Research Portfolio - Little Whistles by Abbi Minchin

Fashion Operations - Research Portfolio Megan Bradley - 14011539 Abbi Minchin -14008408 Francesca Stevenson - 14010746 Melissa Hadley - 14009839 Phoebe Hallas -14017255

CONTENTS PAGE 1.0 Introduction ............................................................................................................................................................................1 2.0 Whistles .................................................................................................................................................................................2 2.1 Background .....................................................................................................................................................................2 2.2 Location of Stores ............................................................................................................................................................2 2.3 Jane Shepherdson ..........................................................................................................................................................2 2.4 Expansion ........................................................................................................................................................................3 3.0 The Current Market ...............................................................................................................................................................4 3.1 The Childrenswear Market ..............................................................................................................................................4 3.2 Market Trends .................................................................................................................................................................4 3.3 Socioeconomic Trends ...................................................................................................................................................5 3.4 The Demand for Luxury Childrenswear ..................................... ....................................................................................6 3.5 Parental Influence ...........................................................................................................................................................7 3.6 Whistles Market Situation ........................... ....................................................................................................................8 4.0 Trend Research.....................................................................................................................................................................9 4.1 Colour .............................................................................................................................................................................9 4.2 Bespoke Blooms ...........................................................................................................................................................10 4.3 Womenâ&#x20AC;&#x2122;s Apparel ..........................................................................................................................................................11 4.4 Trend Board ..................................................................................................................................................................12 5.0 Competitor Analysis ...................................................................................................... .....................................................14 5.1 Zara ..............................................................................................................................................................................14 5.2 Jigsaw ..........................................................................................................................................................................18 5.3 Chloe ............................................................................................................................................................................22 5.4 Size Range ...................................................................................................................................................................26

6.0 The Customer .......................................................................................................................................................................26 6.1 The Seventy Percent: The Parent ...................................................................................................................................27 6.2 The Thirty Percent: The Child .........................................................................................................................................28 6.3 Visual Customer Profile ..................................................................................................................................................30 7.0 Range Development ............................................................................................................................................................32 8.0 The Final Range ...................................................................................................................................................................46 8.1 Freight ............................................................................................................................................................................47 8.2 Manufacturer - Sri Lanka ................................................................................................................................................48 8.2.1 Specialisms .................................................................................................................................................................48 8.2.2 CSR .............................................................................................................................................................................49 8.2.3 Lead and Shipment Times ..........................................................................................................................................49 8.3 Costing ...........................................................................................................................................................................62 8.4 Raw Materials ................................................................................................................................................................ 62 9.0 Promotion .............................................................................................................................................................................64 9.1 Promotion to Parents ......................................................................................................................................................64 9.2 The Power of Bloggers ...................................................................................................................................................65 9.3 Children Online ..............................................................................................................................................................66 9.4 Primary Research............................................................................................................................................................66 9.5 Promotional Plan ............................................................................................................................................................67 9.6 Lookbook ........................................................................................................................................................................68 9.7 The Store Launch ...........................................................................................................................................................70 9.8 The In-Store Experience ................................................................................................................................................72 10.0 Critical Path ........................................................................................................................................................................74 11.0 Conclusion .........................................................................................................................................................................76 12.0 Appendices ........................................................................................................................................................................78

TABLE OF FIGURES Figure 1: CEO of Whistles, Jane Shepherdson ............................................................................................................................3 Figure 2: A SWOT analysis on George at Asda, highlighting their strengths as the market leader ............................................5 Figure 3: A graph highlighting the growth in the average age of mothers ..................................................................................6 Figure 4: A Mintel graph forecasting UK childrenswear sales, from 2009 – 2019 ......................................................................7 Figure 5: Patterns taken from WGSN Trend Board ....................................................................................................................10 Figure 6: Examples of prints Whistles have produced for past and current collections.............................................................10 Figure 7: WGSN forecasted Women’S Apparel CAD images for the A/W 17/18 season ..........................................................11 Figure 8: Child-Parent Purchase Relationship ..........................................................................................................................27 Figure 9: Sri Lankan trade route ................................................................................................................................................49 Figure 10: Quotes from questionnaire .......................................................................................................................................67 Figure 11: Little Whistles’ Instagram account prototype ............................................................................................................68 . Figure 12: Whistles’ current lookbook ........................................................................................................................................68 Figure 13: Mock up layout of the Little Whistles’ lookbook ........................................................................................................69 Figure 14: A prototype of the launch event invite ......................................................................................................................71 Figure 15: Mock up of the Little Whistles’ store interior .............................................................................................................73

1.0 INTRODUCTION The childrenswear sector is a rapidly expanding market, drawing much attention from existing apparel brands who are looking to venture into new markets. The expansion of this sector has seen various retailers from diverse market positions launching their own offerings for children. Thus, the proposal for Whistlesâ&#x20AC;&#x2122; own childrenâ&#x20AC;&#x2122;s range - coined â&#x20AC;&#x2DC;Little Whistles - was formed. The evident gap in the mid-range market, which is later discussed within the portfolio, highlights Whistles as a key retailer, in which can successfully launch a collection for girls, aged three to eight. The collection will feature 6 core pieces for the initial launch, including a dress, smart trousers and a suede jacket. The aim for the childrenswear collection, is to create aesthetically pleasing, comfortable and practical clothing that will appeal both to the parent and the child, fashioning a family retailer status for the brand. Moreover, the collection will be looking at brands such as Chloe, as an aspirational competitor alongside competitors of a similar market level. The following portfolio consists of a range plan, supported with thorough and extensive research as well as proposed marketing and promotion strategies. Financial forecasts for Little Whistles have been calculated to their most accurate predictions, in order to provide a realistic insight into the cost of a childrenswear collection.

2.0 WHISTLES 2.1 Background

2.2 Location of Stores

Contemporary high street brand Whistles describe themselves as a brand that create timeless and luxurious pieces that encapsulate intelligent design (Whistles, No Date). Since it was founded in 1976 by Lucille and Richard Lewin, Whistles has developed into a strong middle market retailer, particularly dominant on the British high street. Collections are formed of laid back, minimalistic and modern designs with strong attention to detail and quality. Known for its signature style of classic shift dresses, vibrant prints, and suiting, the brand is referred to as being cool rather than conventional. The retailer undertook a relaunch following a year of turmoil in which the UK saw a recession and Whistles suffered financial loss. Newly appointed CEO Jane Shepherdson managed to control the financials for the company and the brand became an industry favourite, being compared to that of high end designer Celine (Cochrane, 2012). The brand is now notably renowned for clothing The Duchess of Cambridge, Kate Middleton, who has become one of the most influential women in the UK fashion industry (Indvik, 2014).

