? I so,
b ie ly desc ibe you p e ious con ac wi h he school.
Yes, once I wen o A chi ec u e School so Bauhaus became a huge e e ence in my li e, no only o s u-
dies pu poses bu i also con ibu ed o my pe sonal aes he ic sense. I has helped me o de elop my a
and s yle app ecia ion.
2) Do you see aces o he Bauhaus in e e yday li e? P o ide examples.
Su e. I see Bauhaus legacy on he u ni u es in my house and o he places like es au an s, o ices and
e c. I see he Bauhaus a chi ec u al ea u es in he buildings in he ci y such as he Le Co busie ’s 5 poin s
o a chi ec u e ha include he oo ga den, open loo plan, long windows, pilla s and open acades.
The mode n a chi ec u e was p ima ily d i en by Bauhaus and i s legacy so we can s ill see i in he way
a chi ec s design he buildings.
3) Can you pe cei e any ela ionship be ween he Bauhaus and g aphic communica ion (ad e ising, g a-
phic ma e ials, digi al con en aes he ics, pho og aphic and audio isual campaigns, among o he exam-
ples) o p oduc s and se ices in gene al? Please commen .
The g ea es bauhaus con ibu ion o g aphic communica ion is p omo ing he idea ha design should
be unc ional and de oid o unnecessa y o namen a ion. The minimalis aes he ic p esen ed by many
companies such as Apple, o example, ha uses clean, s aigh o wa d designs ocusing on he use
expe ience and cla i y, which echoes he Bauhaus’s emphasis on unc ionali y.
4) Do you see any ela ionship be ween he p inciples o he Bauhaus and ashion g aphic communica-
ion (ad e ising, g aphic ma e ials, digi al con en aes he ics, pho og aphic and audio isual campaigns,
among o he examples)? Please commen .
Yes. The ashion communi y was in luenced massi ely by Bauhaus and i s legacy can be seen by he way
ashion b ands and ashion magazines communica e wi h hei cus ome s/ eade s. The magazines ha e
adop ed clean layou s, ocusing on he p oduc i sel a he han elabo a e elemen s. Also many b ands
adop ed he clean ypog aphy and changed hei logo design.
5) Based on he images and explana ions p e iously p esen ed, and you p io knowledge o he Bauhaus
(i any), ci e 1 o 3 cha ac e is ic elemen s o he school mos p esen in ashion g aphic communica ion.
56
The use o pop ups colou s. We can see he use o p ima y colou s and i s dynamic along wi h he shapes,
c ea ing a unique isual sense o he Bauhaus e a.
Typog aphy. The e olu ion o he use o a kind o ypog aphy ha gi es bo h unc ional and aes he ically
pleasing.
6) Do you belie e ha ashion communica ion has become mo e minimalis and unc ional o e ime?
Yes, I hink Bauhaus has helped he ashion communica ion speake s o unde s and hei a ge audience
and o c ea e a s o y elling. Today a b and needs o know how o op imise§ he cus ome s expe ience,
p o iding no only isual bu also ans o ming he unc ionali y o he way hey ansmi hei message.
Wi h he ise o social media, ashion communica ion has had o adap o as e -paced, isually-d i en
o ma s. Minimalis designs wi h clean lines and clea messaging a e mo e e ec i e in cap u ing a en ion
and con eying in o ma ion quickly, which is c ucial in he con ex o sc olling h ough eeds.
7) Knowing ha he main p inciple o he Bauhaus is unc ionalism, do you belie e ha he Bauhaus has
in luenced ashion communica ion o e he yea s since i s exis ence?
Yes, I conside Bauhaus one o he easons why we as a socie y a e e hinking ou ways o consume and
o see he wo ld. A clo he is no jus a piece o clo hing, bu i has o i i s pu pose wi hou comp omi-
sing he com o . Also, I hink Bauhaus had an impo an ole o he impo ance o sus ainabili y. The
ac o consume less by c ea ing imeless pieces and he minimalis beha iou . Many ashion b ands has
inco po a ed he clean lines, simple ypog aphy, unclu e ed layou s in hei ad e ising and ma ke ing
campaigns which can be aced back o Bauhaus p inciples.
8) The Bauhaus emphasised he concep o “ o m ollows unc ion.” How do you see his concep being
applied in he c ea ion o ashion campaigns o in he design o ashion b and websi es?
By he ocus in usabili y and i s pu pose ul simplici y. I hink ha he ashion campaigns a e d i en by
exp essing di ec ly he pu pose o he b and and he minimalis aes he ic makes i easie o deli e he
message hey wan o ansmi . The use o simple backg ounds, na u al ligh ing and minimal p ops o
insu e he igh message ocusing on he p oduc .
9) In you opinion, how has he legacy o he Bauhaus in luenced he way ashion b ands use g aphic
design o con ey hei alues and iden i y?
Pe sonally I hink ha he mos impo an Bauhaus in luence is in gi en and p io he cos ume ’s ex-
pe ience. Bauhaus has in luenced inc easingly he minimalis use in all he aes he ics le els such as
ypog aphy, pho og aphy, ad e ising choices, logos and so much mo e. The “less is mo e” concep was
la gely expanded wo ldwide.
I conside ha Bauhaus in luenced he ashion b ands by making hem unde s and ha unc ionali y
57
and aes he ics walks oge he and he impo ance o he s o y elling.
10) The Bauhaus encou aged expe imen a ion and inno a ion. How do you see his mindse e lec ed in
mode n app oaches o isual communica ion in ashion, such as in digi al ashion campaigns o in colla-
bo a ions be ween g aphic designe s and ashion designe s?
The omnichannel app oach ha mos o he bigges ashion b ands ha e adop ed.
The p ac ice o he s o y elling he unde s anding o each communica ion channel as di e en om each
o he and how o dialogue wi h he a ge audience, explo ing he mainly he use o he social medias.
11) Conside ing ha he Bauhaus alued in e disciplina i y, how do you see he collabo a ion be ween
g aphic designe s and ashion designe s in he c ea ion o ashion pieces o in he de elopmen o isual
campaigns?
