AAIKAI Concept Book by Alexa Chan

ALEXA CHAN / CHA09728281 BA (HONS) FASHION DESIGN & DEVELOPMENT CONCEPT BOOK 4392 WORDS (EXCLUDING QUOTES)

EXECUTIVE SUMMARY This report proposes the launch of a new conceptual fashion label aiming to ameliorate craft through technology while abiding by luxury and sustainable values. It examines the context from which the label is born out of and explores strategies that can ensure the label’s viability in today’s unpredictable business landscape. As Jackson and Shaw (2009 : 29) state, marketing research “will be of use in making decisions relating to fashion products and markets.” Methodologies include external and internal analyses of reports, literature reviews and primary research such as interviews and surveys, collated and evaluated in the appendices. Results of the data gathered show that the luxury market is poised to return to creating uniqueness and rarity after a decade of democratisation. Social media allowed the creation of a more discerning consumer with greater demands, and there is also the increased need and expectation to address global sustainable issues. However, reluctance to restructure company agendas, a lack of consumer trust and aesthetics are impeding the influence of brands in spreading positive values. These findings will shape and justify the proposed fashion label’s agenda and verify its purpose in the luxury fashion market. This will culminate in the conscientious production of luxurious collections demonstrating conceptual value, technical innovation and artisanal qualities, intended to dispel the notion that sustainability and luxury cannot co-exist as one.

“Wisdom demands a new orientation of science and technology toward the organic, the gentle, the elegant and beautiful – E.F. Schumacher”

CONTENTS 6 CONTEXT 10 CONCEPT 14 MARKET 22 CONSUMER 28 STRATEGY 38 LOGISTICS 40 COLLECTION 46 CONCLUSION 48 APPENDIX 81 BIBLIOGRAPHY 85 IMAGE REFERENCES

01 : CONTEXT Fashion, being one of the largest industries in the world, is inextricably linked to the external environment. Entwistle describes it to be “produced out of economic, political, technological conditions as well as shaped by social, cultural, aesthetic ideas” (2000:111) - the industry is far from immune to any changes on the world horizon. Likewise, the sector’s developments have much impact on the global stage – shaping societal perceptions, influencing consumer trends and reflecting standards of living and cultural practices. In the post-crisis world of today, the fashion industry is facing challenges with global implications. Globalisation of the industry aided by the unprecedented speed of ICT development has contributed to an overarching trend of overconsumption by both end users and producers. This created a vicious cycle of want and waste, endangering craftsmanship in favour for fast fashion, putting significant strain on already scarce resources and exacerbating exploitation through irresponsible practices. While there are other more destructive industries, the fashion sector’s actions have far-reaching consequences on both environmental and ethical levels due to its size and universal pervasiveness. It is therefore necessary that this unsustainable industry model undergo corrections. Sustainability is not a new concept within the industry, but it has always been dismissed as unnecessary, unprofitable and unrealistic. However, in the face of unavoidable future repercussions, “Fashion and sustainable fashion must meet and mingle. They can no longer be two separate categories and movements.” (Kibbe, 2013) Perspective of the fashion industry; see Appendix 1

It is fortunate that there is a growing sense of urgency and awareness to facilitate change. The global economic slowdown served as a reality check on conspicuous consumption; while the world’s recovery means a return to spending, industry attitudes and consumer sentiments are shifting towards rediscovering meaning in fashion. Perhaps consumer awareness is the catalyst for industry realignment. A report by WGSN (2011) highlights changing consumer attitudes as we enter a “new era of pause and purchase”. Consumers are sifting through the overload of information generated by media and technology, simultaneously making sense of the noise to educate themselves on their choices. As they seek out purposeful truths to justify their purchases, brands can capitalise on the opportunities that come with a refocus on corporate social responsibility (CSR). Insofar, there have been progressive industry revisions that reflect CSR. Yet, while well-intentioned, much of it is weak – resulting in consumers opining that it is mostly ‘greenwashing’, as indicated in a public opinion survey. Fashion companies need to practice what is preached, and consciously decide to make sustainability an imperative in their business agenda. By legitimising their ‘green’ factor, only then can fashion businesses play a genuine role in influencing society to make holistic lifestyle changes. (Green et al., 1996 : 190) Public opinion survey results; see Appendix 2

THE LUXURY QUESTION

“Luxury is constantly on on the move” (Kapferer, 2008 : 96). Luxury carries many meanings depending on individual definitions of what is valuable.(Hanna, 2004) Today, changing perceptions have redefined the meaning of success, giving rise to new connotations of luxury. Ultimately, it can be understood that luxury trades in the zeitgeist, expressing the pinnacle of self-realisation within human nature’s hierarchy of needs. (Maslow, 1954) Being on top of the aspiration scale, luxury commands symbolic power and has the ability to shape society through implication and example. As such, this cult of influence explains Bendell and Kleanthous’s (2007 : 5) assertion that luxury brands “have both the opportunity and the responsibility to promote sustainable consumption”.

