Abigail Le Prevost 3225523 Fashion and technology Winter term 2012
Order of Assembly Introduction Getting started Jacket construction Preparing pattern Cutting out the pieces Putting jacket together One piece jet pocket Welt pocket Vent opening Work sketch Size specification Burn test Costing sheet Evaluation Store over view Customer profile Work sketch Size specification Pattern Costing sheet Ratio brake down Q.A Burn test Notes Flash sales E-commerce Evaluation
INTRODUCTION The Project is aimed at consolidating the knowledge of processes and skills that I have gained to-date and using them to produce a garment, a Woman’s Fitted Jacket. I must include advanced pattern cutting and specialist construction methods which are used widely in the industry. The Jacket will be a tailored item and I must follow a given brief. I will attend lectures and workshops and from these must produce a technical journal that will record the processes, and my work in developing the basic Jacket. In addition to creating the garment I will learn about quality control processes, manufacturing, consumerism, supply and demand and costing sheets. Elements of the project will be carried out using various techniques in relation to design, pattern creation and fabric viability.
GETTING STARTED The initial lecture started with the distribution of the ‘Brands’ which we would be designing for - this was done by drawing names ‘out of a hat’. The brand options were shops such as Fat Face, River Island, Karen Millen, and Whistles amongst others. My given label is Fat Face and I must produce 10 Women’s Jacket designs with a working specification for each design, to include fabric choices, linings, trimmings, buttons and any additional embellishments or embroidery. These designs are to be based on Autumn/ Winter 2013/14 and the Collection must be suitable for their ranges of clothing. NOTES RE ABOVE: Diffusion - different ages within the brand.. (Autograph - m and s) Basic - cheaper range (spotlight - wear house.) Younger - (nw3 - Hobbs / indigo - m and s) River island - make there clothes in a smaller size, I don't like its making children as young as 2 dress as tarts. I also carried out research on Fat Face including manufacturing, sizes, market place, fabrics, coo., and then their core customer profiles, i.e. age, wealth and general demographic. NOTES RE ABOVE: Baby boomers - Stay at home mums or school run mums - easy, comfy, have kids, supermarket everything Empty nesters - not retired, loving life (mum and dad) Dinkis - double income, no kids, married I decided that my Jacket designs for Fat Face would be Women’s Outdoor Wear due to the label being seen as an ‘Active - Outdoors‘ brand.
NOTES ON ORDER OF ASSEMBLY OF JACKET CONSTRUCTION TERMS USED: RST - Right side together SA - Seam Allowance 1cm SA allowed & all seams pressed open unless otherwise stated. locked as the jacket is lined. CF - Centre Front CB - Centre Back
No seams are over-
TOOLS USED: Pencil Coloured pens Scissors - paper - fabric Pins Needles Thread Tailors chalk Pattern master MATERIALS USED: Jacket Fabric Interfacing Lining Buttons SELECTING PATTERN Hip block is tighter then the jacket block, the arm holes are slightly different too. Use the jacket block. PREPARING PATTERN Draw on a big enough paper, front block with arm holes facing in, but make sure you have enough room to move the front block to open the darts Draw around the front from the top going right to the bottom middle and draw in the right hand side darts then move the block to the left closing the top dart and then starting the drawing from the top going left, from bottom dart draw line down. Mark on CF, add button wrap (2cm parallel with CF) and the position of the top button (Break Point). Trace around the back, remember to shorten patten by same as front, add s/a and hem allowance- draw in darts and grain line and write on the block what patten piece it is.
• Draw around front jacket block and mark in C.F. line. Add button stand (front wrap) – usually approx 2cms. Mark in top button position (this is the BREAK POINT). • Extend shoulder line.
0
= shoulder point. 0 – 1 = 2cms.