G aphic designe s can wo k alongside ashion designe s o gua an ee ha he b and’s iden i y is ep esen-
ed co ec ly in he isual campaigns, logos, ad e ising. By c ea ing unique ab ic pa e n ha ansmi
he b ands iden i y and legacy. Th ough he isual s o y elling o he b and by using di e en me hods
such as layou , ypog aphy and colo schemes.
12) The Bauhaus had a s ong belie in accessible and democ a ic design. How do you hink his p inciple
can be seen in he communica ion o ashion b ands ha seek o a ac a b oade and mo e di e se
audience?
The simplici y and uni e sali y which a e he majo Bauhaus cha ac e is ics makes i easie o app oach
all kind o people. Wi h in ui i e use in e aces, ashion b ands ha apply hese concep s ensu e ha
hei message is unde s ood by a wide audience, ega dless o backg ound o educa ion le el. We can see
some ashion b ands engage hei audiences h ough in e ac i e campaigns o use -gene a ed con en ,
allowing he audience o con ibu e wi h he na a i e, which makes he cus ome s eel pa o he b ands
s o y elling.
13) The Bauhaus in luenced he pe cep ion o design as a o m o uni e sal communica ion. Do you hink
his idea is isible in he global communica ion s a egies o ashion b ands?
Absolu ely yes. The concep o design as a uni e sal language, cen al o he Bauhaus philosophy, is
clea ly e lec ed in he global communica ion s a egies o ashion b ands. The Bauhaus emphasised
de eloping a design app oach ha could c oss cul u al and geog aphical ba ie s, wi h an emphasis on
simplici y, cla i y, and unc ionali y. Many ashion b ands ha e emb aced his app oach in hei wo ldwide
communica ion s a egies in a ious signi ican ways.
14) Simplici y and clean design a e hallma ks o he Bauhaus. How do you see hese elemen s being
inco po a ed in o he design o logos and isual iden i ies o con empo a y ashion b ands?
58
Many b ands ha e inco po a ed he Bauhaus elemen s o hei isual iden i ies and we can clea ly see i
on hei ad e ising and b anding. The Adidas s ipes o example, is a simple design o m clea ly in luen-
ced by Bauhaus which we can ecognize almos in olun a ily.
Ano he example is he as ashion Za a, ha uses a e y clea ypog aphy ha esona es hei b anding
pu poses. We can also see he Bauhaus in luence by he isual me chandising and he s o es layou , ha
ha e a e y luid space, clean a chi ec u al lines, ocusing on he clo hing.
15) How do you see he ypog aphic p inciples o he Bauhaus, such as he use o geome ic o ms and
sans-se i on s, being e lec ed in he o e all g aphic con en o con empo a y ashion, including p omo-
ional ma e ials, edi o ial design, websi e and digi al media?
Consis ency in ashion b anding and communica ion is essen ial. B ands achie e a cohesi e isual iden i-
y ac oss a ious pla o ms (whe he in p in , online, o on social media) by using uni o m ypog aphy. Fo
example, employing he same sans-se i ype ace ac oss di e en channels helps ensu e ha he b and’s
message emains clea and easily iden i iable, aligning wi h he Bauhaus p inciple o main aining a uni-
ied and ha monious design app oach, which gua an ees a solid s o y elling expe ience.
Ande son Gonçal es, 33, ex ile designe .
1) Be o e seeing hese images and eading he explana ions, had you e e hea d o he Bauhaus? I so,
b ie ly desc ibe you p e ious con ac wi h he school.
Yes! I’m a ashion designe and my i s encoun e wi h Bauhaus was du ing my unde g adua e s udies.
2) Do you see aces o he Bauhaus in e e yday li e? P o ide examples.
Yes! I belie e i ’s almos impossible nowadays o speak abou good design wi hou associa ing i wi h a
leas one o mo e o he school’s p inciples. A good example is he success ul in eg a ion o a /design
and echnology. This is pa icula ly e iden in domes ic appliances, communica ion de ices, and en e -
ainmen gadge s such as mobile phones, compu e s, and able s. These p oduc s blend bo h he unc io-
nali ies o he echnology used and elemen s o o m and colou .
3) Can you pe cei e any ela ionship be ween he Bauhaus and g aphic communica ion (ad e ising, g a-
phic ma e ials, digi al con en aes he ics, pho og aphic and audio isual campaigns, among o he exam-
ples) o p oduc s and se ices in gene al? Please commen .
Yes! Whe he in ypog aphy, layou , o he choice o colou s and shapes, he s ong in luence o Bauhaus
on communica ion in gene al (labels, packaging, ad e ising, g aphic ma e ials, digi al con en aes he ics,
pho og aphy and audio isual campaigns, e c.) is undeniable. The p inciples o p ac icali y
59

and unc ionali y a e o en p esen , some imes ully o pa ially, ollowing concep s o hie a chy and ba-
lance. P oo o his is ha e en he so wa e used o design hese p oduc s con ains ools based on hese
p inciples. I belie e ha communica ion is a acili a o o daily li e, i s i al ole being o in o m in a way
ha bo h deligh s and simpli ies. The e o e, cla i y and simplici y a e c ucial in his wo ld, pe pe ua ing
he school’s legacy.
4) Do you see any ela ionship be ween he p inciples o he Bauhaus and ashion g aphic communica-
ion (ad e ising, g aphic ma e ials, digi al con en aes he ics, pho og aphic and audio isual campaigns,
among o he examples)? Please commen .
Yes! I belie e ha Bauhaus in luenced communica ion and design as a whole, leading o signi ican im-
p o emen s in how hings a e c ea ed and communica ed. Fashion, as a ool o pe sonal and cul u al
exp ession, bu especially o unc ionali y ela ed o he use ’s physical and psychological com o , could
no be le ou o his design and communica ion “upg ade” p oposed and implemen ed by Bauhaus.
A good example is minimalism. I is gaining s eng h in b and c ea ion, c ea i e iden i y, and commu-
nica ion. Ad e ising campaigns, pho oshoo s, and hei associa ion wi h he en i onmen , a chi ec u e,
ma e ials, geome y, and whi e spaces o di ec he iewe o he p oduc being communica ed in a simple
and clea manne all e lec his. Again, whe he in ypog aphy, layou , o bo h, a leas one o Bauhaus’s
p inciples is p esen in ashion communica ion. The balance and ha mony be ween all he elemen s ha
come oge he o c ea e his communica ion a e di ec ly linked o Bauhaus p inciples.
