Colloquium

“

Ethnic Fashion of India”

Fashion seasons and Trend Forecasting

An Research Paper submitted to Department of Fashion Communication NIFT Bangalore

In partial fulfillment of the degree of

B.Des in Fashion Communication Guided By

Mr. Lordsun Shivkumar

Submitted by

Aarushi Saxena 061275500001

Department of Fashion Communication National Institute of Fashion Technology Bangalore - 560102

ETHNIC

FASHION A STUDY ON FASHION SEASONS & TREND FORECASTING FOR ETHNIC WEAR IN INDIA

CERTIFICATE This is to certify that the Research titled ‘’Ethnic Fashion of India: Fashion seasons and Trend Forecasting‘’ is a record of research work done by the candidate, Aarushi Saxena (Registration No. 061275500001) as a regular student for the degree of B.Des Fashion Communication during the year 2015, which represents as independent work and does not form the base for any previous study, research or any title.

PLACE : Bangalore DATE: 20th Nov 2015

RESEARCH SUPERVISOR Mr. Lordsun Shivkumar Assistant Professor Fashion Communication National Institute of Fashion Technology Bangalore

ACKNOWLEDGEMENT I would like to express my sincere gratitude to my professors at NIFT, Ms. Dilnaz Banu and Mr. Lordsun Shivkumar for guiding me through this process and providing me with her valuable inputs on the various proposed research topics and ideas I put forward before them.

Furthermore, without their assistance the completion of this research would have proved to be a difficult task, for which I am extremely grateful.

I have interviewed many people in the process, to gain accurate data for my research, to them I am thankful for their participation.

A few names, that I would like to mention, who have been essential in their contribution to the project are: Ms. Prithvi Rao and Ms. Harleen Sabharwal.

Also, I would like to thank my family who encouraged me, to not only take forward my opinions but to convert them into a solid base for this project.

ONTENT

PROJECT GOAL PROJECT GOAL Objective ... 1 Research Methodology ... 2 Key Terms and Definitions ... 3 Introduction ... 5

REVIEW OF LITERATURE

REVIEW OF LITERATURE

The Indian Fashion Scenario The Evolving Indian Consumer Western Vs Ethnic Fashion Growing importance of Ethnic fashion Introduction to Fashion Forecasting Fashion Forecasting: Indian Scenario Methods of Forecasting Famous Indian Forecasters

... 6 ... 9 ... 10 ... 11 ... 12 ... 13 ... 14 ... 17

DATA ANALYSIS DATA ANALYSIS Primary Research Methodology Survey 1 Survey 2 Inference Case Study : Biba Case Study: Soch Case Study: Global Desi Inference

... 18 ... 20 ... 24 ... 27 ... 28 ... 34 ... 40 ... 47

CONCLUSION

... 49

DELIVERABLE: TREND MAGAZINE

... 52

BIBLIOGRAPHY ... 56 APPENDIX ... 58

OBJECTIVE The project aims to create a basis for a fashion forecasting platform in India that is relevant to the country’s geographic and demographic versatility. A detailed analysis of the industry process of trend predictions, in ethnic wear brands has been carried out to understand the current situation. At the same time, the project focuses on ethnic fashion for women and hence promotes the acceptance of the same.

An essential step that is required to take forward the above mentioned, is to establish fashion seasons that are relevant to Indian culture, which is a primary aim of the project.

A few of the areas that will be catered to in the duration of this project are: • Identification of fashion seasons relevant to India • Study of the forecasting process in Indian ethnic wear brands The proposed outcome (deliverable) of the project is trend magazine/style book that includes relevant ethnic fashion trends for the identified fashion season.

The stylebook will contain the observed fashion trends for women’s ethnic/traditional wear and ways to combine the trends forecasted to ‘get the looks’ for that particular season.

The process followed to obtain and develop the above mentioned, includes: studying street styles in the ethnic fashion category, relevant brands and their competitors, designer’s collections, fashion shows and runways, fashion journals such as magazines, tabloids and blogs.

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RESEARCH METHODOLOGY At this stage, it is important to define certain terminology and determine the parameters and extent of the research, along with the type of research method employed to gain the data and analyse it.

RESEARCH TECHNIQUES Descriptive Research: Descriptive research designs help provide answers to the questions of who, what, when, where, and how associated with a particular research problem; a descriptive study cannot conclusively ascertain answers to why. Descriptive research is used to obtain information concerning the current status of the phenomena and to describe “what exists” with respect to variables or conditions in a situation.

Descriptive studies can involve a one-time interaction with groups of people in which the researcher interacts with the participants, by taking up surveys or interviews to collect the necessary information.

Descriptive studies in which the researcher does not interact with the participant include observational studies of people in an environment and studies involving data collection using existing records.

Observational Research: Observational research involves, simply observing and noting what you are seeing. After completion of all of observations, inferences can be deduced.

The project utilises descriptive research during the interviews and surveys to realise the significance of ethnic wear amongst urban Indian women and propose a set of fashion seasons relevant to India. It is also the main technique in understanding the forecasting process carried out by designers in ethnic wear brands.However, while conducting brand studies to analyse how collections differ seasonally, an observational research is carried out.

PROJECT FLOW The first stage of the project involves a review of literature, to gain a understanding of the various topics of relevance.

The second stage, is where the core research begins, using the collection of primary data to draw inferences and come to conclusions.

Phase 1: To determine fashion seasons relevant to ethnic wear in India, by speaking to the target audience and creatives involved in development of fashion and trends.

Phase 2: To understand the scenario of fashion forecasting in India, pertaining to women’s ethnic wear and the relevance of trends for the category.

Phase 3: To develop a trend magazine/style book on the upcoming season (as derived from the research) for women’s ethnic fashion.

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KEY TERMS &DEFINITIONS FASHION TREND ANALYSIS: The observation and spotting of certain styles, designs and changes in the fashion arena which have evolved over time, or just entered the picture. This also includes studying the reaction of certain target audiences towards the change and then drawing inferences from the observational study.

WOMEN’S ETHNIC WEAR: It is the fashion that embraces and represents a culture and allows one to celebrate their heritage and origin. Ethnic means that something shares the distinctive cultural traits of a group in society. In this context, ethnic wear includes all modern representations of traditional indigenous clothing for women.

FASHION SEASONS: The regular and periodic duration of intervals that classify different categories of fashion clothing and ensembles , usually based on climate and culture of a region.

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INTRODUCTION The Indian fashion industry may have finally started booming, growing at a phenomenal rate, gaining recognition on the worldwide stage. But in what manner has it made its mark? By increase in sales and contribution to economic development of the country, or by being seen as ‘fashion forward’ due to its ability to invite international brands and imitate western fashion and culture. Fashion consumers in India are undergoing an evolution and rapidly adapting to international fashion statements, despite the fact that fashion in India has thousands of years of tradition behind it. This project aims to create a deep rooted connection between the current perception of fashion and Indian demographics and ideologies.

The objective developed utilises fashion forecasting, which in this situation caters to a notion that fashion in India needs to take a turn and look into its own treasure box instead of following the lead of the west.

Today’s consumers imitate fashion at an international level, ignoring the history and beauty behind Indian clothing, which is only considered ‘trendy’ and popular during festive seasons.

At this point, fashion forecasting enters the picture. It can be a valuable tool in the underlying aim- which is to utilise indigenous aspects and create a unique identity for India in the worldwide fashion arena. If trends in Indian clothing were forecasted and made known to the masses, fashion ‘conscious’ consumers would step forward and popularise the style, automatically presenting a ‘Indian’ trend to be followed by the masses. In my opinion, developing on these factors, can change India’s fashion identity from one of ‘Imitating the West’ to ‘Innovation at its best’.

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THE INDIAN FASHION SCENARIO Indian Fashion Industry is at its infancy at the moment and has great potential to make the mark on the world stage. Clothing in India has thousands of years of tradition behind it, yet the fashion has yet to develop. Increasing exposure to global fashion and the boom after economic liberalization of the Indian economy in 1990, lead to the establishment of fashion as an industry, across India. In the next decade, fashion industry experienced a boom, both in terms of volume and trends.

Fashion has with international developments, such as the India Fashion Week gaining popularity, along with Lakme fashion week and annual shows by fashion designers held in major cities of India. However these events, take place according to a western fashion season structure, of Spring/ Summer and Fall/Winter, which is contradictory to many aspects of the Indian geographic and demographic conditions.

The Industry is a very big exporter of Fabrics and accessories for the global fashion industry. Indian ethnic designs are considered as a significant facet for the fashion houses and garment manufacturers all over the world. India also plays a vital role as one of the biggest players in the international fashion arena for fabrics, while sourcing for fashion wear. India’s strengths are due to its tradition, but even its raw materials. India is the third largest producer of cotton, the second largest producer of silk and the fifth largest producer of man-made fibres all over the world.

Market capitalisation According to approximations, the total market in India is calculated to be about Rs 20,000 crore. The branded Fashion market’s size is nearly one fourth of this or Rs 5,000 crore. Designer wear, in turn, covers nearly about 0.2 % of the branded apparel market. In an analysis of ASSOCHAM on “Indian Fashion Industry”, it was further revealed that the Indian fashion industry accounts for barely 0.2 % of the international industry’s net worth.

Development of trends In the fashionable world of trends there is always a mix of fads that result in a somewhat predictable season to come. The chic melange almost always includes a trend or two that see a comeback; the cult look which follows a cyclical pattern and reappears on the runway every decade or so; one latest craze that goes on to become the “it” look; an experimental whim that grows to be the order of the season and last but not the least a spill-over from the period prior.

India is a large country from diverse fashion needs from state to state. With relevance to growth, consumer behaviour and innovation, the trends emerging within the Indian fashion market can be broadly classified into the following categories, depending on their associations.

(Source: Technopak 2014):

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India’s Demographic Dividend: The demographic dividend of India is tilted in favour of the consuming age group. In contrast to the increasingly aged populations in the West, Japan, and even China, India is expected to become the world’s youngest emerging economy by 2020, with around 64% of its population in the working age group. This young consuming class has new aspirations and is more open to experimenting with fashion brands and modern designs. In addition to such a favourable age group, the Indian fashion retail market is expected to deal with a heterogeneous consumer group.