The brand currently sells in 46 stand-alone stores across the UK - all in key locations, ensuring a presence in all major cities and shopping centres - and 57 concessions within leading department stores such as Harvey Nichols, Selfridges and Harrods. Alongside this, they stock on websites such as ASOS, Lane Crawford in the Far East and in Tsventnoy, Russia. Following the brand overhaul in 2008, Whistles began to expand into the global retail market and now retail worldwide. Perhaps their most notable retail venture was the launch of Whistles within the New York Bloomingdales store. This venture is one of many undertaken by Whistles to hold a position in major retail players, located in global markets. The thought behind this move was to allow Whistles to experiment in high end department stores in foreign markets to test its success. This includes KaDeWe in Berlin, Printemps in Paris and Lane Crawford in China. (Wang, 2014)

The 2015 annual report suggests strong business revenue for the Whistles brand, with a total sales increase of 14% to £55.3 million comparable to the 2013 gross profit margin of £35.7 million (Whistles, 2015). Nonetheless, an article published by The Business of Fashion suggests that despite a successful reboot with cash-rich backers, their turnover is still significantly less that key competitors (Wang, 2014). However, with both women and menswear collections continuing to grasp the attention of

Following a serious downturn in popularity pre-2008, Jane Shepherdson was brought in to the company in January 2008. As previous director at Topshop, Shepherdson had significant experience with successful retail brands, being referred to as an “inspirational retail visionary” (Cochrane, 2013). After beginning her career as an assistant buyer at Topshop in 1984, she spent over 20 years working her way up until she oversaw all aspects in Topshop’s retail operation. As a result, Topshop was transformed to an emblem of the British high street (Ahmed, 2012). In 2008

2.3 Jane Shepherdson

to purchase a 20 percent stake in the Whistles brand and as a result, was appointed chief executive. Her strong retail knowledge in womenswear in particular and her “uncanny ability to know what women want to wear”, has allowed Whistles to go from strength to strength since her reign (Whistles, no date). Since her appointment, opinions surrounding the brand have completely turned around, with cleaner silhouettes, sophisticated colour palettes and effortless contemporary designs have made the brand “a sleek directional force to be reckoned with” (The Observer cited in Farrell and Butler, 2016).

2.4 Expansion 2014 saw the introduction of Whistles catwalk collections to London Fashion Week. Despite previous presentations and shows, 2014 marked the first of their shows recognised by The British Fashion Council. Presenting on the London Fashion Week platform projected Whistles into a new light in the fashion industry. It was this projection and press that allowed the successful launch of their menswear collection later that year (Alexander 2014). In September 2014, Whistles launched its hotly anticipated debut men’s collection. Described as contemporary design with modern utility, Whistles menswear is an edited collection that is both conserved and versatile, combining understated looks with refined styling. The collection was produced to be relevant for work and leisure in the knowledge that what separates those worlds is becoming less defined. The brand created a capsule wardrobe for the modern man - a “tightly edited wardrobe of classic pieces”

Figure 1. CEO of Whistles, Jane Shepherdson.

focusing on “longevity and quality rather than flash-in-the-pan trends” (Gonslaves, 2014). At the time of launch, Whistles was named as the biggest emerging retailer in the menswear market (Bain, 2014). Since then, the menswear collection has been highly successful and has a wealth of repeat customers who strive to purchase the well-designed garments (Holmes, 2015). In March 2016, Whistles was bought by South African retailer, the Foschini Group, after the group agreed to acquire the company from Icelandic investment company Mundur Ehf. It follows on from a pattern of South African realtors investing in European companies. 3

CEO of the Foschini Group Doug Murray stated that “Whistles is an iconic brand” in which they see “enormous growth potential’’ (Tang, Wu and Idelwight, 2016). Following on from being bought by The Foschini Group, Whistles’ last available accounts show that annual sales have increased by 9 percent to 63 million pounds while the pre-tax loss was 2.4 million pounds (The Telegraph, 2016). The Telegraph has hinted at the start of a “toddler fashion boom”, in the wake of excessive press coverage for the new additions to the British Royal Family – Prince George and Princess Charlotte. George has been given the title of “the world’s most influential toddler” (Buttolph, 2016), and with his mother being an avid Whistles consumer already, this could be an incredible expansion opportunity for the brand. Its recent expansion into menswear places Whistles in a strong position to branch into the childrenswear market, allowing it to be a family retailer – a concept that is becoming increasingly popular.

3.0 THE CURRENT MARKET 3.1 The Childrenswear Market Despite not being often talked about in the media or covered by mainstream fashion magazines, childrenswear apparel takes up a large section of both UK and international markets. It accounted for sales of £5.8 billion in 2015, a 1% increase from the previous year (Passport, 2016), displaying a steady rise within the market – something that is noteworthy in today’s difficult retail environment. This is echoed by predictions from Mintel, who forecast that the sector “will grow by 15.3% over the next five years”, taking its worth up to £7.8 billion, a growth that Mintel believes will be driven by an 4

“increase in the number of children aged 5-14” (2014). However, as with menswear and womenswear, there are differences in the prices, amount and success of boys’ and girls’ clothing, and this is something that Whistles must take into consideration for the launch of their childrenswear range. Despite the 1% rise overall, childrenswear for girls saw a 3% increase in 2014. Mintel credits this to parents spending more on girls than boys due to girls being “more concerned with how clothes look on them”, resulting in parents having to purchase larger amounts and more frequently (2014). A Euromonitor report on childrenswear also identifies the difference, noting how girls clothing accounts for value sales of £2.3 billion compared to the £2.2 billion of boys’ apparel (2016). Although this seems like a minimal difference, they also point out that girls clothing is generally cheaper than boys’, averaging at £17.60 per unit, thus indicating that girls clothing sells in much “larger unit quantities than boys”. Passport believes that girls try to “emulate grown-ups”, have “an interest in fashion at an earlier age” and see shopping as a “leisure activity”, which results in a greater spend on their clothing, but also starts the trend of females shopping more than men from an early age (2016). Therefore, upon venturing into a currently unexplored market, Whistles should concentrate primarily on girls’ apparel. Having only launched into the menswear market in 2014, Whistles has a better understanding of their female consumer and thus should play to their strengths. Upon in-depth examination of both the market and trends, the Whistle’s mother and female child consumer can also be successfully targeted.

3.2 Market Trends At current, the supermarket stores dominate the childrenswear

market, with George at Asda holding 14 percent of the value shares (Passport, 2016). Their dominance as the “first-choice destination” for kids’ apparel is confirmed by the fact that “six in ten people who buy childrenswear have done so at Asda” (Haymarket Media Group, 2012). This success is seemingly unrivalled in the market and Passport accredits this to the emphasis the company places on the “low prices and durability” of their clothing (2016). Passport also notes how Asda gives their childrenswear collection “dedicated space in its stores” and the effectiveness of their advertising campaigns in contributing to their triumph. As a market leader, Whistles must look at what George do successfully, but also their weaknesses as a brand and the opportunities (see Figure 2) of which Whistles can expand on. Although the success of George at Asda appears to be down to their low prices, further research suggests that due to changes and developments in socioeconomic factors, a shift may occur in the childrenswear market.

3.3 Socioeconomic Trends Following the ‘baby boom’ that occurred between 2006 and 2008, there was a high demand for younger childrenswear around 2012 (Haymarket Media Group), however, these children are now around 10 years old; the age when they do not want generic clothing designed for younger children. Mintel reported that “the increase in the number of 0-4 year olds is forecast to slow to 1.7%”, a drastic drop compared to the 9% growth in children aged 5-9, showing that the highest demand will be for toddler and pre-teen clothing (2014). Naturally, whilst these figures show that there will be an increase in the number of the wearers of children’s’ apparel, as a company, Whistles must look at the social trends of the parents who will actually be purchasing the garments. It is well known and documented that women are delaying having

Strengths • • • • • •

Large dedicated floor space in Asda stores. Low prices with promise of quality and durability. Licensing deals with Disney, Barbie, etc that allow branded products. Multi-pack offers. Wide range of sizes (9months - 11 years). School wear stockist (one-stop shop).

Weaknesses • • •

Designs are fairly ‘babyish’ for the slightly older girls. Has a reputation for being ‘cheap and cheerful’ - may be negative if a parent is looking for a more luxurious garment. Designs do not seem to reflect current trends.

Opportunities • • •

No ‘premium’ range - gap in the market. Only general ‘George at Asda’ social media accounts no separate account for childrenswear. Targeting the fashion-follower child.