5) Based on he images and explana ions p e iously p esen ed, and you p io knowledge o he Bauhaus
(i any), ci e 1 o 3 cha ac e is ic elemen s o he school mos p esen in ashion g aphic communica ion.
1 – Layou and composi ion – Tex s and images a anged in a balanced and isually ha monious way,
clea ly and e ec i ely highligh ing he p oduc s.
2 – Typog aphy – C ucial o c ea ing a s ong b and iden i y, ypog aphy o en ca ies he Bauhaus legacy,
using simple, geome ic on s ha a e easy o ead and unde s and, helping o es ablish a sophis ica ed
and mode n aes he ic.
3 – Minimalism and unc ionali y – Remo ing excesses and dis ac ions, ocusing on essen ials o commu-
nica e clea ly and p ecisely.
6) Do you belie e ha ashion communica ion has become mo e minimalis and unc ional o e ime?
Yes. A minimalis , p ac ical, and unc ional app oach has been inc easingly adop ed in communica ion in
gene al. Fashion, in pa icula , is cons an ly e ol ing and changing apidly, leading o men al exhaus ion
and a need o pause, b ea hing, and quie ness. To his end, a mo e uncomplica ed communica ion, ee
om exagge a ion and dis ac ion, has been gaining g ound in b and c ea ion and hei
60
communica ion.
7) Knowing ha he main p inciple o he Bauhaus is unc ionalism, do you belie e ha he Bauhaus has
in luenced ashion communica ion o e he yea s since i s exis ence?
Absolu ely! Fashion p oduc communica ion needs o be unc ional, and o achie e his, i mus be simple,
p ac ical, and concise. The link be ween communica ion and he echnology used, and he unc ionali y
and p ac icali y i b ings o e e yday li e, lies a he co e o Bauhaus p inciples. I is nea ly impossible o
dissocia e he school om communica ion, especially as he so wa e used oday in design p ojec s elies
on ools based on Bauhaus p inciples, such as g ids. The s udy o p opo ions, posi ioning, angles, and
how o di ec he iewe ’s a en ion – all o hese echniques ha e a unc ion: o communica e he p oduc
clea ly and aes he ically, o en leading o sales. These de ails and many o he s ela ed o he “science o
ashion communica ion” a e also connec ed o Bauhaus’s undamen al p inciple o unc ionali y.
8) The Bauhaus emphasised he concep o “ o m ollows unc ion.” How do you see his concep being
applied in he c ea ion o ashion campaigns o in he design o ashion b and websi es?
I belie e ha o m, in he case o campaigns and ashion websi es – o en dealing wi h in angible p oduc s
– is di e en om a p oduc ha can be handled and adjus ed o i he body, b inging com o and
p ac icali y. In communica ion, he ela ionship be ween o m and unc ion is closely ied o how p ac ical
he use ( eade , iewe , buye ) inds he ad e , campaign, o websi e. I also conce ns how easily he
con en is o ganised and p esen ed, guiding he use na u ally and in ui i ely o unde s anding, desi e o
he p oduc , and ul ima ely, a pu chase.
A websi e wi h an in ui i e in e ace, ee om clu e and excessi e in o ma ion, whe e he s eps o b owse
p oduc s, selec , egis e , buy, and pay low na u ally, is essen ial. The layou o di e en ypes o pieces –
clo hes and accesso ies ha can be coo dina ed – allows use s o p e iew po en ial ou i s, encou aging
mul iple pu chases in one ansac ion. Essen ially, well-applied me chandising on an online s o e. This is
he pe ec union be ween o m and unc ion, making e ec i e use o pho og aphy and ypog aphy bu
going beyond me e aes he ics o deli e a pleasan use expe ience, esul ing in sa is ac ion and u u e
pu chases.
9) In you opinion, how has he legacy o he Bauhaus in luenced he way ashion b ands use g aphic
design o con ey hei alues and iden i y?
The Bauhaus pe pe ua ed i s legacy by ocusing on he co e aspec s o he p oduc , aiming o e ine
consume goods, especially a he indus ial le el. Focusing on simplici y, unc ionali y, com o , and he
end use ’s expe ience – bo h physical and men al – while o e ing aes he ically pleasing and indus ially
iable p oduc s ha a e accessible o all, was he ecipe o success. This has in luenced he design and
61
communica ion o bo h angible and in angible goods o decades. Fashion b ands now aim o c ea e
uncomplica ed, accessible p oduc s and communica ion, inc easingly in es ing in an iden i y ha is easily
ecognisable by he public and ensu es a clea and las ing ma ke posi ion. To achie e his, hey employ
mode n ye imeless design elemen s in hei p oduc s and communica ion.
10) The Bauhaus encou aged expe imen a ion and inno a ion. How do you see his mindse e lec ed
in mode n app oaches o isual communica ion in ashion, such as in digi al ashion campaigns o in
collabo a ions be ween g aphic designe s and ashion designe s?
Gi en he lee ing na u e o ashion and he apid pace a which ends and collec ions eme ge and
ade, ashion has posi ioned i sel as a pionee in expe imen a ion and inno a ion. Whe he in ma e ials
o communica ion, he indus y con inues o ocus on p o iding expe iences ha engage and cap i a e
consume s. A good example is he adop ion o me a e se pla o ms by many ashion b ands, launching
games, opening NFT s o es, and pa icipa ing in e en s such as i ual ashion shows and show ooms.
Ano he no able example is he use o a i icial in elligence, al eady applied h oughou he p oduc cycle
– om ma ke esea ch and concep de elopmen o design, p oduc ion, sales, and dis ibu ion. AI helps
di ec o e s o sui each consume ’s pe sonal s yle, guides cus ome s on he ideal size and colou s, and
enables i ual y-ons, among many o he unc ions.
11) Conside ing ha he Bauhaus alued in e disciplina i y, how do you see he collabo a ion be ween
g aphic designe s and ashion designe s in he c ea ion o ashion pieces o in he de elopmen o isual
campaigns?