The Indian fashion consumer has been traditionally heterogeneous as a result of income disparities, the influence of ethnic clothing, regional preferences, etc. But in recent times, heterogeneity in taste, choice, and preferences has increased substantially even within consumers in the same region and same ethnic group, belonging to the same income level and age range. The Indian consumer is now conscious about his/her personality and selects such fashion products as might suit his/her personality the best. As a consequence, exclusive ethnic wear brands are multiplying in a market which is also accepting western wear fashion items more readily.

Retail-specific Policies: The government’s decision to allow Foreign Direct Investment (FDI) in multibrand retail is considered one of the most radical and reform-oriented decisions taken in recent times. However, despite the approval of the Indian parliament, the country is yet to witness any major inflow of FDI in multibrand retail. The policy also requires retailers to source at least 30% of their products from such domestic sources as medium and small scale industries. It is expected that, due to the presence of the vertically-integrated textiles and apparel industry, local sourcing will not be a constraint for international retailers.

Despite the initial reluctance of retailers, it is crucial to note that many international retailers will enter the Indian market through the FDI route within a couple of years.. The fashion and fashion accessories industries are also expected to benefit from better product designs and improved deployment of technology. With an influx of International brands, western wear is bound to become a staple and overthrow the ethnic wear market.

Consumer’ Buying Behaviour: One of the most critical factors determining the success of fashion retailers in India is the ability to gauge trends in consumer purchase decisions. The Indian fashion consumer is undergoing an evolution and is rapidly adapting to international fashion statements. Increasing disposable incomes, exposure to international events and fashion icons, and rising confidence levels are driving the changes in the consumer purchase behavior. Some distinct consumer trends expected to impact the Indian fashion market are: 1. Increasing Time-poverty: India’s core consuming class is experiencing an ever-increasing time-poverty. The richer sections of the society are able to outsource most of their activities to the poorer sections who work as domestic help, shop and office attendants, etc. Routine activities that do not require a personal presence, e.g. cooking, vehicle servicing, grocery purchases, etc. are outsourced to others. Being an emerging economy with a large rural population, there is no shortage of people who might work as domestic help or attendants, at relatively lower wages.

On the other hand, these poorer masses lack substantial purchasing power to contribute to the retail economy. However, the worst hit section is the middle income class, as, for them, it is a clear trade-off between the time required for their regular employment and the time needed for routine, yet necessary, activities that are generally time-intensive. This leads them to resort to online shopping portals and fashion information. This results to an influx of western fashion amongst them as most online portals focus on western fashion and ethnic/traditional fashion is still at it’s infancy with regards to web portals.

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2. Shift from Need-based Purchasing to Aspiration-based Purchasing: There was a time when fashion items were being purchased as and when required. Now-a-days, fashion clothing is more than a basic need; it is a reflection of aspiration, personality, and one of the biggest status symbols. The Indian fashion consumers can tell the difference between unbranded and branded apparel. They are able to decode the messages communicated by different brands on different occasions.

The aspirational youth is also influenced by peer groups working with multinational companies and having international exposure. Though basic textiles and footwear continue to be a part of the consumer’s basket, the demand for aspirational fashion clothing and fashion accessories has increased substantially in recent years.

3. Growing Value Consciousness: Although the fashion consumer is willing to spend more on clothing and accessories of choice, the consciousness of value received for the money spent has increased manifold. The weak economic outlook and higher inflation rates have also contributed to this heightened value consciousness. The consumer is inclined towards value and affordability, but, at the same time, there is an inherent need for a fashionable look, whether it is western or ethnic.

4. Increasing Acceptance of Digital Technology: Technology has become an inevitable part of consumer lifestyles. The increasing access to the Internet, at a more-affordable cost, and the higher penetration of digital devices has influenced consumers’ buying patterns substantially. Today’s consumer has greater access to fashion products through the Internet and digital devices. He/she compares products, prices, brand offerings, service levels, and the feedback/ opinions of fellow consumers before making any purchase decision.

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THE EVOLVING INDIAN CONSUMER “The change in consumer preferences is most apparent in fashion apparel. Men were the first early adapters of western-wear in India, with many converting to readymade garments in the early 90’s. Over the last decade, we have also seen a significant change in the way women dress, moving from traditional Indian wear to western or fusion wear, a trend that is especially popular in larger cities such as Delhi, Mumbai and Bangalore.”

(Quoted by Economic times)

The growing awareness of global fashion trends has been fuelled by the internet and the fashion and lifestyle media. As a result, the typical upper middle class consumer is conscious not only of the international styles but also about the lifestyle attributes connected to certain brands.

The massive influence of Bollywood on fashion continues to be another driver towards international styles.

With almost every second movie now being filmed abroad, it is common for stars to wear international brands on screen and off it which influences consumers across the country.

Rising incomes among the Indian middle class and continued popularity of international fashions could lead to a probable increase in the demand for western-wear across the country. What remains clear is while there is changing behaviour amongst Indian consumers; quality and value continue to be at the heart of their purchasing decisions. The consumer is increasingly savvy, shopping around to ensure that they derive the best value from their purchases.

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WESTERN VS ETHNIC In the olden days, Indian fashion revolved around ethnic wear, but recently the times have brought a change in trends and western clothing has become more popularised in India than ever before.

This can be credited to rising corporate culture and increase in employment of women. As a result, of western clothing penetrating the market, the ethnic wear market has shrunk.

A recent study on average trading density (sales/sq.ft/month) across organised retail formats ranks traditional ethnic fashion almost double that of western fashion brands such as Biba, W, Global Desi etc. This only shows that although the market has shrunk it still enjoys power over western wear. The intrusion of western wear has only raised the demand of ethnic fashion, as now, its exclusivity cannot be denied. (Source: Indianretailer.com) Over a decade ago, ethnic wear was a category that was largely restricted to the older age segment. But it has begun to find acceptance even among younger consumers (women) as a fashionable choice. Young college going girls, now, pair a kurta with a pair of denims or leggings, representing a fusion of ethnic and western wear. Brands have begun to redefine their ethnic wear designs for younger consumers. As the women’s wear segment continues to evolve, casual wear will likely increase as well, creating a nurturing, experimental environment for modern Indian fashion to truly be defined.

As interest in Indian fashion continues to grow, evaluation of cultural trends is essential to further expand the segment. There is a great potential for Indian integration within the fashion industry.

However, retailers also say that the demand for women’s western wear is soaring not just in metros and big cities but also in smaller towns as well. Due to the influence of Bollywood and aspirations of housewives in smaller town, western wear is spreading its web all over the country.

Consultancy firm, Technopak, says that the demand for women’s western wear is at an all-time high, due to the increase in the share of women in the workforce and the growing economic independency. This trend is expected to continue and grow as more women enter the labour force or aspire to follow the lifestyle of a working woman.

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GROWING IMPORTANCE OF ETHNIC FASHION Initially the ethnic wear industry was catered to by the unorganised segment that mainly comprised of rural sections of society, giving them an employment opportunity. This segment has demonstrated a steady growth over the past years and is set to grow further by 8.4% over the next decade.

(Source: Technopak 2013) Currently, large format retailers are ramping up their expansion plans across metros and tier I and tier II cities. Until modern retail opened its doors for the urban consumer, local tailors and neighbourhood boutiques met the ethnic clothing and fashion needs of most consumers. Further, they barely satisfied quality and design requirements.

The Indian Bridalwear/Wedding market has little scope for intrusion of western wear. It is an age old tradition that will continue to hold its ground; over the years to come. The opportunities thrown up by India in this segment are tremendous. Right from local boutiques to established traditional retailers, every bridal wear retailer is vying for a share of the loyal consumer’s wallet.

A plethora of occasions and festivals are celebrated in India, given its religious and cultural diversity.

These are not focused during a particular month, but are spread over the entire year, with Lohri, Holi, Dusshera, Diwali etc. On festive occasions, consumers tend to purchase ethnic wear for both personal use and gifting.

Brands/Designers/Labels have enough reason to bring out new trends to coincide with festive occasions, wedding seasons and casual ethnic wear for college going youth at the ÂŹ beginning of their terms. This requires a novel system.

Forecasting trends in ethnic wear (women) has become a necessity to keep the Indian consumer hooked and prevent an influx of western wear into every segment of fashion in India. To maintain a level of exclusivity and create an innovative product for the ethnic wear demand, forecasting trends pertaining to fabric, colour, prints and silhouettes is a solution that needs immediate attention.

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INTRODUCTION TO FASHION FORECASTING Fashion forecasting is an activity vital to the fashion industry, where in, an analysis of past buying patterns and current market dynamics is done and projected into trends for the future. It revolves around gauging the general mood of the consumers and utilising it to predict trends for the upcoming fashion economic seasons. This is an extremely important factor that results in cutting of losses.

A fashion forecaster predicts the colours, fabrics, styles that will be prevalent in the immediate season to come. This concept applies to the fashion industry as a whole , haute couture, ready-to-wear, mass market, street styles and other segments.

A brief summary of the process that fashion forecasters engage in is as follows: Facts are collected pertaining to consumer buying patterns, activities and occasions for which clothes are needed, priorities, hobbies and such through liaison with stores, retailers, wholesalers, newsletters, books, magazines and websites.

On a large scale, to gear up for a particular season, fibre and textile producers start developments around two years before hand. Accessory and garment manufacturers are ready well before the season starts. Without well- judged projections of designs, colours and fabrics by the forecasters, the producers would not be able to sell in large quantities and unsold goods would be disposed of in discount sales. The importance of a forecaster in trend analysis becomes invaluable.

RELEVANCE: 1. Accurate forecasting makes it possible for the fashion industry segments to prepare for and meet consumer demand with products that will be accepted and purchased.

2. Knowledge of the trends and future market requirements ensures a balanced supply-demand ratio and an effective business.

3. Many a times, if products are not to consumer’s satisfaction, stock-up or mark down problems may arise. (Stock-up: When demand is more than supply and enough products aren’t available as forecast didn’t predict the level of popularity of the trend; Mark down- When supply is more than demand and product is disposed of through heavy discount sales) 4. Worldwide competition increases, quality and design assurances are kept in mind, to give the consumer, nothing but the best.