Threats • Luxury brands are launching childrenswear, ensuring the best quality. • Other brands are very strong digitally/on social media may give them an advantage. Figure 2. A SWOT analysis on George at Asda, highlighting their strengths as the market leader. This will be taken into consideration in the launch of the Little Whistles range.

success and growth. It has been noted that a decade ago, there were very few luxury childrenswear collections available, but now a huge range of designers such as Stella McCartney, Chloe and Dior all have childrenswear lines, bringing a new level of “design sophistication and generating publicity for aspirational trend-led children’s clothing” within the industry (Jatyri, 2014). The success of these designer kids’ collections have seen the introduction of dedicated childrenswear departments in Harrods, Selfridges and Liberty London and by 2011 the luxury sector made £6.5 billion in the UK alone (Bridgewater, 2013)- a figure that has indisputably increased in recent years.

children until later in their life cycles, due to a number of reasons such as higher education, job market uncertainty, financial stability and the modern instability of partnerships (Mintel, 2014). The UK Office for National Statistics reported that the average age of first time mothers in 2014 was 28.5 years, an increase of the previous average of 28.3 in 2013 (ONS, 2015). They also noted that 67% of fathers are now 30 or over. This proves that both men and women are focusing on financial stability for themselves and their children more than ever, and this can explain the slowing birth rate. Although this seems like a major red flag for brands wanting to launch a childrenswear line, Passport (2016) believes that there is a “silver lining” to the “rising age of parents and fewer children” (see Figure 3). Older parents with secure jobs suggests they have more financial awareness as well as disposable income, but Passport also refers to them as “informed consumers”. What this means for retailers is that if the parents are already aware of a brand, particularly if it has a positive reputation in terms of style or quality, they are more likely to purchase garments for their children too. This concept is described as brand equity that induces brand loyalty. Brand Equity is defined as “the value a brand name adds to a product” (Hem & Iverson, 2003) and the knowledge consumers have of a brand can have a direct influence on any brand extensions that occur. What this also means is that parents now have more money to spend on their children, particularly as there is a tendency to cut back on buying goods for themselves for the sake of their children. Looking at future forecasts for both the childrenswear market and the birth rate in the UK, the future looks positive for Whistles launching a children’s collection. The birth rate is expected to decline to an average of 11.4 births per 1,000 people by 2020, thus affecting the amount parents spend per child, as Passport (2016) predicts a 5% 6

Figure 3. A graph highlighting the rapid growth in the average age of mothers at birth of their first child, over a 12 year period. (Mintel, 2014)

overall sales growth in childrenswear against 2015 prices. In terms of Whistles’ position in this childrenswear market, the collection would mirror the parent company’s semi-luxury location on the high street. This means that Whistles would be filling a gap in the market: a semi-premium brand for children that is affordable but with the best quality for that price bracket.

3.4 The Demand for Luxury Childrenswear Part of what makes the proposal of a ‘Little Whistles’ range so secure is the current and unwavering demand for luxury childrenswear. Although looking at market shares shows that budget retailers like George and Primark have the largest shares, this is down to their strategy of selling large quantities at very low prices and in recent years it has been the luxury brands that have seen more substantial

This growth of the luxury sector can also be identified as a great contributor to the demand for trend-inspired childrenswear. Research by Trendstop (2014) in 2013 identified that children’s clothing that closely mimicked adult offerings in terms of “colour, overall thematic directions and adapted prints and graphics” were ultimately more popular. It was reported that in 2012 six in ten parents considered price to be the most important factor in purchasing childrenswear, Jaana Jatyri (cited in Trendstop, 2014), a researcher from Trendstop, argued that the increase in trend awareness and style for children’s apparel has led to a change in what parents look for when shopping for their children. She believes that in the now highly competitive market “the winners will be those brands that combine better quality, design, trend consciousness, ethical awareness, safety and overall value” (2014). This being said, it should be noted that the designer childrenswear market itself has also changed. At its beginning, luxury and designer brands were reserved for those parents “at the very top of the social economic scale” along with “foreign shopping tourists from the Middle East and Asia” (Passport, 2016) who would come to the UK for their supply of designer garments. However, these items were designed for parents to “show off their wealth” but the current

Figure 4. A graph created by Mintel forecasting the best and worst case figures for UK childrenswear sales, from 2009-2019. As can be seen, they predict the sector will continue to grow. (Mintel, 2014)

trend is for more “discreet” offerings in designer garments. This is good news for Whistles, as their mainline women’s collection is focused around simple shapes silhouettes, an aesthetic that the ‘Little Whistles’ range will follow.

3.5 Parental Influence Although the child is the consumer of the product, the parent is the customers and therefore, it is still important to examine their habits and motivations in order to understand the market that ‘Little Whistles’ will be launching into. Jaana Jatyri identifies the most important people in the purchasing of childrenswear as “parents or style-conscious relatives” and thus the examination of the latest consumer trends is as important in childrenswear as it is in adult apparel (2016). In the case of luxury childrenswear, it has 7

been identified that parents choose these brands for the “good quality and design” (Prendergast & Wong, 2003) which they feel is guaranteed from a reputable brand name. On a wider scale, it has long been identified that clothing is used for its “symbolic value reflecting the wearer’s status” (Solomon, 1983) and that the “desire to impress others with their ability to pay particularly high prices for prestigious products” is a huge motivator for consumers (Mason, 1981). Whilst this concept relies on the assumption that the parents or purchases of children’s clothing are fairly materialistic, a study by Jean C. Darian found that some parents “enjoy consuming vicariously through their children” in purchasing luxury items (1998). This theory, joined with the awareness of Whistles as a brand, should result in parents wanting the quality, style and luxury of Whistles for their children. Nevertheless, it is worth remembering that although parents are the primary customers of childrenswear, the children themselves may also have some influence in the decision making process. Children are now socialised into consumerism from an early age and Lackman & Lanasa believe that this, paired with higher family affluence has resulted in an increase in the amount of influence children have on the purchase of their apparel (1993). In recent years the impact of social media, and the younger generation’s usage of these sites, has drastically changed consumer trends. Mintel (2014) notes that children and teens are now using social media to “research things they like, get ideas and show off their new possessions” and apparel is a huge part of this. Therefore, the role of the child consumer should not be underestimated in the creation of the Little Whistles range.

3.6 Whistles Market Situation

4.0 TREND RESEARCH

After an in-depth analysis of the childrenswear market as a whole, Whistles’ position in the UK apparel market should also be assessed. By examining the companies’ annual report from the financial trading year up to January 2014, it is clear to see that Whistles is profitably successful. They saw a £55.2million turnover in the year ending January 2014 compared to £48.6million the previous year. This is a prominent growth and it should be noted that this was prior to the launch of Whistle’s menswear, which came around in March 2014. Drapers (2015) then reported that the company’s sales grew by 11% by January 2015 following the launch of the menswear collection which puts the company in a good position to follow this up with the launch of Little Whistles. The success of their menswear line can be accredited to Whistles’ CEO, Jane Sheperdson. Acting on consumer requests – “we had feedback from customers and their other halves asking why we don’t do menswear” (Shepherdson cited in Ruddick, 2013) – she understood that the proposal of making men’s clothing was ambitious and bought in experts in the field to help (Ruddick, 2013). She appointed a male head designer and personally met hundreds of males to conduct focus groups to find out the preferences of the male consumer (France, 2014) in order to create both a collection and shopping environment that men would enjoy. This willingness to understand the consumer and give them what they want is what makes Whistles the perfect brand to further expand their offering into childrenswear.