The in e disciplina i y p oposed by Bauhaus has expanded he ho izons o he ashion indus y, which
equen ly es ablishes s ong, p o i able pa ne ships wi h o he a eas such as a chi ec u e, a , echnology,
p oduc design, and especially g aphic design. The symbiosis be ween ashion and o he a eas en iches
bo h he p oduc s and hei communica ion, o e ing di e en pe spec i es on de eloping ma e ials o
each a b oad and di e se audience. Addi ionally, i in oduces new and unusual ma e ials and p ocesses,
os e ing challenges and inno a ion.
12) The Bauhaus had a s ong belie in accessible and democ a ic design. How do you hink his p inciple
can be seen in he communica ion o ashion b ands ha seek o a ac a b oade and mo e di e se
audience?
Rega ding he accessibili y o ashion b and communica ion, I belie e i ela es o how easily any ecipien
( eade , iewe , buye ), ega dless o hei economic, social, geog aphic, o physical si ua ion, can ecei e
and unde s and he in o ma ion being con eyed. The idea o a uni e sal design, as ad oca ed by Bauhaus,
is qui e complex gi en he immense di e si y o indi idual limi a ions. Especially when conside ing he
ad anced s a e o globalisa ion and he wide each o many ashion b ands. Besides simpli-
62
ying in o ma ion o ease o unde s anding, many b ands adop di e en channels o es ablish commu-
nica ion, using he senses o ision, hea ing, ouch, and smell when possible, c ea ing a synes he ic
expe ience in he p ocess. This can be seen in ad e ising, pa icipa ion in e en s, s o e o ganisa ion, and
cus ome se ice, among o he s.
13) The Bauhaus in luenced he pe cep ion o design as a o m o uni e sal communica ion. Do you hink
his idea is isible in he global communica ion s a egies o ashion b ands?
Yes. The in luence o Bauhaus on design sp ead ac oss he globe, making i easy o see emnan s o his
legacy in ashion b ands wo ldwide. Good design anscends cul u al and linguis ic ba ie s due o i s
unc ional na u e. To achie e his, i ’s impo an o explo e he simplici y o o ms and colou s, balance
and ha mony, and a conce n o he use ’s com o and well-being. These alues align wi h hose ecog-
nised and app ecia ed ac oss many cul u es.
14) Simplici y and clean design a e hallma ks o he Bauhaus. How do you see hese elemen s being
inco po a ed in o he design o logos and isual iden i ies o con empo a y ashion b ands?
Sus ainable ashion ad oca es o he c ea ion o p oduc s ha ha e a minimal en i onmen al impac ,
and o accomplish his, i is essen ial o a oid was e and educe unnecessa y excess. Bauhaus’s p inciple
o unc ionali y and i s sea ch o simplici y and p ac icali y, ocusing on e ining p ocesses o op imise
esou ces, aligns pe ec ly wi h sus ainabili y. In ashion communica ion, his is e lec ed in simple, s ai-
gh o wa d, and o en minimalis ad e s ha ocus on con eying he essence o he b and and i s alues,
pa icula ly he commi men o sus ainabili y, en i onmen al awa eness, and social esponsibili y.
15) How do you see he ypog aphic p inciples o he Bauhaus, such as he use o geome ic o ms and
sans-se i on s, being e lec ed in he o e all g aphic con en o con empo a y ashion, including p omo-
ional ma e ials, edi o ial design, websi e and digi al media?
The applica ion o Bauhaus ypog aphic p inciples, in all hei a ia ions, allows o cla i y in he ansmis-
sion/ ecep ion o he message o be communica ed. While i enounces i ele an deco a i e elemen s,
i makes oom o wha uly ma e s in he ma e ial, which is he p oduc and he clea in o ma ion. In
his way, he e is be e in e ac ion be ween he ex and he image, b inging ha mony o he composi ion
and ensu ing ha bo h wo k oge he , p o iding a balanced impac whe e each equi es he necessa y
a en ion.
Ma ia Inês, 23, b and manage
1) Be o e seeing hese images and eading he explana ions, had you e e hea d o he Bauhaus? I so,
63
o he examples)? Please commen .
Yes, ashion ads seem o ocus on simplici y, jus like wha Bauhaus p omo ed. They o en use basic co-
lou s, minimal ex and lo s o clean space, which looks like Bauhaus ideas a wo k.
5) Based on he images and explana ions p e iously p esen ed, and you p io knowledge o he Bauhaus
(i any), ci e 1 o 3 cha ac e is ic elemen s o he school mos p esen in ashion g aphic communica ion.
I would say he simplici y, he ocus on unc ion, and he use o geome ic shapes. These all seem o be
pa o ashion design now, especially in logos and ads.
6) Do you belie e ha ashion communica ion has become mo e minimalis and unc ional o e ime?
Yes, I hink ashion communica ion has go en a lo simple o e ime. I ’s mo e ocused on wha hey’ e
ying o sell wi hou a lo o ex a s u .
7) Knowing ha he main p inciple o he Bauhaus is unc ionalism, do you belie e ha he Bauhaus has
in luenced ashion communica ion o e he yea s since i s exis ence?
I hink so, because mode n ashion ads a e e y clea and o he poin , which seems o i wi h Bauhaus’s
idea o being unc ional and no deco a i e.
8) The Bauhaus emphasised he concep o “ o m ollows unc ion.” How do you see his concep being
applied in he c ea ion o ashion campaigns o in he design o ashion b and websi es?
I seems like e e y hing in ashion campaigns has a pu pose, like he way hey posi ion he clo hes o
design he layou . E en ashion websi es a e buil o make shopping easy, so hey’ e unc ional i s , which
is wha Bauhaus was abou , I hink.
9) In you opinion, how has he legacy o he Bauhaus in luenced he way ashion b ands use g aphic
design o con ey hei alues and iden i y?
I hink b ands use e y simple designs now o show hey’ e mode n, and hey don’ need o add any hing
ex a o p o e i .
10) The Bauhaus encou aged expe imen a ion and inno a ion. How do you see his mindse e lec ed in
mode n app oaches o isual communica ion in ashion, such as in digi al ashion campaigns o in colla-
bo a ions be ween g aphic designe s and ashion designe s?