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FASHION FORECASTING: INDIAN SCENARIO Fashionably Different- India is a diverse country with diverse fashion needs from state to state, so a single fashion forecast is futile. Each region, may it be south, north, east or west has different geographics, demographics and psychographics.

In India, trend forecasting for the fashion industry is still at its infancy. Some firms have in-house forecasters, but most designers and fashion houses go by the word of international trend forecasting agencies like WGSN, Stylesight etc. These forecasts have little relevance to Indian culture and it’s diversity as they cater to international fashion standards. There is no agency which brands and designers can follow for fashion forecasts of the domestic/ethnic Indian market. Moreover, not only does India lack these agencies but designers are divided over whether it works or not.

Designers believe that forecasts made by international agencies do not work with the climate and weather patterns in India. India has a warm climate all year round in the southern parts and winter fashion can be relevant only in the northern parts of the country. Taking into consideration the ground realities in India, a new direction in terms of fashion forecasting if trends needs to be explored.

Harilein Sabarwal, famous Indian fashion forecaster believes that India needs to stop following internationally accepted fashion seasons and predict an India centric forecast for relevant fashion economic seasons.

Her suggestions include- Wedding, Festive, Monsoon, Back to college, summer seasons for the Indian sensibilities.

Formalising forecasts for the Indian fashion Industry, through a common platform that has been built taking into consideration Indian ethnicity, diversity and sensibilities will create a mark on the global fashion scenario.

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METHODS OF FORECASTING The process followed in fashion forecasting can be broadly classified into two types: Long term fashion forecasting and Short term fashion forecasting.

LONG TERM FASHION FORECASTING It is the process of analysing and evaluating trends that can be identified by scanning a variety of sources of information. While scanning the market and consumers, factors such as demographics of certain areas (urban, sub urban and rural) as well as economic, political, environmental and cultural impact on retail is considered. Long term forecasting seeks to identify major changes in international and domestic demographics, shifts in the fashion industry along with market structures, consumer expectations, values and impulsions to buy, new developments in technology and science, and shifts in economic, political, social and cultural alliances between countries. It revolves around determining any changes in demographics or psychographics that have the potential to affect the consumer’s needs, influence a company’s business and a particular niche.

SHORT TERM FASHION FORECASTING Short term fashion forecasting relies on current trends (domestic and international) and pop culture to identify possible trends that could be communicated to the consumer. It includes a seasonal colour palette, fabric and silhouette stories along with prints and looks. Some of the most important areas to follow while scanning the environment are- current events, arts, sports and technology.

Every forecast begins with the customer, by observing the customer’s adjustment to the market place and the unexpected ways in which the customer adjusts the market offerings to his lifestyle and preferences. At the initial stages, information is gathered through surveys by telephone or mail, including questions about income, lifestyle, fashion preference and shopping habits. In store informal interviews are conducted with potential customers.

The ‘fashionable looks’ for a season are therefore a result of a process of development that combines the views of textile and product trade shows, forecasters, designers, buyers and ready-to-wear shows. Like a collage, the final picture emerges after various layers have come together. In fact the media coverage on the shows is another important dimension in the trend development process, as it highlights trends that fashion editors believe will be strong in the forthcoming season. Such coverage of the media, focusing on aspects of fashion including the ‘must-have’ looks, colours and products influence the consumer’s acceptance of hot trends pertaining to a season •

ACTIVITIES IN FASHION FORECASTING • Observation • Co-ordinating information from various sources (fibre yarn, textile and apparel) • Analysing fashion press 14

• Visiting fashion centres • Observing fashion leaders(designers, celebrities) • Conducting marketing research(consumer, market, sales) *Consumer research includes surveys (mail, telephone) and in store informal interviews. Market research includes market conditions, current events and mood of the public. Sales research includes evaluation of previous sales trends- rising, declining and weak sales products.)

PATTERNS OF VISUALISATION There are tools that help forecasters understand and communicate the movement of fashion and project future directions. The three most accepted and familiar patterns are:

Fashion Curves: Trends are classified based on duration and penetration, which is visualised by a curve. Time is on the horizontal axis and consumer adoption on the vertical axis.

Examples: fads and classics.

Pendulum Swing: This refers to a periodic movement of fashion between two extremes.

Example: Power dressing and loose comfort of hippie styles.

Fashion Cycles: The idea that there exists a cyclic pattern in fashion and it can reoccur over time. The phenomenon where in a certain trend repeats after times is called a long

STEPS IN DEVELOPING A FORECAST (LONG TERM): • Identify basic facts about past trends and forecasts • Determine cause of change in the past • Determine difference between past forecast and actual behaviour • Determine factors likely to affect trends in the future • Apply forecasting tools to ensure accuracy • Follow forecast to identify reasons for significant deviations from expectations • Revise the forecast when necessary

TOOLS FOR GATHERING INFORMATION: Few of the tools are fashion scan, consumer scan and fashion analysis.

Fashion Scan: This involves following latest fashion news to spot emerging trends in lifestyle and fashion.

It aids in determining popular colours, textile or style forecasting.

Consumer Scan: It attempts to identify clusters of people who share characteristics. It is usually done in relation to demographics, lifestyle, attitudes and prevalent behaviour. It is a helpful tool in determining a target market.

Fashion Analysis: It combines a fashion scan and consumer scan to determine what is likely to happen next, in the near future.

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FAMOUS INDIAN FORECASTERS HARILEIN SABARWAL She is a trend forecast analyst and product development professional. She researches the way consumer’s thoughts, feelings, i.e psychology is changing and evolving in a soio-cultural economic shift and sets fashion trends. She has worked for more than 20 years now for both Indian and international agencies.

“Most designer’s copy fashion forecasters such as WGSN blindly in terms of styling. Since Indian seasons differ from European ones, these forecasts often do not work for India. But then how many designers even keep the Indian consumer in mind while designing.” (Source: Midday, 2014) “We lack an Indian identity as we blindly follow the season diktats of the west. In most parts of the country, we don’t even have spring and fall seasons, but we continue to bring out collections.”

(Source: Times Of India, 2013)

MANISH KESHIKAR A Director and Chief Creative Officer at DGSN Fashions, says that lack of fashion education is the biggest hindrance, “Unfortunately, none of our institutes teach how to create forecasts, they only preach how to follow forecasts. Indian designers must create their own forecasts instead of referring to international forecasts.” (Source: Midday)

KAUSTAV SENGUPTA Currently, a professor at NIFT and a youth fashion trend analyst sees a bright future for fashion forecasting in India. He has set up an initiative, that is a youth psychology analysis agency called INGENE with college students who spot fashion or other trends, observe behaviour etc.

“We do have a very diverse cultural range. But with the internet and social media becoming popular, fashion choices made by the youth in today’s times have become flatter.”

ANUP KUMAR Designer and trend forecaster who has recently launched STYLEGLOBE, India’s first trend forecast resource; targeted at domestic and international brands, export houses etc.

“The scope of the fashion forecasting service is very bright in India. With the increase in presence of International brands, competition is extreme today and will be more intense in years to come.”

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PRIMARY RESEARCH: PROCESS FLOW AND PLAN FASHION SEASONS FOR ETHNIC WEAR To determine the relevant fashion seasons for ethnic/traditional wear (women) in India, with respect to the country’s geographic, demographic and psychographic characteristics. This includes surveys (questionnaire, interview) with two target groups. The purpose of this reserach is to gain an understanding of their opinions in terms of when they purchase ethnic wear , for what reasons, how often are new designs created, whether any forecasts are followed etc. This data will be analysed with the countrys geographic characteristics and the target groups’ demographic characteristics.

1 2

women consumers

SURVEY 1 METHOD OF RESEARCH: QUESTIONNAIRE NO. OF RESPONDANTS : 140 Women of different age groups and occupations, with knowledge of fashion and trends were targeted.

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brand/boutique owners

SURVEY 2 METHOD OF RESEARCH: INTERVIEW NO. OF RESPONDANTS : 30 Store managers of ethnic wear brands, boutiques and designers were targeted.

FASHION TREND FORECASTING: ETHNIC WEAR To understand and establish the current scenario of fashion forecasting in the Indian ethnic wear brands.

The purpose of this research would result in identifying whether trends in ethnic fashion are of importance to consumers and how brands cater to their needs. In addition, the process of forecasting will be studied an dutilised in creating the trend magazine/report for the upcoming fashion season, as per the conducted research. The survey is carried out through observational study and personal interviews with design heads and local retailers.

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STUDY OF SEASONAL COLLECTIONS AND MERCHANDISE

CASE STUDIES METHOD OF RESEARCH: OBSERVATION Three major ethnic fashion brands. were chosen. Their past two collections, along with the current collection were studied to identify the difference in terms of fabrics, silhouettes, details and prints.

design heads at brands and local retailers

RESEARCH ARTICLE METHOD OF RESEARCH: INTERVIEW Design heads, supply chain coordinators and store managers from three chosen brands were interviewed to understand the forecasting process, if carried out by the brand.

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SURVEY 1 INTRODUCTION The main objective of this survey is to understand how popular ethnic wear is among the youth and modern women of today’s India. This has been done by enquiring firstly, whether they need or want ethnic wear in their wardrobes, how often the average woman goes on a ethnic shopping spree and what could be the various possible reasons behind the purchase. The survey was taken in a printed questionnaire format targeted at a specific target popultaion, with an understanding of the subject. This data would further aid in establishing a structure for the fashion seasons for ethnic wear in India.

METHOD OF DATA COLLECTION The method employed to gather the data was by getting questionnaires filled , personally and via email. Some situations also required the data to be collected via personal interviews.

TARGET POPULATION Sample Set: This research employs a non-probablity method of sampling, where every person does not have a equal chance of being a part of the sample set. Judgemental sampling and Snowball Sampling has been used to ascertain the participants of the research.

Geographic Limitation: The participants of the survey need to be well informed on the subject, as certain questions require knowledge of specific fields in fashion.

Participants: Trendy and Fashion Conscious women who live in urban and sub-urban areas, the survey mainly targets the female gender demograhic from fashion- forward metro cities such as Bangalore, Mumbai, Delhi.