• 2 = break point. Join 2 - 1 and extend line upwards. 1 – 2 = break line. • 1- 3 = half back neck measurement (measure pattern with tape measure vertical) • 3 – 4 = 2.5 cms. (this depends on how flat you want the collar to lie on the shoulders, if a flatter sitting collar is required increase this amount). • Join 4 – 1 with dotted line. • Place pattern master on dotted line. 5 and 6 are at right angles. • 4 – 5 = 2.5cm stand. 4 – 6 = 5cms fall (approx. depending on style). • Plan style lines. Fold paper on break line and trace style lines to other side of bodice C.F. • Open out paper and blend 6 (at right angles) to outer edge of collar.(Adjust length of CB collar if required). • Mark in 8 this is where the rever line meets the break line. • Mark in 7 approx. 2cm from 8 and blend 5,7, and 8 to complete neckline. • On collar piece remember to check the distance from shoulder notch to CB seam is the same as half the back neck measurement. Adjust this if necessary. This is the under collar. Check C.B. is at right angles and smooth off curves. • For the purpose of this exercise we will adjust the length of the finished jacket – reduce length by 4cm. • A front facing is drawn parallel to CF & neckline approx 7cm wide (this includes rever). If a back neck facing is required make sure it is the same width at the shoulder as front facing. • To make the pieces easier to identify trace around the collar piece in RED. Trace around the facing in BLUE • Trace off pattern for UNDER COLLAR and add 1cm seam allowance. Don’t forget shoulder notch. The under collar is cut on The TOP COLLAR is made from the under collar. 2 – 3mm. is added to the outer edge (off to nothing were collar meets rever), and 5mm. is added at C.B. neck edge and blended off to nothing at shoulder notch. This is so that the collar will roll nicely when pressed. The grain line can be parallel to CB, but usually placed along the length of the pattern. CB is placed to the fold. Always make a complete pattern for the top collar. Add s/a and notch shoulder position the bias grain.
• The TOP COLLAR is made from the under collar. 2 – 3mm. is added to the outer edge (off to nothing were collar meets rever), and 5mm. is added at C.B. neck edge and blended off to nothing at shoulder notch. This is so that the collar will roll nicely when pressed. The grain line can be parallel to CB, but usually placed along the length of the pattern. CB is placed to the fold. Always make a complete pattern for the top collar. Add s/a and notch shoulder position.
•
Trace off the FRONT FACING (make sure you include shoulder neck point at 0 ). Add 2 - 3mm. from break point to collar point, and take off 2mm from hem to break point. Add 1cm s/a and 5cm for hem. Add a notch on hemline for fold position. Mark on CF (top & bottom), notch for break point, notch for collar position on rever & grain line parallel to CF.
• Trace off JACKET FRONT including rever. Include same points as for facing. Add 1 cm s/a and 5cm hem.
To complete pattern make a pattern for TOP COLLAR INTERFACING (take off s/a) make a pattern for FRONT FACING INTERFACING – no s/a but keep hem allowance. Make a pattern for JACKET FRONT INTERFACING – exactly as front body but reduce dart seam allowance to 0.5cm. (keep s/a) Add drill holes:- drill holes are needed for accurate sewing position of collar & should be added to the above pattern pieces – ie :jacket front/jacket front interfacing/front facing/ top collar/under collar
Front Front Interfacing Drill Hole Positions
Facing
Top Collar
Under Collar
Finish off by tracing back jacket block, remember to shorten pattern by the same amount as front. Add s/a and hem allowance – 5cm. Add grain line parallel to CB This is the JACKET BACK. The back shoulder line should also be interfaced. Draw a line 3 cm down from CB neck and shape across to follow shoulder line – trace off this small piece this is BACK SHOULDER INTERFACING The back hem line also needs interfacing to add a professional finish. Draw a line on the back pattern 2 cm up and parallel from finished hem line. Draw another line 1cm up from hem allowance. Trace off this piece – BACK HEM INTERFACING
Finally trace around two piece sleeve block and add s/a plus 5cm hem. Add grain line and notches– TOP SLEEVE and UNDER SLEEVE. Sleeve hem interfacings are also required - as above mark on sleeve pieces 2 cm up and parallel from hemline. Draw another line 1cm up from hem allowance. Trace off both pieces – TOP SLEEVE INTERFACING and UNDER SLEEVE INTERFACING You should now have 14 pattern pieces out of the 18 that make up the finished jacket.