I looks like ashion b ands a e ying new hings wi h digi al ads and social media, combining g aphic de-
sign wi h ashion. I eels like hey’ e always pushing bounda ies, which I hink is simila o wha Bauhaus
was doing back hen.
11) Conside ing ha he Bauhaus alued in e disciplina i y, how do you see he collabo a ion be ween
g aphic designe s and ashion designe s in he c ea ion o ashion pieces o in he de elopmen o isual
campaigns?
70

I hink g aphic designe s and ashion designe s mus be wo king oge he all he ime now, especially in
c ea ing ads o e en designing clo hing collec ions ha a e isually cohesi e.
12) The Bauhaus had a s ong belie in accessible and democ a ic design. How do you hink his p inciple
can be seen in he communica ion o ashion b ands ha seek o a ac a b oade and mo e di e se
audience?
I no iced ha b ands a e ying o be simple and mo e app oachable, so e e yone can connec wi h hei
message. The designs a en’ complica ed, so mo e people can unde s and and ela e o hem.
13) The Bauhaus in luenced he pe cep ion o design as a o m o uni e sal communica ion. Do you hink
his idea is isible in he global communica ion s a egies o ashion b ands?
Yes, b ands seem o use simple designs ha can be unde s ood anywhe e in he wo ld, ega dless o
cul u e o language. This seems o align wi h he Bauhaus’s goal o making design uni e sal.
14) Simplici y and clean design a e hallma ks o he Bauhaus. How do you see hese elemen s being
inco po a ed in o he design o logos and isual iden i ies o con empo a y ashion b ands?
A lo o logos a e e y simple now, jus using clean lines and minimal shapes. This de ini ely seems con-
nec ed o Bauhaus, which p omo ed hose exac ideas.
15) How do you see he ypog aphic p inciples o he Bauhaus, such as he use o geome ic o ms and
sans-se i on s, being e lec ed in he o e all g aphic con en o con empo a y ashion, including p omo-
ional ma e ials, edi o ial design, websi e and digi al media?
Sans-se i on s a e e e ywhe e now, om websi es o ads. I makes e e y hing easy o ead and looks
mode n, which seems like a Bauhaus in luence.
Alexand e, 32, public ela ions
1) Be o e seeing hese images and eading he explana ions, had you e e hea d o he Bauhaus? I so,
b ie ly desc ibe you p e ious con ac wi h he school.
No, I’ e ne e hea d o Bauhaus be o e. The ma e ials and images we e my i s in oduc ion o i .
2) Do you see aces o he Bauhaus in e e yday li e? P o ide examples.
I guess a e seeing he images, I can ecognize Bauhaus in mode n u ni u e and maybe in some buil-
dings. I hink ha he sleek and simple design o hings like o ice chai s o basic co ee ables could be
connec ed o Bauhaus.
3) Can you pe cei e any ela ionship be ween he Bauhaus and g aphic communica ion (ad e ising, g a-
phic ma e ials, digi al con en aes he ics, pho og aphic and audio isual campaigns, among o he exam-
ples) o p oduc s and se ices in gene al? Please commen .
71
I can see how Bauhaus ideas show up in ads. A lo o ad e ising seems o be abou clean and di ec
isuals, which is wha I unde s and Bauhaus s ood o .
4) Do you see any ela ionship be ween he p inciples o he Bauhaus and ashion g aphic communica-
ion (ad e ising, g aphic ma e ials, digi al con en aes he ics, pho og aphic and audio isual campaigns,
among o he examples)? Please commen .
I seems like ashion b ands use Bauhaus p inciples, especially in hei ad layou s. The way hey use
minimal ex and keep he ocus on he p oduc eminds me o wha Bauhaus p omo es, no oo much
deco a ion, jus wha ’s necessa y.
5) Based on he images and explana ions p e iously p esen ed, and you p io knowledge o he Bauhaus
(i any), ci e 1 o 3 cha ac e is ic elemen s o he school mos p esen in ashion g aphic communica ion.
The main elemen s I see om Bauhaus in ashion a e simplici y, ocus on unc ion, and he use o clean,
s aigh lines in ads and websi es.
6) Do you belie e ha ashion communica ion has become mo e minimalis and unc ional o e ime?
Yes, I hink ashion communica ion has become mo e minimalis . I see mo e clean designs wi h ewe
de ails, which makes e e y hing look sleek and mode n.
7) Knowing ha he main p inciple o he Bauhaus is unc ionalism, do you belie e ha he Bauhaus has
in luenced ashion communica ion o e he yea s since i s exis ence?
F om wha I’ e seen, i looks like Bauhaus had some in luence on ashion communica ion. B ands seem
o ocus on unc ionali y in hei ads, and e e y hing is e y s eamlined.
8) The Bauhaus emphasised he concep o “ o m ollows unc ion.” How do you see his concep being
applied in he c ea ion o ashion campaigns o in he design o ashion b and websi es?
The “ o m ollows unc ion” idea makes sense in ashion websi es. They’ e designed o make shopping
easy, wi h simple layou s ha help you ind p oduc s as , which eels like a di ec applica ion o ha
p inciple.
9) In you opinion, how has he legacy o he Bauhaus in luenced he way ashion b ands use g aphic
design o con ey hei alues and iden i y?
Fashion b ands seem o use simplici y o show wha hey s and o , like how hey keep hei designs clean
and ocused. I hink his comes om Bauhaus’s in luence on using design o communica e clea ly.
10) The Bauhaus encou aged expe imen a ion and inno a ion. How do you see his mindse e lec ed in
mode n app oaches o isual communica ion in ashion, such as in digi al ashion campaigns o in colla-
bo a ions be ween g aphic designe s and ashion designe s?
I see ha ashion b ands a e always ying new hings in hei isuals, especially in digi al campaigns.
72
12) The Bauhaus had a s ong belie in accessible and democ a ic design. How do you hink his p inciple
can be seen in he communica ion o ashion b ands ha seek o a ac a b oade and mo e di e se
audience?