Around 140 women have been targeted, 35 each from different age categories, to get an even response.

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TARGET POPULATION

AGE GROUP

20 - 25 years 25 - 35 years

GENDER : FEMALE

35 - 45 years

Trendy and Fashion Conscious women who live in urban and sub-urban areas. Mainly targeting the female gender demograhic from fashion- forward metro cities.

45 and above

GEOGRAPHIC EXTENT

OCCUPATION STUDENTS

Design, Fashion, Engineering, Medicine etc

YOUNG PROFESSIONALS Designers, Teachers, IT sector, Psychologist

MUMBAI

WORKING WOMEN ADULT

DELHI BANGALORE

HOME MAKERS

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ANALYSIS OF DATA 1.How often do you purchase ethnic clothes for your wardrobe?

Based on the answers given , the following categories can be made : S.No

FREQUENCY OF SHOPPING FOR ETHNIC WEAR

RESPONDANTS

1.

ONCE IN SIX MONTHS

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2.

ONCE IN TWO MONTHS

28

3.

EVERY QUARTER OF A YEAR

40

4.

TWICE A YEAR

36

5.

ONCE A YEAR

12

2.Why do you purchase ethnic clothes? What category of clothing do they belong to?

Based on the answers given , the following categories can be made : S.No

REASON FOR MAKING PURCHASES

RESPONDANTS

1.

OCCASION BASED- FESTIVE/WEDDING ETC.

104

2.

ANNUAL SALES

36

3.

ON WHIM

48

S.No

TYPES OF OCCASIONS

RESPONDANTS

1.

FESTIVALS

45

2.

WEDDINGS

80

3.

COLLEGE/WORK RELATED OCCASIONS

68

3.In the ethnic wear retail stores that you have visited, how often do you find new collections?

Based on the answers given , the following categories can be made : S.No

22

FREQUENCY OF NEW COLLECTIONS IN BRANDS

RESPONDANTS

1.

EVERY MONTH

12

2.

TWICE -THRICE A YEAR

40

3.

EVERY QUARTER A YEAR

52

4.

SEASONALLY - S/S AND F/W

36

4.What do you think the fashion seasons for ethnic wear in india should be?

Based on the answers given , the following categories can be made : S.No

PROPOSED SET OF SEASONS

RESPONDANTS

1.

SUMMER- WINTER

12

2.

FESTIVAL BASED

40

3.

WEDDING SEASON

52

4.

COLLEGE/ WORK SEMESTERS

36

The flow chart depicts how consumers base their needs to puchase ethnic wear.

These categories, (occasion/whim/sale) which are the purpose of buying, have various precedence for women with different age specifications.

PURPOSE

COLLEGE

WANT

OCCASSION

WEDDING

FESTIVE UGADI

WHY

SUMMER

SALE

ON WHIM

FESTIVE

END OF SEASON UGADI

DUSSHERA WINTER DIWALI

DUSSHERA

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SURVEY 2 INTRODUCTION Keeping in mind that the objective of this survey is to understand how popular ethnic wear is among the youth and modern women of today’s India, a different target sample is used to obtain relevant data. This has been done by selecting various designers, boutiques, local shops, private ethnic retailers, exclusive ethnic wear retail brands and enquiring of their sales and opinions about fashion trends and forecasts for ethnic wear. The survey was executed via personal and telephonic interview methods towards a specific target popultaion, as mentioned above. This data would further aid in establishing a structure for the fashion seasons for ethnic wear in India.

METHOD OF DATA COLLECTION The method employed to gather the data was through interviews, taken personally, by telephone and in some cases email.

TARGET POPULATION Sample Set: This research employs a non-probablity method of sampling, where every person does not have a equal chance of being a part of the sample set. Judgemental sampling has been used to ascertain the participants of the research.

Geographic Limitation: The participants of the survey need to be well informed on the subject, as certain questions require knowledge of specific fields in fashion. Metro cities, that can be considered fashion-forward were chosen.

Participants: Designers, Boutique owners, Store managers of ethnic wear brands have been targeted. They are aware of the terms and basic concept of fashion forecasting and trends.

The following are summarised interviews at various boutiques and ethnic wear retailers in locations at Bangalore, Mumbai and Delhi. It is a very limited study area, with the aim of just understanding the current scenario and mindset of people towards the idea of a fashion season structure for ethnic women’s wear relevant to india’s geo-demo-psycho factors and a forecast for the same. The interviews sole purpose is to gain an insight into their opinions on the topic and not a solid answer to the subject at hand..

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“Normally, I get my bigger customers during the wedding season, mostly winters and early summers.”

Seamstress and owner of Tanman boutique, says she doesnt look much into forecasts as international trends cannot be incorporated into her ethnic design collections. Every six months, she launches new designer wear for her cutsomers. She feels business would do better, if there was an ethnic forecast, as there would be a demand for certain kinds of designs and her boutique would cater to and recreate the fashion of the current times.

-Tanman Boutique, Bangalore

“I have a very specific set of customers who visit all year around. “ says owner and designer at Cover Girl. “Every few months I design ensembles inspired by collections I see on the ramp. ’’ When asked about her opinion on the fashion economic seasons for women’s ethnic wear, she says, weddings and of course festivals are a must-include factor. As a designer, she stays on top of the trend forecasts, but doesnt incorporat emuch into her designs as there is no ‘connection’.

-Cover Girl, Bangalore

“We love to incorporate international trends such as colours and prints, sometimes, into our designs, but ethnic wear really needs a different kind of forecast specific to the Indian fashion history including our vast handicraft heritage.” Ofcourse the boutique has adequate sales all year around, but since it is specialises in bridal couture, theyundertake big projects and normally do not cater to small customer bases with singular designs.

-Palanquine, Mumbai

According to a store manager at a BIBA bangalore outlet, new collections come in every few months, twice during summer, the winter and of course during the festival time of dusshera and diwali. The wedding colletions keep getting reinvented every now and then. Sales often increase during festivals and sometimes when the new year begins and young professionals along with college students are looking to update their wardrobes. When asked about the fashion seasons for ethnic wear, the answer once again took a turn towards summer and festive.

-Biba, Bangalore

ANALYSIS OF QUANTITATIVE DATA 1.When do you have most sales for your merchandise?

Based on the answers given , the following categories can be made : S.No

TIME PERIOD OF MAXIMUM SALES

RESPONDANTS

1.

DURING FESTIVALS

24

2.

DURING DISCOUNT SALES

28

3.

MARGINAL REVENUE ALL YEAR ROUND

40

4.

BEGINNING OF THE YEAR

36

25

2.How often do you create new collections/ designs?

Based on the answers given , the following categories can be made : S.No

FREQUENCY OF NEW COLLECTIONS

RESPONDANTS

1.

FAST FASHION - FORTNIGHTLY/ MONTHLY

2

2.

QUARTERLY

12

3.

S/S AND F/W

16

2.According to you, what seasonal structure must be followed for ethnic wear?

Based on the answers given , the following categories can be made : S.No

SEASONAL STRUCTURE

RESPONDANTS

1.

CURRENT - S/S AND F/W

15

2.

FESTIVAL AND WEDDING INFLUENCE

11

3.

EVER CHANGING FASHION - EVERY TWO MONTHS

4

A PROPOSED SET OF SEASONS FOR ETHNIC FASHION A LIST OF THE POSSIBLE FASHION SEASONS RELEVANT TO THE INDIAN TERRAIN

A COLOUR CODED DISTRIBUTION OF SEASONS IN THE CALENDAR January

February

March

April

May

June

July

August

September

October

November

December

THE WEDDING SEASONS May-June & Nov-Dec-Jan

THE FESTIVAL SEASONS Ugadi, Dusshera & Diwali

THE COLLEGE -SEMESTERS Jun-Jul & Dec-Jan

THE INDIAN SUMMER Feb-Mar-April

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INFERENCE The two surveys targeted at different sample sets, yeilded specific results that have aided in identifying a set of fashion seasons for women’s ethnic wear in India. The surveys aimed at gathering opinions of both consumers and sellers of ethnic wear regarding it’s popularity, the need for a seasonal structure and regular forecasts for the same.

Based on the responses and analysis, the results of the data collected in the first and second survey help establish the following points : • As of now, every woman has a range of ethnic fashion in her wardrobe, by choice.

• It is more a need that leads to the purchase of ethnic wear.

• The ration between need:want is tipping low for the want variable.

• However, fusion wear/ indo -western fashion is a trend that women consumers of all age groups are happy to purchase.

• Most consumers and sellers believe that a seasonal structure for ethnic fashion along with forecasts is necessary.

• All suggestions for the fashion economic seasons are relevant to India’s cultural practices (traditional and pop culture).

• The status of ethnic wear can take a complete 180 degree turn if a forecast system relevant to the Indian demographic is created and enforced.

The above observations have led to the following list of proposed fashion seasons for ethnic wear: • The Summer - Resort (Casual) Season • The Back to College Season • The Festival Season • The Great Indian Wedding Season

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CASE STUDY: BIBA INTRODUCTION Parent Company: BIBA Apparels Private Ltd Category: Apparel and Accessories Sector: Lifestyle and Retail Tagline/ Slogan: Fashion at affordable prices USP: Affordable Designer Ethnic Wear Launched in 1988, BIBA is one of the most loved ethnic brands in the country. It has made wearing traditional Indian attire, trendy and fashionable at an affordable price. Carrying over a legacy of two decades, it enjoys a pan-India presence with 172 EBOs and over 200 MBOs across 65 cities. Among MBOs, the brand is distributed through over 200 stores of Shoppers Stop, Lifestyle, Pantaloons and Central.

The brand was a Pioneer of Bollywood merchandising in India with several successful film projects. Biba’s biggest challenge is to keep innovating designs and stand out in an unorganised, cluttered category of ethnic wear.

HISTORY OF THE BRAND Backed by a dream and led by a vision, Mrs. Meena Bindra, the founder and chairperson of BIBA, launched the first BIBA collection in 1988 from Mumbai with a small boutique at Kemp’s corner. It took off immediately due to its beautiful hand block prints and styles.”