SUSTAINABILITY • • • • • • •

Capacity to endure Reduced impact on planet Basic quality of life Stewardship Long-lived eco-systems Ethical consumerism Innovations to reduce consumption

LUXURY • • • • • • • • •

Long-lasting Superior quality Exlusivity Heritage Craftsmanship Authenticity Provenance Purity Innovative

Table 1: Sustainability and Luxury Comparison The concepts of luxury and sustainability seem antithetical, and much more so within fashion. Yet, luxury at its core had been founded upon sustainable practice to create and preserve the perfect dream. Within the luxury DNA there are characteristics that echo sustainability principles, as illustrated in Table 1 (Jenkin, 2012). Attempting to differentiate luxury fashion through mass marketization had obscured the essence of luxury, inflating its image into the monstrosity of excess that society is familiar with, “[stripping] away all that has made it special.” (Thomas, 2007 : 13) It is now time to reeducate society on luxury, and ensure that sustainability is integral in its concept. The market is primed for change with consumers looking for greater experiential authenticity. On that premise, luxury fashion labels should recognise how sustainable practices can benefit the luxury paradigm. They should revisit its core values in order to redefine strategic planning and rediscover the intangible; taking on the role of leadership to engage in discourse with its partners and consumers to co-construct value within the vision of positive luxury. Table illustrating sustainable practices within the luxury industry; see Appendix 3

02 : CONCEPT

We are mutants. If we don’t deeply understand, if we don’t integrate that we are mutants, we

In view of the challenges and possibilities highlighted in the previous chapter, the high fashion label AAIKAI is oriented towards contributing to a new standard that demonstrates the role luxury fashion can play in providing positive solutions for others to emulate. AAIKAI’s proposition integrates both luxury attributes and sustainable principles to meet its creative and intellectual objectives of pushing fashion past its aesthetic boundaries and into the future.

completely miss the story. – Phillippe Starck

As we move into the digital realm, there presents the risk of society abandoning emotive values in favour of efficiency. Likewise, as the fashion industry embraces technology in their scramble to retain economic relevance, the spirit of artisanship is in peril of being forgotten in the sea of change. As 3D technology becomes even more available, it may be that we are entering the third industrial age. Recognising that technology can be an innovation to help synthesise craft, AAIKAI seeks to bring the artisanal into the 21st century. The brand uses a multi-disciplinary approach that infuses fine-art practices within fashion to inform its design narratives, thereafter exploring 3D applications to illuminate the aesthetic value of traditional craft techniques. Through this evolutionary process, the creation of a wearable, yet highly creative hybrid garment can be realised.

ARTISANAL HYBRIDISATION

MATTER OF CONSIDERATION

An underlying fundamental influencing the methodologies AAIKAI will use to achieve its objectives is based on sustainability. Designers should be rising to the challenge of rethinking design solutions within ecological and ethical limitations. (Birkeland, 2002 : 4) This covers all areas of the supply chain with the end goal of ensuring of a cradle-to-cradle lifecycle within produced garments. Designed garments are to have a regenerative lifecycle – they are carefully informed designs that transcend trends through the offering of an artful aesthetic with custom options. This is to serve the purpose of longevity, embedding in each garment a sense of personality. Concise patterncutting, material recycling and limited or made-to-order production is practised. At its end of life, the garment should ideally be revertible to its raw state for remanufacturing or returned to the earth. This is in tandem with the specific aim of ensuring minimal waste, supporting the preservation of ethics and culture while utilising technological means to progress design. While internal practices are being implemented by the brand, it should be simultaneously communicated as part of its public policy. The very act of traceability can establish AAIKAI’s sustainable practice as credible and honest. While divulging a brand’s practices may seem detrimental to competitive advantage, opening up on how the brand is run is a collaborative offer to the industry: exchanging information can generate greater innovation, and “the impact of those innovations on the environment becomes much more significant, with little or no negative impact on our ability to compete in our industry.” (Nike quoted in Young, 2013) Inspired by Honest By - a pioneering 100% transparent luxury brand, AAIKAI strives to implement a similar model its strategy, detailed in chapter 7. Case study on Honest By; Appendix 4.

AAIKAI is a high-end conceptual clothing label with a progressive artisanal focus motivated by technological and sustainable convictions. The brand believes in exquisite clothing that is perennial in nature and can be treasured for its uniqueness, appreciated for its storied innovation and collected as art. The wearer cherishes it and keeps it as an artefact without subscribing to the temporal nature of fashion.

EVOLUTION technology . exploration . collaboration . intelligent design

ARTISTRY art . craft . aesthetics

INTEGRITY transparency . responsibility . humanity . ecology . respect.

LUXURY distinct . authentic . quality

TRANSCENDTAL timeless . longevity . artefact . legacy

03 : MARKET A view into the luxury sector reveals a positive future outlook, indicating the opportunity for new brand entries into the market. In an already segmented industry, the modern luxury sector is split into three domains: premium, intermediate and accessible. All divisions have high-barriers to entry and limited levels of success. Recognising the risks while keeping in tandem with brand goals, AAIKAI plans to position itself in between the premium and intermediate luxury segments – amongst demi-couture and avant-garde labels. Doing so will allow for AAIKAI to retain commercial potential while pursuing its creative and intellectual ambitions. This decision is justified by a growing demand for demi-couture, further boosted by the fact that more than half (57%) of the luxury sector’s main consumer – the Ultra-affluent and High Net-worth Individuals (HNWIs), have changed little in their spending habits (Mintel, 2012) thus providing a cushion to ensure market stability and opening the sizable opportunity to tap into the consumer’s shift away from ubiquity and the prosaic.