I seems like b ands a e ying o communica e wi h a b oade audience by using simple and clea desig-
ns. I hink Bauhaus’s idea o democ a ic design is de ini ely pa o ha .
13) The Bauhaus in luenced he pe cep ion o design as a o m o uni e sal communica ion. Do you hink
his idea is isible in he global communica ion s a egies o ashion b ands?
Fashion b ands de ini ely y o appeal o global audiences h ough uni e sal designs, which seems in line
wi h Bauhaus’s idea ha design should be unde s ood by e e yone, no ma e whe e hey’ e om.
14) Simplici y and clean design a e hallma ks o he Bauhaus. How do you see hese elemen s being
inco po a ed in o he design o logos and isual iden i ies o con empo a y ashion b ands?
You can see he in luence o Bauhaus in ashion logos oday. They’ e usually e y simple and s aigh o-
wa d, wi hou any complica ed designs, which makes hem memo able and easy o ecognize.
15) How do you see he ypog aphic p inciples o he Bauhaus, such as he use o geome ic o ms and
sans-se i on s, being e lec ed in he o e all g aphic con en o con empo a y ashion, including p omo-
ional ma e ials, edi o ial design, websi e and digi al media?
I no ice ha a lo o b ands use simple, geome ic on s in hei ads and websi es. This ma ches wha I
lea ned abou Bauhaus’s p e e ence o clea , easy- o- ead ypog aphy, which helps make e e y hing eel
mode n and unc ional.
Ana, 31, head o cus ome se ice
1) Be o e seeing hese images and eading he explana ions, had you e e hea d o he Bauhaus? I so,
b ie ly desc ibe you p e ious con ac wi h he school.
I hadn’ hea d o Bauhaus be o e. I needed he explana ions and images o unde s and wha i is.
2) Do you see aces o he Bauhaus in e e yday li e? P o ide examples.
Now ha I’ e seen some examples, I hink Bauhaus could be p esen in some hings a ound me. Maybe in
minimalis home deco o he way some buildings look. I wouldn’ ha e known ha was Bauhaus be o e,
hough.
3) Can you pe cei e any ela ionship be ween he Bauhaus and g aphic communica ion (ad e ising, g a-
phic ma e ials, digi al con en aes he ics, pho og aphic and audio isual campaigns, among o he exam-
ples) o p oduc s and se ices in gene al? Please commen .
I hink so. A lo o ad e ising seems eally simple now, wi h clean designs and no much ex . I eminds
73
me o he Bauhaus images I saw, whe e e e y hing has a pu pose and isn’ o e ly deco a i e.
4) Do you see any ela ionship be ween he p inciples o he Bauhaus and ashion g aphic communica-
ion (ad e ising, g aphic ma e ials, digi al con en aes he ics, pho og aphic and audio isual campaigns,
among o he examples)? Please commen .
I would say he main Bauhaus elemen s in ashion g aphic communica ion a e minimalism, clean lines,
and he idea ha he design should se e a pu pose, no jus look good.
5) Based on he images and explana ions p e iously p esen ed, and you p io knowledge o he Bauhaus
(i any), ci e 1 o 3 cha ac e is ic elemen s o he school mos p esen in ashion g aphic communica ion.
The main elemen s I see om Bauhaus in ashion a e simplici y, ocus on unc ion, and he use o clean,
s aigh lines in ads and websi es.
6) Do you belie e ha ashion communica ion has become mo e minimalis and unc ional o e ime?
De ini ely. Fashion communica ion has become mo e abou being s aigh o wa d and unc ional, a he
han o e - he- op o lashy. I ’s all abou simplici y now.
7) Knowing ha he main p inciple o he Bauhaus is unc ionalism, do you belie e ha he Bauhaus has
in luenced ashion communica ion o e he yea s since i s exis ence?
I hink so. The emphasis on unc ionali y in Bauhaus seems o ha e ca ied o e in o ashion communica-
ion, whe e he ocus is mo e on making he design p ac ical and easy o unde s and.
8) The Bauhaus emphasised he concep o “ o m ollows unc ion.” How do you see his concep being
applied in he c ea ion o ashion campaigns o in he design o ashion b and websi es?
I see i in how hey a e designed. E e y hing is laid ou in a way ha makes i easy o ind o ocus on
wha ’s impo an , like he p oduc . This eels like an applica ion o o m ollows unc ion.
9) In you opinion, how has he legacy o he Bauhaus in luenced he way ashion b ands use g aphic
design o con ey hei alues and iden i y?
I hink Bauhaus has in luenced ashion b ands by showing hem ha hey can use simple and clean
designs o communica e hei iden i y. I makes hem s and ou in a mo e sophis ica ed and clea way.
10) The Bauhaus encou aged expe imen a ion and inno a ion. How do you see his mindse e lec ed in
mode n app oaches o isual communica ion in ashion, such as in digi al ashion campaigns o in colla-
bo a ions be ween g aphic designe s and ashion designe s?
I can see ha ashion b ands a e always ying new hings in hei isuals, especially in digi al campaigns.
The collabo a ions be ween g aphic designe s and ashion b ands seem o ollow ha expe imen al spi i
Bauhaus encou aged.
11) Conside ing ha he Bauhaus alued in e disciplina i y, how do you see he collabo a ion be ween
74
g aphic designe s and ashion designe s in he c ea ion o ashion pieces o in he de elopmen o isual
campaigns?
The collabo a ion be ween g aphic designe s and ashion designe s seems o be a big pa o how ashion
campaigns come oge he now. You can see i in he way clo hing b ands ha e eally well- hough -ou i-
suals and layou s. I ’s clea ha bo h design ields wo k oge he o c ea e some hing mo e cohesi e and
impac ul, much like he in e disciplina y app oach Bauhaus p omo ed.
12) The Bauhaus had a s ong belie in accessible and democ a ic design. How do you hink his p inciple
can be seen in he communica ion o ashion b ands ha seek o a ac a b oade and mo e di e se
audience?
Bauhaus’s idea o accessible and democ a ic design seems o come h ough in how some ashion b ands
y o appeal o e e yone. Keeping hings simple, making hei ads and designs clea and easy o unde s-
and o a wide ange o people, ega dless o whe e hey’ e om o hei backg ound.