4.1 AW 17/18 Colour

14-1311 TCX PANTONE

Chalk Pink Calm chalky pink tone has taken over the current Spring/Summer season, and according to WGSN (2015) will continue to do so. The chalky tone of the pink represents the “dulled by recycling” aesthetic that has become somewhat of a phenomenon in the fashion industry lately. Sustainibility - rather than an add-on has become imperative to the consumer, with waste materials increasingly viewed as beautiful. This “quiet, refined” pink is perfectly suited to the Autumn transitional period, feminising the dark tones most commonly found in Autumn/Winter collections. The womenswear edit “focuses on the more delicate tones” for the upcoming season, but identifies colours that work well in conjunction. Pure Grey Grey has been introduced as a complimentary colour to the pink aforementioned. By incorporating this tone, the trend for AW has shifted from the more conventional bright and pastel tones in the womenswear market, to a complex palette that sits between the two. A grey undertone often runs through an AW palette, however the greys forecasted are much softer than usual, and are counterbalanced by the retro tones of the chalk pink. Darker Tones Uniform blue and navy conform to the traditional tones found in Autumn/Winter collections. They are rich tones that offer sophistication to the palette. The palette for Little Whistles will combine all of these tones. As a mix these colours allow versatility, “with gentle and steely tones” that create a contemporary look for the younger generation. The lighter accents (chalk pink and sand) offer softness and feminity to designs, while the darker tones add sophistication that fits in line with the Whistles aesthetic. It still feels rich and luxurious, but is also appropriate for the younger market.

124 40 10 CNCS

1200071 MC CSI

064 65 00 CNCS

0503617 MC CNCS

4.2 AW 17/18 Bespoke Blooms

4.3 AW 17/18 Women’s Apparel

“Moving away from graphic cutouts, bold florals become softer with painted textures and imperfect floral forms. A fluid hand is used to draw a range of florals, as scales range from mid to oversized and the point of abstraction. Naïve silhouettes of flower heads and stems are scattered sparingly in abstract formations. This is a new, directional take on the contemporary floral: feminine, but with an edge.” - WGSN, 2016 Whistles consistenly produce printed garments every season, providing an interesting addition to an otherwise simplistic collection. Little Whistles, to conform to the set up of the adult range, will feature a print. Taking into consideration the bespoke bloom trend forecasted for AW 17/18, the print will incorporate the colour palette aforementioned, while creating a print that is unique but feminine for girls. Although oversized scales are what is forecast to be on trend, Whistles will need to take into consideration that childrenswear garments - due to their small size - will need a smaller scale print. Experimentation with the scale of print will be taken out in the development stages of the range.

Figure 5. Patterns taken from WGSN Trend Board ‘Bespoke Blooms’. (WGSN, 2016)

Figure 6. Examples of prints Whistles have produced for past and current collections. (Whsitles, 2016)

With fashion ‘Mini-Me’s’ becoming overwhelmingly present in todays society, trends in women’s apparel will be a big influence when developing a childrenswear range. WGSN (2015) has forecasted the trends in womenswear for the AW 17/18 season (see Figure 7), “Oversized details, statement pattern and sumptuous textiles evolve cleanlined silhouettes that underpin a sense of refined luxury” for the fashion-concious female. Whistles are minimalist in their design, producing silhouettes similar to what is seen in these forecasted trends. The Little Whistles range will emulate their preexisting design process, providing a childrenswear range that accomodates the modern parent and child dynamic. These designs will be taken into consideration in the developmental stages of the Little Whistles range to create child-friendly versions.

Figure 7. WGSN forecasted Women’s Apparel CAD images for the AW 17/18 season. (WGSN, 2015)

4.4 Trend Board Knits, Oversized, Ruffles, Textures

High street brand Zara retail their childrenswear range both online and in physical stores globally. Physical retail of the range usually operates out of their larger Zara stores worldwide, however in 2009, the brand launched their first standalone kids’ store in London’s Covent Garden (Berwin, 2009). This launched in correlation with the profitable state of the market at that time due to the recession and parents spending money on their children before themselves (Berwin, 2009). Since, Zara’s recognition as a ‘desirable’ childrenswear outlet has grown, especially with their affordable-prices-meets-fashion image meeting with the demands of the modern day customer, who have changed considerably from what was once recognised as the ‘standard parent’ consumer who bought solely for functionality or affordability. In the modern market environment, the childrenswear customer now looks for a definitive mix of both fashion and functionality, and the element of quality is highly prioritised too. As was aforementioned, this change is due to a wealth of social factors that have occurred in the last decade amongst the modern consumer market, such as increasing birth rate, parents having children later in life, and “a glut of baby-boomer grandparents”, resulting in higher disposable incomes amongst them (Craik, 2015).

Size and Price Zara’s kids range has a size offering of between 4 years and 14 years across both girls and boys ranges. This is separate from their Zara ‘baby’ range which offers a separate line for babies ages 0-4 Years. The ‘kids’ range starts from as little as £2.99 for simple t-shirts, up to £49.99 for a leather Suede Jacket (Zara, 2016). The range marries both fashionability and affordability, as is the overall characteristic of the Zara brand, and therefore is one of the wouldbe competitors of a Little Whistles range.

Sourcing and Manufacturing Their affordable pricing and fast-fashion operation strategy makes them the high-street level competitor. Due to where they sit in separate market segments, Whistles would compete with them on quality and functionality rather than price, while ensuring they meet the demands of the trend driven consumer market. Little Whistles’ middle-market operation would deem it appropriate to price above Zara Kids, and invest in better quality materials to manufacture similarly fashionable garments.   Zara operate under the parent company Inditex, who employ a ‘sustainability ethos’ across their entire operations, but particularly in line with their suppliers. They seek to build sustainable and ethical relationships with foreign suppliers in order to capitalise on lower costs of sourcing and manufacturing abroad, whilst still ensuring the ethical well-being of those involved with the operation of their brands, particularly

with Zara as their flagship (Inditex, 2016). They state that they have “supplier clusters in Spain, Portugal, Morocco, Turkey, India, Vietnam, Cambodia, Bangladesh, China, Brazil and Argentina” (Zara, 2016), most likely in line with the cheapest place of source and manufacture. However on closer evaluation through an instore visit to the Manchester City Centre store, correlations were drawn between location of source and manufacture, and the fabric of the garments. It was found that most garments with a high percentage of cotton composition were from Bangladesh or Morocco, suggesting that these locations offered the cheapest option for cotton garment manufacture. Similar comparisons were drawn between Portugal and mixed material garments (Zara InStore Visit, 2016).

particular as the most effective form of promotion for childrenswear brands. With these findings in mind, drawing from both the promotional actions of Zara as a competitor and general market trends, it could be suggested that Little Whistles would be better to launch promotional material from stand-alone social media accounts as opposed to publishing content via their existing adult accounts. Beyond the fact that there is a growing culture of “baby bloggers” and “Insta-mums” (Tobin, 2015), social media accounts specific to the Little Whistles range will also make the brand far more accessible to its desired consumer.

Promotion There is no current stand-alone platform from which the Zara Kids brand specifically or officially publishes content. By way of social media, childrenswear-related content is published through the existing Zara accounts, and look to editorials to promote the ranges each season. These editorials are posted on their website (Zara, 2016) and often the images are filtered down through the general Zara social media accounts, particularly the more visually based ones, such as Instagram and Facebook. (Zara Official, 2016)   However, market research suggests that current social trends within the modern consumer market, and more specifically the childrenswear market, are seeing Instagram and blogging in 15

Jigsaw launched in 1972 with the ideals of timelessly stylish and affordable fashion. The element of timelessness is a key focus for Whistles (WHISTLES, 2016) and is the core reason as to why Jigsaw is labelled as a direct competitor. Upon demand for both these elements within the consumer market, Jigsaw expanded into menswear in late 1994, and two years later launched ‘Jigsaw Junior’, a similarly contemporary yet timeless childrenswear range that offers quality and style but at affordable price points (BT Fresca Limited, 2016). Jigsaw operate within the middle market, offering higher prices within the high-street segment in exchange for quality, designer-inspired garments and a long-standing heritage that sets them apart from lower high-street competitors.