CUTTING OUT THE PIECES Steaming your fabric and making sure the patten matches up on the underneath Facing 77cm x 89cm Lining 124cm x 74cm Jacket Fabric 147.5cm x 78.2cm Best results are obtained results if the fabric is single layer If it has a design on it. Draw a X on all the wrong sides of the fabric so you don't get confused (with right side and wrong side) Fuse on the interfacing Press -
don't forget to press
PUTTING THE JACKET TOGETHER SEAMS Pin front darts together - repeat with back darts - then press open CB and shoulder seams together and side seams - sew - then press seams open NOTES Pressing - test the iron setting and make sure the iron is not to hot! -Over pressing can leave your fabric shiny or even shrink it. -Under pressing may leave your garment with rounded edges or not very pronounced darts.
COLLAR Stitch the CB seam of the under collar Reinforce inner neck corners of jacket & facings at the drill holes at 90 degrees; snip to the drill holes before stitching the collar on Stitch the under collar to the jacket matching any notches & drill holes; leave the first & last 1cm SA on the right & left fronts either side if the drill holes unstitched. Stitch with jacket uppermost
Press the neck seam open & snip into the neck edge SA only
- not the collar edge SA
SLEEVES Set in sleeves should be pucker free and smooth. Identify left & right sleeve (sleeve should curve towards the front - mark) Arms together making sure you got the right side of each side sew up the seams. Use two lines of gathering stitch,one inside SA and one outside SA around the sleeve cap gently gather until sleeve fits into armhole. Pink in and then sew into place (not forgetting RST. SHOULDER PADS Put in shoulder pad make sure it's the correct one (left and right). Pin along shoulder edge then place on stand and get the correct placement for the top of the pad pin it in place then hand stitch it in. Add in a roll to the under seam on the shoulder stitch on same line. MAIN BODY OF JACKET Fold up 5cm hem on sleeves and jacket and stitch diagonally the seams together to stop it from unfolding - catching only a thread of garment in stiches. Stay stitch about 2cm up (work to the right with needle facing left as if going back wards - herringbone stitch)
LINING & FACING ASSEMBLY Stitch front facings to front linings - Lining stitch top tuck; press the seams together towards the lining. Stitch CB seam & CB neck pleat - press in place down CB Stitch shoulder seams & press together (towards the back) Stitch side seams & press open Stitch the collar and facing to the lining then the collar to the other collar (always remembering right sides together) Sew up the sleeves together leaving a gap in the right arm, from 5cm down from the shoulder to the elbow ( for bagging out). tack around half the head of the sleeve, pin it to body trying to not get any tucks. (Right sides together) - press sleeve head lining towards sleeve
BAGGING OUT Collar and front rever RST match up collars, drill holes, Stitch the top & under collar between drill holes - reinforcing corner points Stitch front facing to front garment from the same drill holes Fold and trim the corners of the collar & revers to get a sharper corner PRESSING Collar & Rever Turn the jacket through and ‘poke’ out corners Press collar on RS top collar - press seam away from top collar(press into corners) Press rever down to break point on facing side - press remaining seam to hem (on jacket side) Press a sharp crease on the front edge seams, collar & rever edge seams, keeping the seam always rolling to the inside of the jacket With jacket still open at the hem give whole garment a good press (careful - do not press a crease into the rever collar where it folds back) BAGGING OUT (CONT.) Neck Sew the Top and under collars together along the neck edge SA. match the shoulder and CB notches. Hem Sew 5cm down from the bottom of the jacket on the seam then going up in diagonal line to the side seam then 1cm to the back dart then leave a gap and start at the right back dart the the edge doing the same thing but back wards steps. Pull the bottom of the jacket thought the hole in the right sleeve lining and stitch up the gap. Sleeves Sew the left cuff lining and jacket fabric up going though the hole in the right sleeve. RST with the right lining sleeve topstitch as close as you can to close the gap - before you do that make sure you have checked your jacket over as this is the last time you will be able to get in to the inside of the jacket.