13) The Bauhaus in luenced he pe cep ion o design as a o m o uni e sal communica ion. Do you hink
his idea is isible in he global communica ion s a egies o ashion b ands?
I hink Bauhaus’s uni e sal communica ion h ough design is de ini ely some hing you see in global
ashion b ands. They use clean, minimalis ic designs ha can wo k in any cul u e, making hei messages
easy o g asp no ma e whe e you a e in he wo ld.
14) Simplici y and clean design a e hallma ks o he Bauhaus. How do you see hese elemen s being
inco po a ed in o he design o logos and isual iden i ies o con empo a y ashion b ands?
I can see Bauhaus’s in luence in he logos o ashion b ands oday. They end o use simple, geome ic
shapes, and he o e all design is clean and minimal. I makes he logos easy o ecognize and e y mo-
de n-looking, which I hink connec s di ec ly o Bauhaus p inciples.
15) How do you see he ypog aphic p inciples o he Bauhaus, such as he use o geome ic o ms and
sans-se i on s, being e lec ed in he o e all g aphic con en o con empo a y ashion, including p omo-
ional ma e ials, edi o ial design, websi e and digi al media?
The use o sans-se i on s and geome ic designs is e y clea in ashion oday. You see i e e ywhe e,
om magazine layou s o websi es. I ’s all abou eadabili y and cla i y, which I’ e lea ned a e key p inci-
ples o he Bauhaus.
Ma ia, 29, buye assis an
1) Be o e seeing hese images and eading he explana ions, had you e e hea d o he Bauhaus? I so,
b ie ly desc ibe you p e ious con ac wi h he school.
75

I hea d abou he Bauhaus du ing a design cou se I ook, bu hones ly, I don’ emembe much abou i .
I know i ’s some hing impo an in design, especially mode n design, bu ha ’s abou i .
2) Do you see aces o he Bauhaus in e e yday li e? P o ide examples.
I hink you can see some o i s in luence in mode n minimalis designs. Fu ni u e, o example, hings
like chai s and lamps wi h clean lines and simple designs eel e y Bauhaus inspi ed, e en i I don’ know
much abou i .
3) Can you pe cei e any ela ionship be ween he Bauhaus and g aphic communica ion (ad e ising, g a-
phic ma e ials, digi al con en aes he ics, pho og aphic and audio isual campaigns, among o he exam-
ples) o p oduc s and se ices in gene al? Please commen .
I hink Bauhaus’s clean and unc ional s yle shows up in minimalis ad e ising, especially wi h high-end
b ands. The simple bu s iking designs make he p oduc s and ou wi hou oo much ex a deco a ion.
4) Do you see any ela ionship be ween he p inciples o he Bauhaus and ashion g aphic communica-
ion (ad e ising, g aphic ma e ials, digi al con en aes he ics, pho og aphic and audio isual campaigns,
among o he examples)? Please commen .
Yes, de ini ely in he use o clean, simple designs in ashion. Logos a e now o en minimalis , and you see
geome ic pa e ns ha p obably ha e Bauhaus in luences. Some high-end ashion b ands keep hei ads
simple bu powe ul, like P ada.
5) Based on he images and explana ions p e iously p esen ed, and you p io knowledge o he Bauhaus
(i any), ci e 1 o 3 cha ac e is ic elemen s o he school mos p esen in ashion g aphic communica ion.
Geome ic shapes, simplici y, and a ocus on unc ionali y.
6) Do you belie e ha ashion communica ion has become mo e minimalis and unc ional o e ime?
Yes, I hink o e ime ashion b ands ha e mo ed owa ds mo e minimalis designs. The ocus is now on
cla i y and cu ing ou excess, which seems like some hing he Bauhaus migh ha e in luenced.
7) Knowing ha he main p inciple o he Bauhaus is unc ionalism, do you belie e ha he Bauhaus has
in luenced ashion communica ion o e he yea s since i s exis ence?
Yes, I hink i ’s had a sub le in luence. Fashion communica ion oday seems o be mo e s uc u ed and
pu pose ul.
8) The Bauhaus emphasised he concep o “ o m ollows unc ion.” How do you see his concep being
applied in he c ea ion o ashion campaigns o in he design o ashion b and websi es?
In ashion campaigns, you o en see sleek layou s wi h p ac ical image y, so he design doesn’ dis ac
om he p oduc i sel .
9) In you opinion, how has he legacy o he Bauhaus in luenced he way ashion b ands use simple
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isuals o communica e hei co e alues. The designs a e o en minimalis and unc ional, which makes
he b and’s message clea .
10) The Bauhaus encou aged expe imen a ion and inno a ion. How do you see his mindse e lec ed in
mode n app oaches o isual communica ion in ashion, such as in digi al ashion campaigns o in colla-
bo a ions be ween g aphic designe s and ashion designe s?
You see a lo o collabo a ion be ween ashion and g aphic designe s oday, which eels e y Bauhaus.
Fashion b ands expe imen wi h digi al campaigns, and he esul s a e o en qui e c ea i e.
11) Conside ing ha he Bauhaus alued in e disciplina i y, how do you see he collabo a ion be ween
g aphic designe s and ashion designe s in he c ea ion o ashion pieces o in he de elopmen o isual
campaigns?
I hink he e’s a lo mo e collabo a ion now, which leads o s onge , mo e cohesi e campaigns. I eels
like g aphic design is jus as impo an as he clo hing i sel .
12) The Bauhaus had a s ong belie in accessible and democ a ic design. How do you hink his p inciple
can be seen in he communica ion o ashion b ands ha seek o a ac a b oade and mo e di e se
audience?
Bauhaus’s ideas o accessible design show up in how b ands make hei communica ion simple and easy
o unde s and o e e yone. I ’s no o e ly complica ed, which helps each mo e people.
13) The Bauhaus in luenced he pe cep ion o design as a o m o uni e sal communica ion. Do you hink
his idea is isible in he global communica ion s a egies o ashion b ands?
Yes, b ands oday use minimalis designs ha wo k globally because hey ocus on simplici y and unc ion,
so ha means ha Bauhaus ideas a e p esen in ha uni e sal appeal.