Size and Price

Sourcing and Manufacturing

Jigsaw Junior offers garment in sizes four years to 13 years, with prices ranging from £15 for a basic motif T-shirt and up to £79 for a Velvet trim coat in their current range offer. They generalise their price range to be anything from £0-£100. Their middle market price offering is justified by their position as a leading brand in the market, bringing customers the “best fabrics from the best factories with designer quality” and garments that are “responsibly sourced”. All while ensuring the delivery of new stock weekly so that customer’s experiences are always “fresh and exciting” (BT Fresca Limited, 2016). With this information in mind, a Little Whistles range would look to compete on all of these elements of operation, and a competitive pricing strategy will be implemented in order to compete with Jigsaw. By looking to price garments at the same or similar price as Jigsaw, Little Whistles will focus on the costs of sourcing and the fabrics used within their range to ensure quality remains one of the key selling points and competitive features of the range. While Jigsaw state that they deliver new stock into stores weekly (BT Fresca Limited, 2016), a steer away from the fast-fashion operation that both competitors, Zara and Jigsaw seemingly implement in their operations, is what will set Little Whistles apart, by using longer lead times as a reflection of quality and care taken in the manufacture of the garments.

Like high-street competitor Zara, Jigsaw employ great focus on “sustainable and ethical sourcing” by operating an Ethical Trading Initiative (ETI) base code across their operations (BT Fresca Limited, 2016), using it as an indicator of their quality and moral brand identity. For ethically conscious consumers, this could be a core motivation for investing in a brand with a higher price range. This conforms to the idea of anthropomorphic marketing, where brands can use their ethical operations to encourage consumers to invest in their brand as opposed to others. Again, this humanises brands, communicating moral characteristics and creating brand attachment (Marketing Research Association, 2016). Jigsaw do not offer information that specifies exact locations of their suppliers, and contact with their head office also resulted in a similar lack of information due to privacy reasons. (Jigsaw Head Office, 2016) However, closer observation of some composition details on some of the childrenswear garments found that where source was mentioned, if at all, the garments were of ‘European’ origin (BT Fresca Limited. 2016). While vague, additional research into ‘manufacturing and sourcing within Europe’ with regards to the childrenswear market has found that Portugal – a location also used by Zara – is fast becoming a supplier favourite with luxury childrenswear brands due to its quality of skilled workforce, reactivity in terms of short lead times, proximity, accessibility, and flexibility to produce both on mass and in smaller quantities. Many

retailers are turning to Portugal for its ability to allow for fast lead times, a desired element for fast-fashion retailers such as Zara and for retailers like Jigsaw who want to put new stock in stores weekly. However, with this in mind, Little Whistles will not be seeking a fastfashion operation, instead focusing on quality and exclusivity.

Promotion Social media is providing brands with the opportunity to implement the ideas of anthropomorphic marketing strategies, where brands curate content that is personal with individual customer’s, making them believe that the brand identifies with who they are and not just a consumer, (Marketing Research Association, 2016) resulting in brand engagement and attachment. Jigsaw create conversation about their brand history as part of their identity both on their website and social media platforms, emphasising their original principal “to provide timelessly stylish yet affordable quality garments”. Little Whistles would be wise to ensure the values of their existing adult range and overall brand identity remains strong when launching their childrenswear range. This would be a particular area of focus within their marketing efforts, with social platforms providing the brand with an opportunity to engage customers, using their long-standing values of “intelligent contemporary design combined with luxury and timelessness for effortless style” as a guide for the content they publish in order to increase brand equity.   19

Chloe launched their Childrenswear range after signing a licensing agreement with the leading European licensee of designer childrenswear, Children Worldwide Fashion, in 2003. The first collection launched in Fall 2007 and was retailed through multibrand retailer stores in Europe and the Middle East (Fashion United, 2003). Since, Chloe still only retail their children’s range through multi-brand luxury retailers, rather than through their own site where they retail their adults range.

Sizing and Pricing The range caters from newborns to children, their main line being their ‘Girls’ range, which caters for 4 years to 14 years (Chloe, 2016). Their current price points start at £29 for a headband, all the way up to £344 for a ‘Lace Couture’ dress, outlining Chloe’s luxury positioning. Known for their timeless and feminine tailoring (Children’s Salon, 2016) Chloe provide garments of luxury quality but with ‘understated elegance’, highlighting that the idea of timeless fashion is where Little Whistles will compete with this brand. It is this long standing heritage that communicates the ideas of quality, luxury, and by way of the French lifestyle in particular, feminine indulgence, which sees consumers investing in this brand and spending high amounts on designer children’s apparel. 22

It is very much an aspirational brand, appearing in the eye of the media because of the growing exposure in the day to day lives of celebrities and their children. It is this insight, brought on by social media growth, combined with the ageing parent population and rise in disposable incomes, that see’s parents investing money in luxury childrenswear (Craik, 2015). It is for this reason that Little Whistles should carefully monitor the actions of competitor Chloe, who implement a clear focus on timelessness and quality in their children’s range. However, for the middle-market consumer, affordability remains a key consideration along with the desire for fashionability and quality, therefore a competitive pricing strategy that sees Little Whistles’ range priced below luxury designer lines, but above fast-fashion and high-street brands, puts them in the ideal position for capitalising on this growing consumer market and their demands.

Sourcing and Manufacturing Chloe do not offer information regarding their sourcing or supplier locations via their website, or that of their parent company’s website, Richemont, but do outline their “responsible sourcing” values: “to source responsibly, respecting ethical business practices, human and labour rights and the environment” (Richemont, 2016). This is another comparison that can be drawn across the competitors of this market segment, with a clear indication that ‘responsible and ethical sourcing’ is a selling point, or rather, motivator for

consumers when considering brands they wish to invest in, further supported by a Nielson report that states “fifty-five percent of global online consumers are willing to pay more for products and services provided by companies that are committed to positive social and environmental impact” (Nielson, 2014), which could suggest that for Little Whistles, an investment and implementation of a strong and clear CSR strategy, much like the likes of their competitors, could give them better justification to charge more premium prices for their garments. As Chloe’s head office operates out of France, a call made to further enquire about sourcing locations was unsuccessful. However, upon visiting Manchester Trafford Centre Selfridges, a primary observation was made of the Chloe Girl’s SS16 Range, which indicated the childrenswear to be made across two specific locations; Tunisia and Bulgaria. Again, it is from this finding that the conclusion can be drawn that manufacturing and sourcing from developing locations is a wise move for those operating within the childrenswear market.