NOTES Topstitch - is a decorative detail stitch
FINAL PRESS Using the sleeve bored to give the sleeves a final press they should just fall in to place when hug up. - be careful as the lining and jacket fabric are very different so the lining wont want to be steamed. Place on the stand and lightly steam over it. hold the sleeve with two fingers and steam over the shoulder and down the arm so they lay flat. NOTES Pressing - do not press over pins
BUTTONS Use your patten to get the button placement. Right over left, button wrap is on right CF, 1st mark up button hole and button spot. Use a pin to mark from your pattern to the garment. Go back in to the jack the same size as your button 2cm and then in to the button wrap 3mm from the pin. Do that for both buttons, place it on the inside of the right body, chalk it on. Draw a T shape. By eye place buttons button goes on brake point. (normally have bigger gap from lower button to bottom.) Use the button hole machine. Place the foot over the T, using the the left leaver to move the foot up and down and then the inside leaver to start the machine. Cut the middle out of the hole, and then sew on your buttons on the left side. Hand sew the buttons onto the left side of the jacket following your patten.
ONE PIECE JET POCKET Draw out patten on to fabric/interfacing and cut out 2 pieces fabric, (one is the garment.) 2 pieces interfacing Fuse the interfacing on the pocket bag and on garment where the pocket opening is, press it on to the wrong sides. Pin the pocket bag matching up the lines on top of the garment making sure the longer part is on the top half with both interfacing on top and stitch the rectangle making sure you get right in to the corners and not over or less. Use the hand wheel if needed. Cut along the line I'm the middle and the V shapes at the end making sure you don't go though the stitch line. Press the corners flat to the sides and the top seam up and bottom one down. Fold the pocket so it meets equally in the middle on the right side. Press the pocket flat, with the pocket facing up, move the top fabric to the left and stitch across the top stitch line you originally did. Match up the top and bottom pocket bag and press, then stitch 1cm all around the bag to close it off and to finish it over lock the pocket edges.
WELT POCKET Draw out patten on to fabric/interfacing and cut out 4 pieces fabric, (one is the garment.) 2 pieces interfacing Fuse the interfacing on the garment and on half of the welt pocket fold. Press it on to the wrong sides of both. Stitch the rectangle making sure you get right in to the corners and not over or less. Use the hand wheel if needed. Pin the pocket fold along the right side of the middle line of the garment. Then stitch along the bottom line. Using the dots from the pattern, place the top and lower pocket bags to the right sides of the garment. Top going up and bottom going down. Sew over the top and bottom line again. Turn to wrong side of the garment and cut along the line in the middle and the V shapes at the end making sure you don't go though to the pocket fold or pocket bags Pull the pocket thought to the back. Press the seam allowance open Match up the top and bottom pocket bag and press, then stitch 1cm all around the bag to close it off and to finish it over lock the pocket edges. Stay stitch the pocket fold to the top of the garment, to keep it in place.
VENT OPENING Draw out patten on to fabric/interfacing and cut out 3 pieces fabric, (one is the garment.) 2 pieces interfacing (optional) Fuse the interfacing on to the wrong side on the jacket fabric. Stitch down the CB to the 1st dot then pivot the jacket with the needle still in and stitch to the 2nd dot don't go over or less. Use the hand wheel if needed. Cut the seam open where it goes off at an angle. This will allow the seam to lay flat when pressed. Press up a 4cm hem on the jacket. Make a mitre corner on the top vent. By folding the corner in to get a neat diagonal corner then notching it and un folding it. Sew from the notches to the corner then cut off the corner about 5mm of the stitch line. Stitch down the CB on the lining to the 1st notch don't go over or less. Use the hand wheel if needed. Press lining seams open. Right sides of the garment and lining together. Stitch the non mitre hems together. Press a pleat in to the lining where the notches are at the hem. Keeping right sides together, stitch up the side to meet with the 2nd dot with lining on top. Making sure the pleat is still in the lining. Turn though and press. Sew down the mitre side, lining and jacket, right sides together. Then stitch the bottom seams together, right sides together then press the pleat in to it. Give a final press.