The word “biba” is a Punjabi endearment for a young and pretty girl. It implies sublime qualities, compelling Mrs. Meena Bindra, the founder of Biba, to use the name for the line of salwar, kameez, and dupattas that she launched It is, Mr. Siddharth Bindra, Managing Director, BIBA who made BIBA the country’s leading ethnic wear brand with a pan India presence. Biba had a revenue of INR 300 Crore in 2013. Current value is estimated to be around INR 1000 Crore.

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THE STORY

POSITIONING AND SEGMENTATION

TARGET CUSTOMER

Segment: Women looking for classy ethnic Indian wear.

Target Group: Women in the urban upper middle class.

Positioning: Trendy fashionable ethnic wear.

The brand reflects qualities of women today - confidence, elegance, royalty, detailed and pride. It caters to three generations in a family, the daughter, mother and the grandmother.

The sweet spot is 20-40 years, but Biba caters to a wider consumer base with a kids’ wear range for 2-12 year olds.

PRODUCT CATEGORIES AND OFFERINGS It offers products in all three categories of SKD (Salwar Kameez Dupatta), M&M (Mix & Match) and Unstitched Fabric. Apart from women’s range, it also has Biba Girls, a dedicated range for kids between 2 to 12 years.

Contemporary ethnic fashion at affordable price is Biba’s commitment to fashion enthusiasts, offering ladies’ churidars and dupatta sets in cotton, in shades of every color, and with irresistible color combinations and patterns. Mix-and-match kurta pieces from Biba are available in different lengths, so one can experience the joys of traditional Indian wear regardless of your body type.

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TREND STUDY OF COLLECTIONS SPRING SUMMER 2015

MONSOON 2015

AUTUMN WINTER 2015

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SPRING SUMMER 2015 All ranges of the Spring Summer collection exude the essence of summer, vibrance and style. The collections talk about corals, vibrant yellows, essential blues, and deep pinks. Apart from the traditional motifs, mughal inspired patterns and indian tribal prints have been explored . The four design stories are: Indigo: Indigo which comes from the indigo plant, is also known as “blue gold”. This collection is a unique amalgamation of William Morris prints in blue gold with Kalamkari trims.

Gond Art: Inspired by folk art of central India, this art is an expression of everyday quest for life of Gonads. They decorate their houses and floors with traditional motifs.This collection is the essence of such tribal art, presented in modern colors and chic styles.

Riyasat: This collection is inspired by the Mughal inlay art.

Beautiful floral jaals and motifs have been created in the prints to replicate the inlay designs of Mughal architecture. The collection comprises of cool blues and fresh green color palette with a dash of plum and brick red, all this gives a novel look and feel to the collection.

Sufiyana: This range is inspired from Sufism. The sophisticated and elegant collection is a novel mix of colors, prints, delicate embroideries in layered garments. The collection boasts of unique printed linings with rich fabric kurtas for modern women.

All collections are made of cotton, cotton blends, polyester and viscose fabrics.

Trends observed: Most prominent colours are blues, whites and yellows. Prints include mughal inspired and indian tribal prints. Silhouettes that can be seen at large are sleeveless crop jackets, fit and flare kurtis, layering techniques and sheer details.

MONSOON 2015 The Monsoon collection puts forward two themes: Mori Girls and Blue Vibes.

Mori Girls: This is a japanese inspired collection, meaning ‘forest’, which is the basis for the design inspiration. It uses soothing pastels in pinks and blues and white floral prints and embroidery. Checks and patchwork of fabric is prevelant too. Silhouettes and detais focus on bedecked hemlines and yokes with schiffli lace. Cotton is the essential fabric used, with straight and flared looks.

Blue Vibes: This is a range based on the colour Indigo. With unique and contemporary silhouettes, this collection explores long skirts, palazzos and quirky printed kurtis. Greens and yellows are used as accents.

AUTUMN WINTER 2015 The design stories for Autumn WInter are: Folk Safari, Silk Chronicle, Blooming Blues, Arabian Nights, Denim, Oriental Tribe, Tanabana, Rabari and Desi Opulence.

Folk Safari: Inspired by Warli, Kantha and batik prints, this theme explores simple silhouettes like straight fits , anarkalis etc with piping on round necklines and centre front buttons in most pieces. Colours include sap green, mustard yellow, carrot, red and black highlights.

Silk Chronicle: A range of silk kurtis in straight fit silhouettes in shades of basic blues and orange-rust. Sheer details and traditional indian motifs of gold embroidery have been repeated over the entire bodice. A collection for the traditional at heart.

Blooming Blues: Blue is the colour of the year as evident in Biba’s collection. Rich indigo hues with vibrant red accents dominate this design story. A more playful and young collection, this range includes pieces with asymmetric hemlines, layering, flares and collared crop jackets.

Shibhori, florals and basic patterns like stripes and zig zags have been incorporated. All kinds of necklines have been experimented with such as band gala, collars, v necks and round necks.

Denim: Very much in trend with global forecasts, denim adds a western touch to ethnic fashion. A simple collection of straight kurtis/tunics that vary with different styles in sleeves, hemlines and necklines. More suited for everyday casuals or work wear, this collecion is a must-have for all women.

Oriental Tribe: Inspired by a Vietnamese craft, ‘Hmong’, this range is made of two staple colours, bright yellow and vibrant cyans with pink and maroon highlights. Striaght simple fits and colourful intricate embroidery in hmong inspired designs are a highlight of this range.

Rabari: Celebrating the authentic glory of rural indian crafts with unique styles of patched and ragged embroidered fabrics. It features multi colours and various styles.

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OBSERVATIONS AND INFERENCE Talk about Indian ethnic wear for women and the first name that pops up is Biba. The launch of Biba, set the stage for branded ethnic wear in India, prior to which people would visit tailor ships that catered to their need for ethnic garments for festivals, weddings and otherwise.

As of today, Biba launches 3 to 4 collections per year, namely: Spring -Summer, Monsoon, Pre-festive and Festive-Winter (as of 2014) The launch period of each of these collections is as follows: March, July, August and November respectively. The brand offers discount sales during the months of January, June and around the time of the Dusshera festival.

After thorough research and study of the past few collections, certain observations have been made that focus on key points like adaptation of global trends, creating new and diverse fashion for the consumer, problems of fabric sourcing and generationof trends that are India-centric.

Biba is aware of the modern Indian woman’s need for fashionable ethnic wear, that is trend specific. However, these trends are adaptations of global forecasts especially in terms of silhouettes.

Global trends that Biba has adhered to in the past few collections are: • Patchwork - as sen in collections: S/S 15 (Sufiyana), A/W 15 (Rabari) • Denim - as seen in collection: A/W 15 (Denim) • The colour Blue - as seen in collections: S/S 15 (Indigo), Monsoon 15 (Blue Vibes), A/W 15 (Blooming Blues) • Oriental inspirations: as seen in collections: Monsoon 15 (Mori Girls), A/W 15 (Oriental Tribe) • Crop Tops: as seen in collections: S/S 15 (Indigo, Gond Art), F/W 15 (Blooming blues) It is evident, that throughout the year, certain fabrics have been repeated as well as colours such as Blues and yelllows in all seasonal collections.

Sourcing of fabric is a difficult step in the design process. This brings forward the question of whether design stories are created basedon the availability of fabrics and prints from the vendors/suppliers or forecasting of trends is carried out.

Biba has proved to be one of the most loved ethnic wear brands, with maximum number of respondants from Survey 1 vouching for it. It not only is inspired from western trends but creates and works in tune with trends that are relevant to Indian fashion that are popularised via trend articles in various fashion media. Straight cut silhouettes and multi-panels as opposed to anarkali styles and use of silk fabrics are few examples.

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CASE STUDY: SOCH INTRODUCTION Complementing the contemporary urban woman today on her achievements at work, home and leisure are the garments created at SOCH. Fashioned from a wide range of exquisite hand-picked fabrics - Cottons, Chiffons, Crepes, Silks, Brocades, Voiles and Blends sourced from various locations across India including Mumbai, Delhi, Jaipur, Calcutta, Banaras, Mysore and Kancheepuram, SOCH offers an exclusive collection of Indian wear perfect for every occasion!

Committed to stylish designer wear for women of all ages, all apparel retailed at SOCH Studio adheres to the highest quality standards and meticulous attention to detail.

The SOCH collections currently retail at 53 convenient locations in Bangalore, Chennai, Mangalore, Mysore, Mumbai, Pune, Coimbatore, Hubli, Belgaum, Salem, Hyderabad, Vijaywada, Bhopal, Kanpur, Lucknow, Vizag, Indore as well as Cochin.

HISTORY OF THE BRAND ‘Soch’ is a well-known women’s ethnic wear brand in India. With its first exclusive store launched in 2005 in Bengaluru, the chain presently operates 41 outlets spread across key cities like Bengaluru, Bhopal, Chennai, Coimbatore, Hyderabad, Mysore, Mumbai, Pune etc. When Soch started off, the designer ethnic wear for women was considered a niche market. It has redefined the traditional Indian clothing by giving it a modern touch that appeals to contemporary women.

Quality, variety and pricing coupled with effective marketing have already placed Soch among top five ethnic wear brands in India.

Now, the brand is looking to increase its share and achieve a stronger market position in ethnic segment.

Soch had a revenue of INR 175 Crore in 2013 and 240 Crore in 2014..

34

THE STORY

POSITIONING AND SEGMENTATION

TARGET CUSTOMER

Segment: Women looking for traditional ethnic Indian wear. with a modern twist.

Target Group: Women of urban middle class and tier II cities.

Positioning: Fashionable ethnic wear Positioned as one stop destination for Indian traditional women wear, Soch outlets are ideally located at high streets and premium malls.

In the last few years, consumer trends, particularly in fashion segment, have changed drastically. These days, consumers are well versed in latest fashion and are much more opinionated.

PRODUCT CATEGORIES AND OFFERINGS SOCH Studio retails: • Sarees • Stitched Suits • Kurtis & Leggings • Unstitched Suits • Ready Made Blouses From sizes S to 4XL, the SOCH stores offer an abundance of cuts and sizes perfect for the Indian body. They boast vast range of clothing with fresh stock added on regular and frequent basis, in every 20-30 days.