Promotion Chloe supply their childrenswear range through a number of luxury retailers, ChildrenSalon being one of them. ChildrenSalon, ‘dressing children beautifully since 1952’ (ChildrenSalon, 2016) as part of their operation, run a blog called ‘The Adorables’ within their website that, has extended into one of the most successful

childrenswear Instagram’s available, with over 267,000 followers to date (ChildrenSalon, Instagram, 2016). The Adorable’s cleverly uses user-generated content to spur loyalty and sales of the brands they retail, Chloe being one of the most prevalent (Cardamenis, 2015).   Operating on platforms such as Instagram will allow Little Whistles to capitalise on the growing opportunities that social media and e-commerce offer to childrenswear retailers, just like their competitor Chloe has seen. Publishing user generated content on these platforms “strengthens the bonds between consumer and retailer by making the brand an active and social part of consumers’ lives” (Cardamenis, 2015) resulting in rising sales numbers, increased demand for that brand, and potential for long-term brand loyalty. “The incredible thing about user generated content is not that it is a seemingly endless stream of high quality content– but rather that its authenticity generates so much trust.” (Cardamenis, 2015)   The digital and brand director of Childrensalon, Sorcha HarrimanSmith, states that “creating a community where customers can engage with each other in an environment that brings products to life has a powerful potential to spur sales in childrenswear” (Cardamenis, 2015), which further justifies the appropriateness for the launch of a stand-alone Instagram platform in alignment with the Little Whistles range, where this specific approach to an online presence encourages not only activeness across the biggest growing promotional platform, but the opportunity to spread brand awareness and increase sales. 23

5.4 Size Range Even as early as the beginning of the millennium, adolescents began to “establish their own personal style” (Anderson, 2007). While trends still play a big part in young girls’ approach to fashion, there is a confidence in this generation that is new – they want to try the newest thing, they want to be the first, and they want to look the best. Rivalling even those 10 years older than them (Moore, 2014). The adolescent of today – Generation Z – have access to much more than the past generation did at their age. They are exposed to, and have easy access to so many platforms that inspire and drive them to purchase certain products (Moore, 2014). Due to children becoming more apt with social media and more exposed to the internet, they have started to develop their own sense of style early on, more likely from age eight and up where they start becoming fashion conscious and interested in their own fashion motivations. Therefore, having a range that stretched from three years to 14 years might be discouraging to those in the upper bracket as they do not want to be within the same sector as those still classified as “children”. They strive to look and act older than they actually are, and in turn are more likely to shop in the adult range of Whistles, than that of this newly developed range. Also, teens are more likely to go shopping with a group of friends, rather than their parents – they will not be given enough money to spend in Whistles. They will purchase fast fashion (on trend and cheaper), therefore the brand expansion needs to be targeted primarily at the parent, for their child whose fashion style they can influence without as much fight (Peterson, 2014). If demand is high and the primary age range is successful, then Little Whistles has 26

the opportunity to expand; but targeting a younger age range (3-8 years) – considering the social trends for those above eight years old – will benefit the company in the long run.

This is a theory most clearly evidenced by celebrity parents and their children, where it is clear that a parent holds a close or personal relationship with a brand (for example, Kim Kardashian being the muse for Balmain’s Olivier Rouesteing), it is often the case that the child is soon seen to be wearing that brand (North West has been photographed in several custom Balmain outfits since her birth). As that child grows older and starts making their own fashion decisions they are more likely to feel loyal towards that certain brand because of their parents pre-existing connection (Sorin, 2015).

6.0 THE CUSTOMER It has been identified that the childrenswear consumer market can be segmented into a 70:30 ration, with 70 percent being attributed to the parent consumer, and 30 percent being attributed to the child. However, while there is evidence to suggest that this ratio is becoming more balanced as children becoming growingly exposed to consumer goods through earlier usage of the internet and technology (Jatyri, 2014), increasing their awareness and therefore desire for fashion goods, it is believed at the present time of this research and the specific demographic of the children focused on for the Little Whistle range (3-8yrs), the ratio stands appropriately at 70:30. While it is ultimately the parent figure who are the key purchasers of this market segment, there is strong evidence to suggest that children’s power to influence parents purchasing decisions is a “growing concern”, or rather a growing area of opportunity for children’s retailers. The movement has been penned as‘ Pester Power’ (see Figure 8. Nash, 2009). While Nash’s study was conducted during 2009, it can be argued that the influence of the growing technology usage amongst consumers, and within specifics, parents and children alike, is what continues to enhance ‘Pester Power’ further, as children are becoming more aware of fashion, and their parents like wise, by

Figure 8. Child-Parent Purchase Relationship: Pester Power (Nash, 2009)

their use of social media and “culture of obsessively following celebrities, which drives the demand for fashionable childrenswear up, across all market levels, up. With the lines between childhood and adulthood continuing to blur, parents are even found to be wearing the same brand of clothing as their children (Agency, 2015). It’s from this that a conclusion can be drawn that the parent and child relationship is integral to the childrenswear market, because of each one’s influence on the other and motivations to purchase goods. It has been suggested that the success of a brand within the children’s wear market stems from the parents existing relationship with the brand themselves, within the adult range (Sorin, 2015).

Parents increasingly seek the views of their child when considering the purchase of clothes and shoes. A tenth of parents “seek the fashion advice of their offspring when buying clothes or shoes for themselves” which goes on to support the idea that the childrenswear consumer market is very much made up of both the parent and child as key considerations, rather than just the parent buyer (Agency, 2015).

6.1 The Seventy Percent: The Parent The growing trend of celebrity children is is a clear reflection of the modern-day 27

childrenswear consumer market, where parents are buying their kids clothes in line with their own fashion forward tastes. They now look to fashionability as just as big a buying motivation as functionality within childrenswear, with price becoming a lesser influence than it once was due to higher disposable incomes and the desire to prioritise spending on their children before themselves. This has resulted in the rise of the ‘Insta-mum’ who appropriately defines the type of person who would shop at a Little Whistles.

acknowledge traditional posters, TV, and radio advertising methods. It is also known that they interact digitally, especially via blogs and social media platforms where they can comment on posts that interest them, such as lifestyle and fashion posts, both adult and child accounts. From this, it should also be noted that they shop online more than most, often to do with its accessibility and ease, a benefit when you have young children and a full-time job. (Acorn, 2016)

The Little Whistle parent can be identified by their own Whistles branded clothing, amongst other similar middle-market brands such as Karen Millen, COS, and Sandro. They care about fashionability and appearance, both at home and at work, and this is largely due to their own interest in fashion and lifestyle, of which they show mostly through following relevant fashion and lifestyle bloggers and Instagram users. They often live in smaller family areas in close proximity to cities or larger towns where their work place is, more often than not, located.

6.2 The Thirty Percent: The Child

They have an above average income, earning through their aspiring, but currently, managerial positions for reputable firms. It is with this income that they find the money to spend on branded clothing for, firstly their child/children, and then themselves, and then their home. This is driven by the fact that they, as young aspiring adults with young children, prioritise status and vanity, by form of fashionability and quality, in their buying decisions. They are frequent internet users, choosing to manage their finances online, watch TV and listen to music apps on smart phones, a characteristic they pass on to their young children by allowing them to watch TV on iPads or laptops. They best react to digital communication channels, reasoning that they in fact do 28

It is important that Little Whistles focuses at least part of its marketing campaign on the child segment of their consumer market, due to the potential long term benefits it can hold for the brand. If a brand is able to attain a child’s attention from a young age and gain their affections, it can lead to lifelong relationships particularly if they are already exposed to the labels aesthetics through adult style apparel that has been filtered down into the childrenswear range. (Jones, 2016)

Many brands are starting to market more heavily to children (Sorin, 2015) due to their heightened fashion awareness as a result of media, celebrity culture, and children influencers on the likes of Instagram, causing brands to shift the way they produce and develop childrenswear. This has seen clothing looking more like ‘mini-me’ garments of a brands adult range, and highlights the growing child consumer segment of the modern day childrenswear market. (Jones, 2016) The Child is between the ages of three and eight, influenced heavily by the brands worn by their mother, but with a growing sense of their own style and desire to be in charge of their own fashion due to what they’ve seen on the internet and social media, and even magazines. Influenced by social media and mixed with wordof-mouth that comes with playground talk at school, these young children are always seeking to wear the most fashionable brands, or what they believe to be, as inspired by their parents and their peers. They are most influenced by the celebrity children they see of their own age in the media, but also by the adult celebrities they aspire to be and idolise, choosing to dress like ‘mini-me’ versions of them (Jones, 2016). 29

70 : 30

7.0 RANGE DEVELOPMENT Bringing together all the girls apparel trends forecasted by WGSN (2015) for the AW 17/18 season, Little Whistles have collated page of original design concepts to inspire the range. Taking into consideration the details forecasted for Autumn Winter 17/18, as well as the product range available from the competitiors, the Little Whistles range has been narrowed down to six signature pieces, which will be the primary range available at launch.