Evaluation The project was challenging as its something I haven't done before, learning new skills to make a woman's fitted jacket was interesting and some aspects challenging, even though I no I don't want to go into this aspect I feel having this knowledge will help me in future project, as I will have a good understanding of what designs and ideas would be realistic to make. I'm impressed at how my jacket turned out. There are many features to it that work well and that I am pleased, all these I feel contribute to success of my finished jacket such as fabric and lining which I feel complement each other well, the finishing touch with the purple buttons bring out the pin strip in the jacket. If I was to change anything to my jacket I would consider moving the brake point up as I feel it has a too low opening. Another part I would look at is the sleeves the lining bunches together on the inside of the sleeve I feel this is probably down to me not pressing it right therefore I would next time pay more attention to this to prevent it from happening again I am pleased with the way my right sleeves has turned out as it hangs nicely however the same can not be said for the left sleeve I have not set it in properly and this intern has caused it to hung straight rather than forward. In all I am very please with the out come of my finished jacket. I have gained great understanding and insight of the process on how a woman's fitted jacket is made.
Fat face is a store that sell there own brand within over 190 stores across the world. It is a out door clothing brand that was designed by two friends in 1988 for men, woman and kids who are interested in active lives.
"LIFE IS OUT THERE, MAKE THE MOST OF IT." MOUNTAIN BEACH OCEAN LAND
CUSTOMER PROFILE Age 28 - 40 Gender Female Hobby Outside activity, walking, socialising Job Office, baby boomers Life style Active, ski holidays, Family, outdoors, traveling Look - style Relaxed, comfy, good quality, weather proof, fashionable, Wash well, Easy care, Durable
SKETCHES
RATIO BRAKE DOWN WITH QUANTITY PER COLOUR PER STORE. I have come up with a table to show the orders for the Gail Gilet, one pack would last about 2 weeks and sell for 12 weeks over then190 stores. You can get it in six different colours which brake down in to 2 groups, 3 continuity colours - Navy, Real Red, Taupe and then 3 fashion colours - Lime, Sea Spray, Grape Nectar. With Fat face having around 190 stores world wide I have then split them up in to 3 categories. 20 Top stores, 100 Middle stores and 70 average stores. With using the amount of stores and from what I have found out about there customer profile I have worked out what size and colour will sell well in what store. Fat face range from a size six to eighteen which is quite a large size range, I have looked at what size I think sells the best then from that I have put together a table on how many orders I would have per size. Size 12 and 14 are the most common sizes there fore these sizes will have a larger order in a pack to a size 6. With putting it in to a table I have been able to see how many of what colour and size I need per pack then times it by 12 to get how many I need for 12 weeks. Looking at how many packs they will then need in store (1) , store room (2) and then wear house (3). So that would work out to be 6 packs per shop every 2 weeks. From working that out along with the size quantity of each pack, I then went on to look at the colours. With this i was able to set up a spreadsheet with the top store having every colour in there order, middle store having the top four colours and the average stores having the top 2 - Navy, Real Red. With using excel I have been able to use formulas which have then made changing the store type - Top, Mid, Avg, really easy to then come up with the end figure of what the order would be.
QUALITY ASSURANCE AND ITS ROLE WITHIN THE FASHION INDUSTRY QA - (aka QC) -designed trained or technically trained, but fundamentally they have to have an eye for the detail and eye for quality. Understand style and trend Go-betweens Not commercial, make it into something that is viable product. Trouble shooters Lost of travel/live abroad - most big factory's will need to be visited twice a season Health and safety, they are the eyes and ears on the floor Some big companies have satellite offices in china Designers and buyers - QA is in the middle You don't want anything coming back though the door, they make sure it's the best quality. Refunds and loss of sale due. To QA issues are costly Lost or time and money are invested in QA everything has gone up in price (food, cost in living), but clothes. Customers opinion of the brand, quality and value for money is important Word of mouth, a powerful marking tool It's easier to keep customers then make new ones Common faults
Pilling tiny bobbles on surface, common in knitwear, 100% wools, cashmeres settle in. 100% acrylics will bobble. Add in 10% real and it won't bobble as much. You can by defuzzer.