14) Simplici y and clean design a e hallma ks o he Bauhaus. How do you see hese elemen s being
inco po a ed in o he design o logos and isual iden i ies o con empo a y ashion b ands?
I hink you see i in he way logos a e so minimalis now. Simple geome ic shapes and clean lines a e
e e ywhe e, and ha eels e y Bauhaus.
15) How do you see he ypog aphic p inciples o he Bauhaus, such as he use o geome ic o ms and
sans-se i on s, being e lec ed in he o e all g aphic con en o con empo a y ashion, including p omo-
ional ma e ials, edi o ial design, websi e and digi al media?
You can see i in he use o clean, easy- o- ead on s in ashion magazines and ads. The ypog aphy is
simple bu bold, which eels like a Bauhaus in luence.
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Raphaela, 30, cus ome suppo assis an
1) Be o e seeing hese images and eading he explana ions, had you e e hea d o he Bauhaus? I so,
b ie ly desc ibe you p e ious con ac wi h he school.
I’ e hea d o he Bauhaus, bu only in passing while I was a he uni e si y. I didn’ s udy i in-dep h, bu I
know i had a majo impac on design ields.
2) Do you see aces o he Bauhaus in e e yday li e? P o ide examples.
I associa e Bauhaus mo e wi h mode n a chi ec u e and e en echnology. Like, sma phones and o he
gadge s combine simplici y wi h unc ionali y, which eels like some hing Bauhaus would ocus on.
3) Can you pe cei e any ela ionship be ween he Bauhaus and g aphic communica ion (ad e ising, g a-
phic ma e ials, digi al con en aes he ics, pho og aphic and audio isual campaigns, among o he exam-
ples) o p oduc s and se ices in gene al? Please commen .
Yes, Bauhaus seems o in luence he ypog aphy and layou in ads and websi es. The way hings a e s uc-
u ed—bold lines, simple elemen s—i eels like hey wan o keep e e y hing unc ional bu eye-ca ching.
4) Do you see any ela ionship be ween he p inciples o he Bauhaus and ashion g aphic communica-
ion (ad e ising, g aphic ma e ials, digi al con en aes he ics, pho og aphic and audio isual campaigns,
among o he examples)? Please commen .
Yes, in he way ashion magazines and websi es use bold, clea layou s wi h s aigh o wa d ypog aphy.
The s uc u e is o en unc ional, keeping he ocus on he clo hing a he han o e -complica ing hings.
5) Based on he images and explana ions p e iously p esen ed, and you p io knowledge o he Bauhaus
(i any), ci e 1 o 3 cha ac e is ic elemen s o he school mos p esen in ashion g aphic communica ion.
Minimalism, clean lines and p ac ical ypog aphy.
6) Do you belie e ha ashion communica ion has become mo e minimalis and unc ional o e ime?
De ini ely. Minimalism has aken o e , and b ands a e using unc ional designs o ge hei message
ac oss wi hou o e whelming he audience.
7) Knowing ha he main p inciple o he Bauhaus is unc ionalism, do you belie e ha he Bauhaus has
in luenced ashion communica ion o e he yea s since i s exis ence?
I’d say yes. The way campaigns a e o ganised and designed oday, wi h a ocus on simplici y and unc ion,
e lec s Bauhaus’s long-las ing impac .
8) The Bauhaus emphasised he concep o “ o m ollows unc ion.” How do you see his concep being
applied in he c ea ion o ashion campaigns o in he design o ashion b and websi es?
On websi es, i ’s all abou making he use expe ience easy and in ui i e. The layou is designed o help
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people shop easily, which is a p ac ical applica ion o o m- ollows- unc ion.
9) In you opinion, how has he legacy o he Bauhaus in luenced he way ashion b ands use g aphic
design o con ey hei alues and iden i y?
I hink Bauhaus p inciples help b ands s and ou by making hei iden i y mo e ecognisable. Using clean
designs and simplici y makes he b and’s alues easie o unde s and.
10) The Bauhaus encou aged expe imen a ion and inno a ion. How do you see his mindse e lec ed in
mode n app oaches o isual communica ion in ashion, such as in digi al ashion campaigns o in colla-
bo a ions be ween g aphic designe s and ashion designe s?
I hink he expe imen al mindse shows up in how ashion b ands push he bounda ies o digi al campaig-
ns, using new echnologies and bold designs o inno a e.
11) Conside ing ha he Bauhaus alued in e disciplina i y, how do you see he collabo a ion be ween
g aphic designe s and ashion designe s in he c ea ion o ashion pieces o in he de elopmen o isual
campaigns?
In e disciplina y app oaches seem o be a big pa o ashion oday. Me ging g aphic design wi h ashion
c ea es mo e inno a i e and appealing campaigns ha eally cap u e people’s a en ion.
12) The Bauhaus had a s ong belie in accessible and democ a ic design. How do you hink his p inciple
can be seen in he communica ion o ashion b ands ha seek o a ac a b oade and mo e di e se
audience?
I hink he push o cla i y and simplici y in ashion communica ion oday e lec s ha democ a ic app o-
ach. No only alking abou ashion, b ands in gene al wan hei message o be accessible o a di e se
audience, and he clean design helps wi h ha .
13) The Bauhaus in luenced he pe cep ion o design as a o m o uni e sal communica ion. Do you hink
his idea is isible in he global communica ion s a egies o ashion b ands?
Yes. Bauhaus’s in luence on global communica ion is clea , b ands use unc ional and simple designs ha
can easily esona e ac oss di e en cul u es and ma ke s.
14) Simplici y and clean design a e hallma ks o he Bauhaus. How do you see hese elemen s being
inco po a ed in o he design o logos and isual iden i ies o con empo a y ashion b ands?
Yes, I mean, logos a e much cleane oday. B ands seem o p io i ise minimalism and simplici y, which
makes hem mo e ecognisable.
15) How do you see he ypog aphic p inciples o he Bauhaus, such as he use o geome ic o ms and
sans-se i on s, being e lec ed in he o e all g aphic con en o con empo a y ashion, including p omo-
ional ma e ials, edi o ial design, websi e and digi al media?
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