35

TREND STUDY OF COLLECTIONS aliya collection-MAY 2015

selena collection-MAY 2015

VIANA COLLECTION-AUGUST 2015

IRIS COLLECTION -SEPTEMBER 2015

36

aliya collection-MAY 2015 Aliya offers kurtis, salwars and sarees. Classy and sophisticated, this collection is meant for festive occasions. The Aliya kurti range features various prints such as abstracts, geometric, paisley, warli, floral and traditional jaipuri motifs. The main colours are beige, black, red, yellow and blue. Fabrics used for this range are khadi, cotton and rayon, that are light and breathable, considering it was launched in summer. Silhouettes and details such are intricate thread embroidery around the neckline and hemlines, zari work and stone work on chanderi and brocade fabrics.

The Aliya sarees are featured in turquoise, royal blue, deep red and pinks with gold highlights along the border and on the pallu. Chiffon, georgette, crepe and jacquard fabrics have been utilised. Simple repetitive motifs in traditional prints or polka dots dominate this range.

selena collection-MAY 2015 The Selena collection offers a complete wardrobe of trendy tunics. This range ensures chic and sophisticated ensembles for everyday wear, office wear and to formal events without compromising on comfort and style.

Colours: Pink, Red, Grey, Beige, Black, White and Blue Fabrics: Sheer georgette, cotton silk, linen and denim Trims and details: floral embroidery, elegant applique yokes, intricate crochet work, pintucks in sleeves and necklines, collars and folded sleeves.

VIANA COLLECTION-AUGUST 2015 The Vianna collection offers a range of kurtis, churidars, anarkalis and salwar kameez.

It is casual and elegant for the contemporary Indian woman of urban society.

Colours: Bright hues in combination with neutral tones to bring down the pop element.

Fabrics: Cotton and cotton blends Prints: Intricate embroidery in gold and colourful tones around the neckline Trims and details: Net and sheer details are featured on the sleeves and used in the dupattas, most necklines are simple round necks with front centre v-slits

IRIS COLLECTION -SEPTEMBER 2015 This collection brings styles that say ‘girl next door’ as well as ‘refined elegance’. The use of cotton fabrics gives the range an essence of style and comfort. It offers kurtis and salwar kameez. Iris complements the woman of today by providing her with a selection of everyday basics to designer wear.

Colours: A variety of hues including greens, pinks, blues, yellows, blacks etc Prints: Digital prints, geometric ethnic prints, scripts, and nature inspired leaves and ‘tree’ motifs Silhouettes: The croped sleeveless jacket and waist coats, piped necklines and collars

37

38

OBSERVATIONS AND INFERENCE Soch is an ethnic wear brand that aims to contemporize traditional ethnic fashion for the modern woman. Over the years, the brand has achieved it’s goal and lived up to this claim. Soch’s philosophy negates the regular seasonal pattern of Spring-Summer and Autumn-WInter, adding fresh stock on a regular basis, as soon as every 20-30 days. The brand claims that there is no basis in this seasonal structure a sfashion is changing at a very fast pace, and new trends are emerging everywhere.

Some of the collections that have launched in 2015: Ishana and Tanishka (March) Aliya and Selena (May) Ivy and Venus (June) Viana and Azzure (August) Iris (September) Upon observation of these ranges, it is noticed that the brand believes in fast fashion and offers a wide assortment of choices to it’s consumer, catering to their every demand, however, it lacks the core essence of todays fashion needs of the urban woman - trends.

Each collection is a cocktail of kurtas, salwar kameez, sarees etc with similar silhouettes, prints and colours being played around with in various ways. There is a lack of themes, design stories which the consumer can relate to. In addition there is no creation of trends for ethnic wear nor is there any adherance to global fashion forecasts. For example, crop jackets and waist coats were trending towards the end of 2014, however Soch launched it’s first collection with these silhouettes in August 2015.

It is safe to say, the brand is more traditionally rooted rather than young and trendy. It provides affordable fashion choices to woman of all ages.

However, a fashion forecast solution for future designs and collections will ensure a better response from urban consumers.

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CASE STUDY: GLOBAL DESI INTRODUCTION Started in 2007, Global Desi is an India-inspired young, colourful, boho-chic brand with global appeal. The Global Desi collection is predominantly India-inspired and delves deep into our rich heritage of colours, textures and prints to combine them to create international appeal.

The brand is currently available at exclusive brand outlets and multi brand stores across the country. Global Desi opened its first outlet in Mauritius in 2013. In 2014 it had a market value of around INR 250 Crores.

Free spirited, vibrant and delightful, Global Desi is a boho-chic fashion brand, inspired by India’s colours and chaos. Created in smooth western styles, every outfit in every collection tells you to go ahead and wear the vibe.

MISSION AND VISION Anita Dongre believes that fashion plays a defining role in enhancing a person’s confidence and sense of self. Which is why the HOAD labels seek to create designer wear that leaves unforgettable impressions on the world, and yet, is versatile enough to transcend people, places and occasions. A line that effortlessly fuses a variety of styles, silhouettes and designs to offer customers a fashion that is global chic. And that adapts to every lifestyle. Anita believes in preserving the rich heritage of India in the Anita Dongre label.

She works closely with the traditional artisans to create exquisite ensembles and gorgeous handcrafted jewellery – as she pays homage to the supreme craftsmanship of India. House of Anita Dongre stands for a simple, beautiful thought – fashion is for everyone, everyone has a fashion.

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THE GOAL

POSITIONING AND SEGMENTATION

TARGET CUSTOMER

Segment: Women looking for fashionable trendy fusion wear Target Group: Women of urban upper class Positioning: High Fashion brand Any woman wherever in the world she may be – who loves, lives and breathes the vibrancy of Indian prints and influences will find a little bit of herself in this label.

High fashion brand, for those women, who are seekers of fashion and believe in trends and the importance of appearances. A relatively younger brand, in terms of target audience.

PRODUCT CATEGORIES AND OFFERINGS Designed on the lines of “Global Style, Indian Threads”, this brand of Indo-western apparel embodies the best of both worlds. Product categories include: • Dresses • Tops • ;Tunics • Kurtas • Jackets • Skirts • Jumpsuits • Bottoms • Suits

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TREND STUDY OF COLLECTIONS FALL 2014 + AUTUMN WINTER 2014

SUMMER RESORT 2015

SUMMER COLLECTION 2015

FALL 2015

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FALL 2014

AUTUMN - WINTER 2014

This collection is called ‘MiMaMo’, a perfect marriage between tradition and global fashion, inspired by Mithila, Madhubani and Mosaic crafts. It is a pure celebration of the Indian soul through bold colours, fabrics and prints that say it all. The collection offers separate pieces that are playful, quirky and proudly indian. Symbolic motifs such as lotus flowers, sun gods, birds etc are created. Some silhouettes include midi skirts, jumpsuits, palazzos, long slit dresses etc.

The collection ‘London Calling’, injects street styles of London into the boho-chic essence of the brand. It is the reflection of the free-spirit of travelling in every global desi girl. The range features urban sporty luxe silhouettes in Indian prints and bold colours.

Bomber jackets, culottes, skirts, dungarees, denims are created in pop colours of deep blue, purple and pink and red.

It is a cocktail of global trends with Indian aesthetics.

SUMMER RESORT 2015 This collection is called ‘Colour Me Happy’, it’s inspiration being the pure joy associated with summers. In keeping with the brand’s philosophy, this range offers a set of boho-chic summer looks with a peppy and fun vibe.

Fabrics- LIVA, a new age fabric that infuses fluidity into garments has been used.

Colours- Vivid colours toned down by summer pastels form the colour story for this seasonal collection.

Prints- Tribal chic and floral patterns along with digital prints are dominating styles Silhouettes- MAxi skirts and dresses, tunics, crop tops, Tshirt dresses and high waist skirts

SUMMER COLLECTION 2015 The summer collection featuring ‘Big love for big ears’ is a design story that is all about cutesy elephant motifs and prints in vibrant hues, with emphasis on yellows, blacks and whites. This range is ultra trendy with an extra big dose of love. It is a tribute to the nature’s child that lies within every global desi girl.

Prints: Elephant inspired motifs and prints Colours: Bright vivid hues, focus on blues, yellows, whites and blacks Silhouettes: Jumpsuits, crop tops, waist coats, dungarees, Tshirt dresses, loose pants, jackets etc.

FALL 2015 This collection is called ‘Trip Away’ - For the young, For the joyful. For the footloose. For the adventurous globe trotter. For the free spirited explorer. Trip away is about making new friends and living life to the fullest. Inspired by wanderlust, this range is an amalgamation of feminity and practicality.

Silhouettes: Smock dresses, Maxi, frilly skirts, peasant tops, jumpsuits Structure: Fluidity and asymmetry Monochromatic blues and purples, black and white, oranges and rust

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OBSERVATIONS AND INFERENCE Global Desi is an ethnic fusion wear brand that is youthful, colourful and boho-chic. It caters to the younger generation of fashion lovers and trend seekers who are free spirited yet connected to their Indian roots.

Global Desi launches four collections per year: Summer Collection (March) Summer Resort (May) Fall Collection (August) Autumn Winter Collection (November) As the name suggests, the brand is a fusion of global trends in ethnic fashion choices. Using silhouettes as the main inspiration from global forecasts, the trends followed are: Floral Prints - as seen in collections: Summer resort ‘15 Bomber jackets - as seen in collections: Autumn winter ‘14 Palazzos - as seen in all collections of ‘15 High waist a-line skirts - as seen in collections: Summer resort ‘15 The brand also aspires to create fashion fads amongst the youth and it’s targeted demographic. This was seen in the “big love 4 big ears’ collction of summer ‘15, that based the entire range of motifs and patterns inspired by cute elephants.

In addition, Anita Dongre and other designers at Global Desi research their consumers to identify lifestyle trends. For example, the travel bug that has caught on the indian youth demographic, which has resulted in the opening of ‘poshtels’ and encouraged ‘foodcations’, has been a basis for the recent collections that the brand has launched in the past year, such as : London Calling (A/W ‘14) and Trip Away (Fall ‘15) However, certain observations have been made regarding the collections in reference to the seasons they are launched in. Summer Resort, Fall or Autumn Winter ranges do not take into consideration the climatic conditions of those times, especially with such varying temperatures within the country.