Spirality especially after 1st wash normally in knitted fabrics like jersey, twist so seams move from the side to middle Caused by thin single jersey and cheap knitted fabric which is unstable from the onset Usually made on circular knitting machines Misalignment - stripes don't match up, depends how obvious. Super dry are good
Embellishment loss one of the biggest reason things are brought back to shop Common cause is the use of running stitch, was china due to small hands but now Every 3cm or 4/5 bead should be tied/knotted We want more and more detail added to our clothing but still at the cheap prices.
Colour transfer and fading natural fabrics like cotton and cotton rich mixes, blacks. Man made fibres are dyed in there liquid state. "Locked" in colour Natural fibres rub off colour as its just on the top of it Big problem with dark indigo denims
Broken zips/buttons one of the most common faults, hence most garments will be sold with spear (2p) Most companies will now only tolerate the market leaders YKK zips Zips braking on dress and tops as they pass on seams
Fabric Identification Burn Test Do the fibers melt and/or burn? Do the fibers shrink from the flame? What type of odor do the fumes have? What is the characteristic s of any smoke? What does the residue of the burned fibers look like? Natural Fibers Cotton: Burns, but does not melt. It has the odor of burning paper, leaves, or wood. The residue is a fine, feathery, gray ash. Hemp: Same as cotton Linen: Same as cotton Ramie : Same as cotton Rayon : Same as cotton Silk: Burns, but does not melt. It shrinks from the flame. It has the odor of burnt meat. The remanding fabric is a black, hollow irregular bead that can be easily to a gritty black powder. It is self-extinguishing, i.e., it burns itself out. Wool, and other Protein Fibers: Burns, but does not melt. It shrinks from the flame. It has a strong odor of burning hair. The residue is a black, hollow irregular bead that can be easily crushed into a gritty black powder. It is self-extinguishing, i.e., it burns itself out. Manufactured Fibers Most manufactured fibers both burn and melt, and also tend to shrink away from the flame. Other identifying characteristics include: Acetate: Has an odor similar to burning paper and vinegar. It´s residue is a hard, dark, solid bead. Acrylic: Has a fishy smell. The residue is a hard irregularly-shaped bead. It also gives off a black smoke when burned Nylon: Has an odor likened to celery. It´s residue is initially a hard, cream-colored bead that becomes darker. Olefin/Polyolefin: Has a chemical type odor. The residue id a hard, tan-colored bead. The flames creates black smoke. Polyester: Has a somewhat sweet chemical odor. The residue is initially a hard cream-colored bead that becomes darker. Flames gives off black smoke. Spandex: It burns and melts, but does not shrink from the flame. It has a chemical type odor. Its residue is a soft black ash
NOTES Cant just trust what fabric it is said and ment to be, test it. Organic fabrics: India and turkey (more expensive Fabrics Natural -animal - vegetables - silk, linen (maro), wool Synthetic - cellulose - polymer - nylon, acrylic Tensile test Tensile testing, also known as tension testing,[1] is a fundamental materials science test in which a sample is subjected to uniaxial tension until failure. Wool snaps at 28 ounces Coconut 41 Horse hair 45
JO - VISITING LECTURER - Ă&#x;NOTES Children's company designer. Her, her husband, friends and his sister. Visits to the factory, only few days. Good connection with the factory. Call up to check. Good factory's have a machine that they pass all the fabrics though to check them for any marks or something wrong with them puts a marker at the side so the patten cutter know to avoid that area so you are not wasting the hole garment as you have picked up on the problem before hand. If there is a lot patterns to be cutout they use a saw which allows fabric to be stacked up and then cut in bulk. A metal grove is t be worn when using this device. When dealing with baby clothes you have got to be extra careful when making the garment. If I needle is snapped while constructing the garment all the need has to be found and stuck in a book with where it broke, when, and who by. All needles are accounted for so must be found if snapped. Garments are some times put though a metal detector to check over them. There is also a team that check over the garment and will cut off any thread ends. Colouring the fabric is done in a large spin machine, is is called --- when you dye the fabric or ---- when you dye the garment. At some factory's they try and recycle the water used for dying as its litres. They use a machine to get it back to re usable water. Screen printing. If there is a small amount (300) need to be screen printed on it will be done by hand. With all the garments layer up on the table and each colour is put on layer my later. If its a large order it will be done by a machine where the t shirts are placed on arms of the machine and then mechanical printed on. Don't it by machine would be quicker if you have a large order but with a small order it's a waste of time to set it up. You can get machines that Embellish your garment using 16 needles at a time. You put it in to a computer and it will then transfer your design on to the product. Samples. Didn't factory's for different stuff. Fair factory's Factor line, sewing by men, pressing by men really quick. Flash sales are sales in a flash. With an air of exclusivity and luxury brand names, flashsale websites host limited-time sales for members only. How these websites work is simple. They order stock from designers after the sale has closed, enabling them to pass on the biggest savings. And with free membership and discounts of up to 80pc, shoppers are now logging on in the thousands. The only drawback from these sites is that delivery can take up to four weeks, but many shoppers will think it is worth the wait.