THE DOUBLE RUFFLE NECK BLOUSE

Having identified the desire for childrenswear apparel that is “tapered towards the latest trends”, it is clear that paying attention to womenswear trends for AW 17/18 is essential (Jatyri, 2014). The frilled shirt plays homage to the “perennial peasant” trend as identified by WGSN (2015) – a look that makes layering easy and creates a “puritan” aesthetic.

Oversized collars are also perfectly suited to a girlswear range, as it creates a young and fun look whilst still emulating a more sophisticated style. As a part of the Little Whistles range, it will act as a timeless and classic piece that can be worn to an occasion but also dressed down as part of a more casual outfit. 1. Collarless blouse with cuffed sleeves. 2. Added ruffle to the neckline to conform to the trend aformentioned. 3. Double the ruffle neck, to create dimension and definition to the blouse. Lengthern the body of the shirt.

Trialing the colour palette on the blouse, identified that a white blouse would be the most versatile.

Final look: white blouse with double ruffle neck, cuffed sleeves and 6 buttons down the front.

THE TIERED SKIRT

The feature of a circle skirt in the Little Whistles range comes from the forecasting of this garment in WGSN (2015) trend reports for AW 17/18. Itâ&#x20AC;&#x2122;s bohemian-inspired design and artisan features, such as pleats and circular waist band, are inspired by the â&#x20AC;&#x153;Tween Girls Artisanâ&#x20AC;? trend that has been featured by the trend forecaster. The item offers a child-like quality, with layers that are perfect for twirling and ruffling. The item will infuse luxury occasion wear into the collection, ensuring Little Whistles communicates its aspiring luxury approach to retailing childrenswear garments, clear throughout the operation from manufacture to marketing.

2. Mid length skirt without the tie waist - flat colour waist band instead. Two layers to the skirt, darker colour on bottom tier. 3. Mid length skirt with flat colour waist band. Two tiers to the skirt - bottom will be flat colour and top tier will be tulle, so the bottom tier will be seen through it. Experimenting with the sheer tulle element of the skirt, in the grey and chalk pink tones of the palette.

1. Flat colour mid length skirt with a tie waist, long bow ribbon.

Final look: grey tiered skirt. Bottom tier will be a flat darker grey tone, and the top tier will be light grey tulle. Will hit just belowthe-knee.

THE FUR LINED SUEDE JACKET

The suede jacket is the core piece in within the Little Whistles range, as it allows the range to identify as a luxury collection. The jacket has taken inspiration from WGSNâ&#x20AC;&#x2122;s trend forecasting, remaining in line with the fur jacket trend in its lining composition. Last season saw much emphasis on the styling of these jackets being that of the 1970â&#x20AC;&#x2122;s, although, for AW 17/18 the jacket is moving towards a more sophisticated feel, which conforms to Whistlesâ&#x20AC;&#x2122; brand image. The suede jacket has already featured in Whistles womenswear, and as stated previously, Little Whistles will be mirroring that of its parent range. Thus, making it a trend led piece - which is desired by the target consumer. What further justifies its feature within the Little Whistles range is that it is a key item (that can be worn with all the items in the range) featured across the three levels of competitors considered in the report, as visualized in the comparative table, and therefore across all levels of the market; high-street, direct, and aspirational.

1. Jacket with zip detail across the breast and pockets. 2. Zip detail at the pockets, without detail on the breast. Unecessary to have the zip detail on childrenswear - may hinder the wear for the child. 3. Zip detail just as the fastening of the jacket. Jacket will be relatively fitted, but loose enough for a jumper to be worn underneath.

Trialing the colour palette.

Final look: Zipped jacket in sand coloured suede, with a fur lining for the colder season. The colour is versatile, and will work well with all the other items in the range.

THE OVERSIZED DRESS

As can be seen in the comparative competitor analysis table, the oversized pleat dress is a key item to be featured in the Little Whistles range as it is similarly featured across competitor ranges. What further justifies this items position within the range is its presence in trend reports for AW 17/18 across both the childrenswear market and the women’s apparel market. This highlights the growing change seen in the industry where childrenswear is increasingly replicating adult ranges rather than representing traditional childrenswear garments. This is driven by an increasing awareness and desire for fashionability amongst children and parents alike (Sorin, 2015).

What further justifies the design of this “longer-length, loose-fitting dress” is the Artisan inspired shape and design, which was highlighted as a key trend in a WGSN (2015) report.”

1. Short sleeves and short hem, oversized (roomy circumference) and knee-length. 2. Oversized (roomy circumference), below-the-knee length and 3/4 length sleeves. 3. Sleeves and hem as before, with buttons and a pleated back panel inserted - giving dimension to the dress.

Expirementing with the range olour palette - with a beige lining. Selected navy as our final dress colour. Trialed both a beige and pink lining.

Final design: Navy dress with 3/4 length sleeves and pleated back panel. Powder pink lining.

THE LUXE TWINSET

As was aformentioned in the trend research summary, a Little Whistles print will be incorporated into the range, mirroring that of its parent range. When developing the range, it was clear that not only the pattern needed to be bold, but the item it was printed on did too. The “twinset” has been labelled by WGSN (2015) as a “strong trend in womenswear” and has influenced that of tween and children’s luxury fashion (see images below). As an already pre-purchased outfit, it allows for little thought when dressing - perfect for childrenswear. There is also an oppotunity for a “mix and match” style, as both the trouser and top can be worn separately as a statement piece, paired with other pieces in a child’s wardrobe.

Taper the trouser. Fit the top to flatter the body.

The twinset has evolved from the “feminine and tailored blazer combinations” of last year, and has resurfaced with “simple lines and t-shirt bodies”, with added A-shape tops and floral patterns where appropriate. For children, this style is a much more practical look, whilst still being fun - especially with a bold patter and directional materials. Examples of this were seen recently at pre-fall 2014 including House of Holland’s “jewel-toned patterned twinsets”. In childrenswear, luxury brand Señorita Lemoniez used “plush and textured metallic coordinates” in its collections.

Trialing the ‘Bespoke Blooms’ trend patterns found in Section 0.0.

Puffed sleeve for a more delicate fit and silhouette.

THE TAPERED TROUSER

Changing the black print to navy, to fit in with the other pieces in the range.

Trialing different scales of the print. The smallest scale print will work best for childrenswear, due to the small size of the product range.

Final look: puffed sleeve, fitted top and tapered trousers. Smallest scale 5 colour print (navy, grey, beige and white) on a powder pink ground.

After careful consideration and further competitor research, it was decided that a plain coloured trouser would be more suitable as part of the twinset. This decision was made based on the concept of creating a more wearable and easy collection for children and the adults whom help them dress. Creating a more versatile trouser allows more freedom in dressing and creating outfits, whilst still offering the matching colours to enable a twinset option. This also means that Little Whistles will be offering two of the main trends identified by WGSN’s (2015) key trends’ for girls’ apparel: the twinset and the relaxed trouser, thus maximizing market appeal.

Changing the patterned trouser to a plain trouser, in chalk pink so that it can still be paired with the patterned top.