Also, all collections stray more towards western fashion, with a usage of bold colours and print inspirations from Indian tradition. With it’s evergrowing popularity amongst the new Indian woman consumer will the true essence of ethnic wear fade away?

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INFERENCE FASHION TREND FORECASTING: ETHNIC fashion brands Based on the observations made, responses and analysis, the results of the data collected in the brand case studies and surveys, aided in establishing the following points : •

Most brands launch the regulatory Spring-Summer and Autumn Winter collections annualy, however monsoon and fall are added seasons in some brands.

•

‘Soch’ follows a different seasonal structure, with a belief in fast fashion.

•

Though, all ethnic wear brands launch a colection during festive times,such as Ugadi and Diwali, they have sales during this time period. No brand has viewed this as an opportunity to create a season structure.

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All brands realise the needs of the modern, urban Indian woman consumer and her trend conscious nature.

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No ethnic wear brands have their own in-house forecasting team. This job is carried out by buyers and head designers.

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However, most trend inspiration is taken from global forecasts and trade fairs. They believe that right from the theme, to prints and colours, inspiration can be borrowed, to remain integrated with western styles and cultures. Hoever, the materials anf fabrics, are not always relevant due to climatic conditions.

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Forecasting as a process involves, review of available data, and creating trend reports relevant to the brand’s personality or style. Themes are decided either by global influence or through travel experiences, intuition, art and indigenous aspects.

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The design collection is finalised 6-8 months prior to the launch of the season, so that production may happen - in the case of most brands.

•

Forecasting, though belived to be an imperitive part of the fashion industry, has not yet begun to be utilised as an essential tool in India. However, trends have become the basis of all designs and collections.

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CONCLUSION Globalisation has given birth to a novel Indian woman, who belongs to a modern society, where diversification of culture and tradition is embraced. International influences in terms of societal norms, lifestyle and most importantly fashion have made their presence felt and are racing towards dominating the Indian fashion arena.

This research paper focuses on the scenario of indigenous ethnic fashion within the country and proposes a solution as to how it can overtake western fashion dominance using trend forecasting in fashion as a significant tool.

The Indian fashion industry is booming, with increasing contribution the Indian economy and also gaining worldwide recognition. The reason for this ‘perceived boom’ is that the fashion industry has been capable of inviting international brands and imitating western culture and fashion. Five years ago, at the beginning of this decade, the term ‘evolved Indian consumer’ was used to categorise people who were accepting western culture and adaptive to global fashion choices. However, in the recent years, since 2012, the term targets people who are knowledgeable, smart, and aware of their needs and make informed choices in their fashion and wardrobe purchases.

Indian ethnic wear can be seen as a preview of the country’s culture and tradition. Its intrinsic value remains known to the population at large, but was never widely accepted by the masses. For many years, indigenous ethnic wear was perceived as a clothing choice for a certain age group of women, unfashionable, not youth-centric, a necessity for occasional wear only; This notion has changed drastically in the past three years. Despite the overwhelming effects of globalisation, when it comes to Indian festivals and weddings, being traditional at heart, people tend to go back to their roots. Brands and designers have realised that it is important to keep up the style quotient to catch the fancy of the younger generations. The surveys conducted during the research lead to four basic reasons for the purchase of ethnic wear by women: occasions, weddings, festivals, college/work (if mandated).

Though the growing awareness of global fashion trends fuelled by media and the internet is prevalent in India, women have begun to look at ethnic ensembles differently, and the category has now made its place in ‘trendy fashionable choices’ in women’s wardrobe. This evolution of perception started with the introduction of fusion wear. Fusion fashion is a jumble of western and Indian basics worn together. Though, it was widely accepted by the masses and soon became a trend in itself, it was incapable of changing the actual perception that people had about ethnic wear. Since its conception in India, fusion wear has helped evolve ethnic fashion phenomenally, thus making it acceptable by the youth population at large. Now, Indian fashion comprises of western cuts and contemporized Indian silhouettes in traditional prints and colour combinations. This is a huge leap for the Indian textile and apparel industry.

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However, with global trends being huge influencers of ethnic clothing designs, especially in terms of silhouettes, brands and designers are facing problems. International fashion trends change day by day, trends come and go, fads peak and fall; with so many choices, consumers demand variety.

Indian wear is more complex in terms of design, print and textile as it finds its roots in indigenous craftsmanship. By the time a garment is manufactured and the production cycle is completed, a new trend has emerged, rendering the merchandise stale for the updated consumers. These ‘short sale cycles’ have led to ethnic brands like ‘SOCH’ launching collections every 3-4 weeks with only a large selection in terms of providing the consumer with variety, but not in terms of creating or adhering to new and upcoming fashion.

This is the very basis of the need for fashion forecasting in ethnic wear. Not only is it essential for brands, retailers and designers but it can also be instrumental in elevating the presence of the Indian fashion industry in the global arena, which is currently struggling with creating its unique identity and innovativeness, considering that it is trying to beat the west at their own game. The Indian fashion industry must evolve with ethnic wear being it’s USP and become an influencer of global trends. This idea has slowly begun to take birth with the ‘sari’ soon to become a global phenomenon.

Though the basic feel of ethnic fashion is not dependent on any particular forecast, considering it has its own historic identity, currently the inspirations drawn to keep in sync with global styles.

But the question is how influences in terms of colours and prints can be drawn from international forecasts for something as diverse as traditional Indian wear. Fashion forecasting for ethnic ensembles would require a strong resource library of consumer buying behaviours, psychologies and lifestyle trends. The trends predicted would inspire silhouettes, colour combinations, prints and textiles for the seasons.

Despite the obvious need for trend predictions, research shows that most ethnic wear brands lack in-house forecasting departments. In addition, head designers of brands create designs based on global trend inspirations but do not create fashion trends based on Indian consumer lifestyles or research. Due to this international influence, the seasonal structure in the fashion industry also coincides with the west. It is obvious that forecasts made by international agencies follow a cyclic seasonal pattern based on climatic and cultural aspects that are relevant o that geographic area.

Hence, global trends do not work with the climate and weather patterns in India (warm climate all year around in the south, extreme temperature sin the north, monsoons in the east etc.) or the culture and tradition and lifestyle choices of the population.

Case studies conducted during the research reveal that ethnic wear brands launch 3-4 collections annually, in sync with global seasonal structures, i.e. Spring/Summer, Fall/Winter and Resort. Some brands in India also launch a pre-fall seasonal collection or a monsoon season collection. This pattern of seasons is mostly irrelevant to Indian ethnic fashion, as the impact on designs due to climatic conditions will be a bare minimum. India needs to stop following in the footsteps of international fashion industries and their established standards when it comes to ethnic wear.

An India-centric forecast for ethnic wear predicted according to fashion seasons relevant to the country’s geographic and demographic diversity is required.

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Taking into consideration the reasons for purchase of ethnic wear and lifestyle choices of women, festivals, work/college terms, weddings, weather conditions can be the various aspects for developing a seasonal pattern. Brands have ‘end of season’ sales at the beginning and middle of every year, which is the ideal time to actually launch collections for a bi-annual season for work wardrobe/college semester based consumer. Festivals like Ugadi and Dusshera have sales, when in fact; it would be the ideal target for the launch of new collections in a seasonal pattern.

The Great Indian Weddings are a perfect opportunity to convert merchandise into revenue and use the term as season to launch new collections. Based on the surveys conducted during the research phase, the following seasons have been proposed for ethnic fashion: Festive, Wedding, Summer resort Bi-annual.

Playing on consumer psychology, forecasting can be used as a tool to keep the Indian consumer hooked on to ethnic fashion and prevent an influx of western elements. The current scenario dictates the modern avatar of Indian ethnics that is slowly losing its traditional touch. A striking reality that ethnic wear is facing today- its biggest challenge is the diminishing demand for pure traditional clothing. Fusion and mix-n-match is gaining currency and rendering the former relevant for special occasions only. Fashion forecasting can delve deep into the Indian culture and tradition, explore the plethora of crafts and indigenous fashion prevalent in every state and bring these intrinsic elements of Indian fashion to the fore front of the fashion industry. If these aspects are taken into consideration while forecasting, then fashion innovators and influencers (Bollywood, media, and designers) will inspire the masses and large scale trends will emerge in ethnic fashion.

This will be the basic premise that helps promote Indian ethnic fashion and will truly create a unique identity for industry in the global arena.

Proposed solution An annual trend forecast for Indian ethnic wear that can be used by designers and brands.

This trend forecast can be viewed as an Indian adaptation of global forecasting agencies such as WGSN, Promostyl, Fashion snoops etc. The forecasting agency (hypothetical name: Trend Direction for Indian Fashion –TDIF) will comprise of a team of researchers, analysts and designers in collaboration with ethnic wear brands in the country. The agency will need to create a database of consumer buying behaviour, categorisation of consumers, past sales of ethnic fashion brands, survey online fashion purchases etc. – to study the mood of the masses.

The annual forecast can provide trend directions and inspirations for each of the individual identified seasons and categories: The wedding Season, Festive Season, Bi-annual, Summer Resort, Jewellery and Accessories.

Each of the afore mentioned categories will provide the user with themes and inspirations, colour influences and combinations, print stories, textile and fabric inspirations, silhouettes and embellishments and style statements and looks for the season.

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TREND MAGAZINE: PROCESS FLOW AND PLAN WHAT IS THE DELIVERABLE ?

The final supporting deliverable which has been created as a result of this research project is a trend magazine/trend stylebook for one of the upcoming seasons from the proposed set of fashion seasons, as shown in Phases 1 and 2 of the primary research data analysis. The trend book will be in the form of a magazine with articles, looks, photographs .

WHAT IS THE CONTENT ?

WHAT IS THE RESEARCH REQUIRED ?

• • • • • •

•

• • • • • •

Magazine Cover Note from the editor Table of content Colour story of the season Article: Trends from the runway .