FLASH SALES Sales in a flash. With an air of exclusivity and luxury brand names, flash-sale websites host limited-time sales for members only. How these websites work is simple. They order stock from designers after the sale has closed, enabling them to pass on the biggest savings. And with free membership
and discounts of up to 80pc, shoppers are now logging on in the thousands. The only drawback from these sites is that delivery can take up to four weeks, but many shoppers will think it is worth the wait. Quidsin is Daily Deals in Jersey, Guernsey, Isle of Man, UK. Get discounts & vouchers codes. Free to register. www.quidsin.com
www.brandalley.co.uk www.achica.com www.cocosa.com www.secretsales.com www.theoutnet.com/flashsales
E-COMMERCE
@ or #. It's good publicity for company's as you post up your outfit, new shoes ect..
Using the internet is now one of the biggest ways to get across to your target market. Using imagery is a easier way to get things across to people. We want everything now we don't want to wait around for it, using the Internet it makes it quick and easy to update things. With more then 800 million active users on Facebook and on average each user having 130 friends and about 350 million using Facebook on a mobile device app, as well as 100 millions Twitter users it shows that it would be a easy way to get across to your target audience. Instagram is a photo sharing app that allows you to #tag, businesses are starting to get people to use Instagram with either
With getting people to subscribe to your website it allows you then to contact your target audience, monitor your customer. Send out emails with newsletters or executive discounts as well as competitions. Apps with most people now using a smart phone promoting your company is getting easier. With men having on avg. there phones within reach for 17 hours a day and woman 15 hours. Under 25's spending 94 minuets on there phones on a night out. Being able to use the Internet on the go means you can shop online when ever you want and where ever you want.
"A study shows that a quarter of shopping in the U.K is done online. " "Almost half of 20 - 30 year olds would rather shop online then head to the bricks and mortar retailer" "38million Americans online shop while on the toilet" "The value of internet retail sales in 2011 was ÂŁ27 billion, accounting for around 9% of total retail sales"
I have enjoyed this project, some elements of it more then others. Making the jacket was tricky but the outcome was pleasing. Designing jackets for my given brand Fat face was fun as its an outdoor active brand and thats what I am interested in going into work with. I designed gilets and costs for the brand and changed things on most like the pockets, buttons or zips. Gilets are one of the most popular thing in Fat face selling there gilet in 10 different colours and every season. Cost sheets was my strong point, I enjoy maths and formulas. I brought computer software in when ever possible. I have drawn my designs on Fat face models off there website using photoshop and inserting my working drawings from kaledo. I have also gone on to do workings out of the Gail Gilet and order statistics for each store as well as what colours I want it in, each colour has got a name after natural colour. I found the technical jacket journey was the hardest part of this project for me, putting it all in the right order and using the right words to describe how to construct it was difficult, but with using the hand outs and the photos I took on the journey of the jacket made it easier. I would of liked to of done the pattern on the computer, with changing it all on modaris and then printing it off. I think it looks nicer and its easier for me to see what I'm changing then doing it by hand. Over all I think this project was interesting to learn every aspect of the jacket process. But I think I will be going in to more computer based projects in the future.