THE FINAL RANGE 1. The Double Ruffle Neck Blouse (White)

8.1 FREIGHT

2. The Oversized Dress (Navy)

BDCM 3 Box Dimensions

597 (L) x 292 (W) x 191 (H) mm 59.7 cm x 29.2 cm x 19.1 cm

350 boxes per container Container = Â£1505.01

3. The Fur Lined Suede Jacket (Sand)

Double Ruffle Neck Blouse

Fur Lined Suede Jacket

Patterned Top

4. The Tapered Trouser (Chalk Pink)

Dimensions of 1 shirt (size 4-5) folded: 20cm x 20cm x 1.5 cm

Dimensions of 1 folded: 26cm x 21cm x 8.5cm

Dimensions of 1 top folded: 21cm x 19cm x 2cm

5. The Patterned Crew Neck Top

59.7 (length of box) / 20 (length of shirt) = 2.985 (2)

6. The Tiered Skirt (Grey)

29.2 (width of box) / 20 (width of shirt) = 1.46 (1)

59.7 / 26 = 2.29 (2) 29.2 / 21 = 1.39 (1) 19.1 / 8.5 = 2.24 (2)

59.7 / 21 = 2.84 (2) 29.2 / 19 = 1.5 (1) 19.1 / 2 = 9.55 (9)

MERCHANDISING

19.1 (height of box) / 1.5 (height of shirt) = 12.7 (12)

2x2=4 4 boxes in 1 box

9 x 2 = 18 18 tops in 1 box

4 x 350 = 1400 1505.01 / 1400 = 1.075 (1.08)

18 x 350 = 6300 1505.01 / 6300 = 0.23 (0.2)

Tapered Trouser

Tiered Skirt

Dimensions of 1 trouser folded: 28cm x 17cm x 2.5cm

Dimensions of 1 skirt folded: 30cm x 18 cm x 5.5cm

59.7 / 28 = 2.13 (2) 29.2 / 17 = 1.71 (1) 19.1 / 2.5 = 7.64 (7)

59.7 / 30 = 1.99 (1) 29.2 / 18 = 1.6 (1) 19.1 / 5.5 = 3.47 (3)

7 x 2 = 14 14 trousers in 1 box

3 dresses in 1 box

Sold in: 8 stores

Size Range: Ages

- Birmingham - 3/4 years - Bristol - 4/5 years - Edinburgh - 5/6 years - Glasgow - 6/7 years - Leeds - 7/8 years - London Flagship - Manchester - York 5 x each size (eg. 5/6 years) = 25

12 x 2 = 24 24 shirts in 1 box 24 x 350 = 8,400 1505.01 / 8400 = 0.179 (0.2) Oversized Dress Dimensions of 1 dress folded: 57cm x 29cm x 3cm

25 x each garment (6) = 150

59.7 / 57 = 1.047 (1) 29.2 / 29 = 1.00 (1) 19.1 / 3 = 6.3 (6)

150 x each store (8) = 1200 garments

6 dresses in 1 box

Launch: August Selling Period: 22 weeks

6 x 350 = 2100 1505.01 / 2100 = 0.716 (0.7)

14 x 350 = 4900 1505.01 / 4900 = 0.307 (0.3)

3 x 350 = 1050 1505.01 / 1050 = 1.43 (1.4) (Kite Packaging, 2016) (World Freight Rates, 2016)

8.2 SRI LANKA From research into competitor sourcing, calculated decisions with regards to the sourcing of material and manufacture of garments within the Little Whistles can be made, suggesting that a developing location is the most cost efficient place of manufacture for brands producing garments within the childrenswear market. It is from this information that Little Whistles can justify a decision to manufacture out of Sri Lanka, where, similar to Zara’s operation out of Bangladesh, this location offers them a number of financiallydriven benefits; cheap fabric, skilled workers, a cost-savvy location, and suitable transport links. Whistles currently manufacture their products in a variety of countries, from Turkey to China. However, with childrenswear, it is important to utilise factories that provide the best quality product. Sri Lanka’s apparel export industry has become one of the largest contributors to its economy, being described as “dynamic” and “significant”. It is now the country’s “primary foreign exchange earner” and has accounted for “40% of the total exports and 52% of industrial products exports”. The top three suppliers in Sri Lanka are amongst the “world’s 50 most important suppliers” (Sri Lanka Business, 2015). Manufacturers and suppliers in the country are widely known for producing ethical fashion apparel, as well as holding a reputation for providing high quality clothing, which is further trusted by well-known global fashion brands. The ‘Made in Sri Lanka’ label is known worldwide for producing clothing with standards such as high quality, reliability, and social/environmental accountability. (Sri Lanka Business, 2015)

8.2.1 Specialisms

8.2.2 CSR

The manufacturer selected for Little Whistles is ‘Hirdaramani Industuries ltd’, which has a number of manufacturing facilities within the Hirdaramani Group. The company “operate plants in Kahathuduwa and Kuruwita running 45 lines each specializing in woven garments with a capacity of over 1 million pieces a month” (Hirdaramani, 2008). This particular manufacturer specialises in products such as woven garments, but further specialises in childrenswear. The company uses the following technology; Tuka Tech, EDI and Microsoft Dynamics ERP. They have the following certifications; Certification of Approval ISO 9001-2008 - issued by SLSI, Certificate of Conformity 2001 - issued by Sri Lanka Apparel Exporters Association, Worldwide Responsible Accredited Production (WRAP) - Certification of compliance - A Level – 2008 and finally the Global Security Verification - (C-TPAT) - issued by Intertek 2010 (Hirdaramani, 2008). Technologically, Sri Lanka has a sustainable power source, with a power generator that guarantees no power cuts for the apparel industry (Fashion United, 2016). All of these qualities make the manufacturer a confident choice for the brand when expanding their product range.

Sri Lanka prides itself on being one of the most ethical and socially responsible countries for manufacturing and supplying. It is renowned as a source that pays their workers fairly and applies a ‘Garments without Guilt’ approach that “actively discourages sweatshops and child labour” (Textile Future, 2016). It is said that their CSR practices are highly praised with consumers in the more mature markets, more specifically, those consumers who are more wealthy. This is another significant factor as to why Sri Lanka is an appropriate manufacturer, as the target market for Little Whistles are more mature and quality conscious. These elements have increased in importance over time to consumers, as they have been made more aware of the tragedies and sweat shop claims within overseas factories (Sri Lanka Business, 2015).

As Little Whistles is aiming towards a high end market, Sri Lanka mainly supplies the EU with these “middle to high end products”. These products require “advanced design and production techniques, as well as high levels of quality control”. It is said that Sri Lankan workers are able to adapt quickly in order to achieve high quality standards, thus being able to meet the quality required for products sold by Whistles. (Textile Future, 2016)

Whistles has a strong CSR policy and place emphasis on “fairness, integrity, transparency and collaboration”, stating that it has strong morals in regards to all aspects of the process, from sourcing and manufacturing to selling. They reduce environmental impact considerably and continually strive to ensure they are making a positive difference within both the local and global communities in which they are present. Whistles place a strong emphasis on ensuring that all involved in their products engage in sharing their passion for growth and prosperity, and as a result all stakeholders are actively engaged in their CSR program in order for the brand to progress in the most positive way possible (Whistles, 2016). Thus, Sri Lanka seems like the obvious choice, aiding Whistles current CSR policy.

8.2.3 Lead and Shipment Times Stariz states that lead times in Sri Lanka mirror that of Vietnam, usually being around 60-90 days (Stariz, 2010). Due to this being the most recent source, it could be that lead times differ in 2016, perhaps being shorter due to improved technologies and transport services. Sri Lanka’s location – being a very central island, between the major trade route (see Figure 8) spanning from Europe to Asia - allows for short shipping times to Europe. Which ‘under normal circumstances takes less than 16 days’ (Design Studio, 2016). Its location is said to be an advantage, and gains a competitive edge over other South Asian nations “with many of the markets in Europe and the Middle East” (Textile Future, 2016).

Figure 9. Sri Lanka lies on a major East-West trade route (the red line shown) located close to India. (Textile Future, no date)