Article: Street style stories (personal style) Review of collection of the most trending ethnic wear brand Article: Best trends of the season Interview with designers - about trends for the upcoming season Get the looks of the season (3-4) Article: Bollywood influences on ethnic fashion Other relevant articles to trends in ethnic fashion

• • • •

• •

Observation of street styles in ethnic wear Review of ethnic fashion on the runway and fashion shows by Indian designers Research on fashion media - blogs, fashion magazines Store visits and review of ethnic wear brands latest collections Interviews with designers regarding latest and upcoming trends in ethnic fashion Global forecasts for the next season Consumer Surveys on popular styles

WHAT IS THE PROCESS FOLLOWED to cretae the deliverable ?

The process followed is as follows: • Plan size and basic structure of magazine • Develop content structure • Research all mentioned topics • Write articles and stories

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• • • •

Find photographs for each story Develop layout for the magazine Editing and error checking Printing and finishing of final deliverable

FLOW OF INFORMATION TITLE

AIM OF PROJECT

ETHNIC WEAR:

TO HIGHLIGHT THE IMPORTANCE OF FORECASTING IN ETHNIC FASHION

FASHION SEASONS AND TREND FORECASTING

OBJECTIVE 1

OBJECTIVE 2

RESEARCH RELEVANT FASHION SEASONS FOR INDIAN ETHNIC WEAR

STUDY ETHNIC WEAR BRANDS: FORECASTING PROCESS AND TRENDS

PROCESS

PROCESS

RESEARCH REQUIRED

RESEARCH REQUIRED

1. SURVEY IN THE FORM OF QUESTIONNAIRE TARGETED AT WOMEN CONSUMERS TO UNDERSTAND THEIR PREFERENCES AND OPINIONS TOWARDS ETHNIC FASHION

1. OBSERVATIONAL STUDY OF ETHNIC WEAR BRANDS IN TERMS OF TRENDS IN COLLECTIONS LAUNCHED ALONG WITH FORECASTING RESEARCH AND PROCESS

2. INTERVIEWS WITH STORE MANAGERS, DESIGNERS, BOUTIQUE OWNERS TO UNDERSTAND THEIR OPINIONS ON THE RELEVANCE OF ETHNIC WEAR IN CONSUMERS MIND AND SEASONAL STRUCTURE IN THE FASHION INDUSTRY

2. INTERVIEWS WITH DESIGNERS OF BRANDS CHOSEN TO UNDERSTAND THEIR OPINIONS ON FASHION FORECASTING FOR ETHNIC WEAR AND UPCOMING TRENDS 3. INTERVIEWS WITH LOCAL ETHNIC WEAR RETAILERS TO UNDERSTAND THEIR TARGET MARKET AND UNDERSTANDING OF TRENDS AND PROCESS OF DESIGN CREATIONS.

ESTABLISHED THE NEED FOR FORECASTING IN ETHNIC WEAR

PROPOSED SET OF SEASONS FOR ETHNIC FASHION - DETERMINED

SEASON CHOSEN FROM PROPOSED SET + USAGE OF EXISTING BRAND COLLECTION STUDY + ADDITIONAL RESEARCH OF RUNWAY FASHION, STREET STYLES, BOLLYWOOD INFLUENCES, GLOBAL FORECASTS TO BE DONE FOR CONTENT OF TREND FORECAST / MAGAZINE

DELIVERABLE :

TREND FORECAST / MAGAZINE

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SAMPLE SPREADS The following images are pages from the deliverable i.e. the trend forecast magazine. It is named ‘Trend Direction’ for Indian Fashion (TDIF). The trend book is in the form of a magazine with articles, looks, photographs for the bi-annual season, that is meant to creat new wardrobe staples for the wardrobes of young working women and college students. This magazine is for the bi-annual season Jan-Mar ‘16.

DEMURE DIVA

Intrinsicly ethnic yet contemporary in style, a fashionable ensemble for an everyday look...

White ethnic cape with front tie-strings

Delicate silver accessories

ALTERNATI VE LOOK

GET THE LOOK

This article is a classic ‘get the look’ format, where an ensemble suitable for the target audience is broken down into its individual garments and accessories.

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Turquoise and white knee length kurta in Jaipury block prints

Jade Green Anarkali with a bandhgala neck paired with a parrot green flared maxi skirt. This ensemble will liven up your wardrobe with colours of spring, summer and nature

Silver juttis Ankle length teal skirt in bandhni

FLIGHT

GET THE LOOK

This article is a classic ‘get the look’ format, where an ensemble suitable for the target audience is broken down into its individual garments and accessories.

OF FANCY Essentially Bohemian, in Indian colours and prints, this ensemble creates a fusion look at it’s quirky best.

Magenta pink sheer crop top Yellow crop jacket with folds on the lapel and uneven raised hems

This look can be toned down for those, minimal in taste and style if worn with khadi and linen fabrics in shades of tan and blue

ALTERNATI VE LOOK Minimal gold chain with long rectangular pendant

RUNWAY TRENDS

Multi coloured palazzo in stripes and psychedelic prints

Black fringed strappy sandals

This article features design collections from the runways and picks out fashion statement sthat will entice the generalpopulation and become long lasting trends or short fads.

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BIBLIOGRAPHY NEWSPAPER AND MAGAZINE ARTICLES • •

Bansal, A. (2013) Fashion Forecasters-Crystal Ball gazers or enemies of diversity, Magazine, Volume 5, Issue 43 Malviya, S. (2013) As Indian society sheds its gender bias, housewives dress up in western wear, The Economic Times

WEBPAGES/WEBSITES

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•

Anirban, R. (2008) Fashion Forecasting and India, Times of India Blog, Retrieved – 23 Nov, 2014, from http://blogs.timesofindia.indiatimes. com/Rajesh-and-Anirban-Blog/fashionforecasting-and-india

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Meher, C (2014) Why fashion forecasting is just a hype, MidDay, Retreived – 23 November, 2014, from http://www.mid-day.com/ articles/why-fashion-forecasting-is-just-a-hype/15133070

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Gugnani , A (Sr. Vice President, Fashion) and Kanti Prakash Brahma (Senior Consultant, Fashion), (2014) Fashion Retail Scenario in India- Trends and Market Dynamics, Technopak Consultancy, Retreived – 23 Nov, 2014, from http://www.technopak.com/Files /FashionR_etail_ Scenario_in_India.pdf

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Nair, V (MD –Marks and Spencer Reliance), (2013) Changing Consumer Trends in India, RETALES- Blogs by retail gurus, Retreived on 26 Nov,2014, from http://retail.economictimes. indiatimes.com/re-tales/ Changing-Consumer-Trends-in-India/26

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Gugnani, A (Senior Vice President, Fashion) and Pakhie Saxena (Associate Director, Retail) (2013) Growth of the Indian Ethnic Wear Market, Technopak Consultancy, Retreived on 15 Oct, 2014, from http:// www.technopak.com/files/IndianE_thnicW _ earM _ arket.pdf

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RNCOS (2013), Booming Ethnic Wear Market in India Forecast to 2015, RNCOS Business Consultancy Services, Retrieved on 23 Nov, 2014, from http://www.rncos.com/PressR_eleases/ Booming-Women-EthnicWear-Market-in-India-Forecast-to-2015.htm

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Seth, S (2012) Ethnic wear retailing, Indiaretailer.com, Retrieved on 23 Nov, 2014, from http://www.indianretailer.com/article/sector-watch/fashion/Ethnic-Wear-Retailing-349/#.

VIK9ATGUdqV

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Wikipedia Files, from http://en.wikipedia.org/wiki/Fashion_forecasting

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Dhanapal . P and Anita .S (2013), Fashion Forecasting, Fibre2fashion, Retrieved on 23 Nov, 2014, from http://www.fibre2fashion.com/industry-article/free-fashion-industry-article/fashionforecasting/fashion-forecasting5.asp

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Margarita . B, The Fashion Forecasting Process, Margarita Benitez, Retrieved on 13 Nov, 2014, from http://www.margaritabenitez.com/ trends/lectures/trendc_ h01.pdf

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Indian Designers need to follow fashion forecast, (2008), Silicon India News, Retrieved on 13 Nov, 2014, from http://www.siliconindia.com/shownews/Indiandesignersn_ eed_to_follow_fashion_forecastnid23736-cid-3.html

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Morlidge, S (2011), The forecasting process: guiding principles part 2, Ebsco, Retrieved on 20 Oct, 2014, from http://eds.b.ebscohost.com/eds/detail/detail?sid=d19975f1-76d5-4706bf99-7cff7%40sessionmgr114&vid=0&hid=111&bdataJnNpdGU9ZWxpdmU%3d#anchor=.

VG8K25aCEOQ.gmail&db=bth&AN=71490653

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Gaimster, J (2012), The changing landscape of fashion forecasting, EBSCO, Retrieved on 20 Oct, 2014, from http://eds.b.ebscohost.com/ eds/detail/detail?sid=f13e1962-985a-40ad26624b9d45e%40sessionmgr198&vd=0&hid=111&bdata=JnNpdGU9ZWRzLWxpdmU%3d#anch or=.VG8DmQhCfoc.gmail&db=teh&AN=82936404

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Hofstede, G (2011), Indian Consumers: Shopaholics by Chance, Dealaholics by Choice, EBSCO, Retrieved on 20 Oct, 2014, from http:// eds.a.ebscohost.com/eds/detail/detail?sid=9fe8e734-1376

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Sahni, H (2013), The Future of Fashion Apparel in India , Retrieved on 26 Oct 2014, from http:// www.slideshare.net/WazirAdvisors/the-future-of-fashion-apparel-in-india

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Photographs from www.biba.in

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Photographs from www.globaldesi.com

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Photographs from www.sochstudio.com

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Banon, T ( 2014) , India today, In 2014, fashion will move beyond runway, to streets, Retrieved on 26 Oct 2014, from http://indiatoday.intoday.in/story/sonam-kapoor-kangana-ranaut-fashionlabels-glamour/1/334315.html

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APPENDIX 1 WOMEN CONSUMERS

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2 MANAGERS & CREATIVES

3 DESIGNERS FOR BRANDS

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REFERENCE IMAGES OF PILOT STUDY FOR PHASE 1 OF THE RESEARCH

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