In-depth luxury market analysis; see Appendix 5

A perceptual map identifies an area of opportunity where AAIKAI can position itself within the intended market segment. Thereafter, relevant competitors are selected based on similar attributes to AAIKAI - innovative garment aesthetics, preserving craft skills and possessing sustainable potential.

COMPETITORS

The 3 direct competitors are Aganovich, Phoebe English and Ada Zanditon, who also similar in brand size. Competing veteran brands are Chalayan, Issey Miyake and Haider Ackermann respected visionaries with stronger commercial value due to the possession of wide range selections and secondary, increasing their customer cache.

Competitor comparison table; see Appendix 7

CHALAYAN is helmed by visionary Hussein Chalayan - his works are intellectual essays fusing fashion with other disciplines to produce “a conversation, a constant state of discourse” (Chalayan cited in Design museum, 2009) reflecting upon society. Foreshadowers of the future, Chalayan’s garments push sartorial boundaries and are noted for the juxtaposition of innovative materials and progressive technologies against meticulous tailoring.

ISSEY MIYAKE is an influential Japanese fashion studio that follows a philosophy based on the assumption that â&#x20AC;&#x153;any discussion of art is [impossible] without bringing technology onboardâ&#x20AC;? (Dai Fujiwara cited in Benjamin, 2008). The label challenges the traditional notion of clothing and experiments with garment construction in search of new ways by which design can empower the 21st century needs of the body.

HAIDER ACKERMANN is a designer noted for his androgynous yet sensual tailoring and draping of layers. Citing different cultural influences, Ackermann contrasts richly hued fabrics against the utilitarian nature of the garments to convey the brandâ&#x20AC;&#x2122;s nomadic aesthetic. Each garment is built for comfort and protection, evoking a sense of purity and strength in the wearer.

AGANOVICH is a Paris-based label by Nana Aganovich and Brooke Taylor. The label is beginning to attract commercial interest in their architectural yet contemporary garments imbued with literary narratives. Collaboration and experimentation has introduced Aganovich to 3D technology, which the label uses as an aid to their bespoke constructions.

ADA ZANDITON is a womenswear label with sustainability embedded in its core. The label treats people, planet and profit with equal importance. Sustainable materials are used; waste reducing and energy conscious solutions are explored and improved upon. The labelâ&#x20AC;&#x2122;s interest in diversity is reflected in its design narratives - science meets with history and nature to create uniquely embellished sculptural pieces.

PHOEBE ENGLISH is a niche womenswear label creating garments with an attention to precision and beauty. Through the resurrection of lost or little-used techniques, Phoebe English hopes to raise an awareness and respect for the artisanal. Intricate handwork and engineered surfaces evoke a raw strength in the labelâ&#x20AC;&#x2122;s dark aesthetic, created by calculated intentions and pure chance.

04 : CONSUMER The AAIKAI woman is a discerning aesthete with a strong sense of self. She may appear enigmatic, but she does not cocoon herself within her thoughts. She is aware of the world around her and treats fashion as an extension of her personal story. She looks for uniqueness, incorporating it within her signature style and interpretation of what is beautiful and timeless.

It is important to note that a muse is the personification of a brandâ&#x20AC;&#x2122;s vision. In order to ensure relevance in the actual luxury market, it must be understood that the idealised woman is a very niche consumer. However, there is also the potential of mainstream premium consumers discovering and embracing the brand, which can secure AAIKAIâ&#x20AC;&#x2122;s financial viability. Keeping this in view, AAIKAI plans to target two key demographic groups in their entirety: Young Affluents (25-34 year old) and Mature HNWIs (50+ year old), which will also encompass the AAIKAI woman.

DEMOGRAPHIC ANALYSIS Young Affluents are increasingly willing to spend on garments that would establish them as trendsetters in their private social groups. They can also serve as the brand’s spokespeople as well as vital feedback sources due to the likelihood of them having a high level of involvement with the brand (Mintel, 2013a). The decision to also target Mature HNWIs was based on the fact that they are a burgeoning consumer group, as well as having a higher disposable income and greater inclination to display brand loyalty. It is ideal to target this demographic as the population is ageing and future predictions foresee over-50s “[increasing] to 37% over the next ten years” (Mintel, 2008). Reports, surveys and focus group interviews show that there is the potential for AAIKAI to do well amongst these consumer groups. They expect brands to naturally run a sustainable agenda, and see aesthetics, quality and artisanship to be important to luxury. Collecting fashion is an interest, and custom-made goods are not unfamiliar to them. Additionally, the survey served to inform AAIKAI’s product and business strategy, detailed in Chapter 5. See appendices 7 & 8 for consumer survey data & focus group transcripts.

YOUNG AFFLUENT WOMEN who have nurtured a love for fashion and aspire to express their aesthetic vocabulary to their audience. They are international globetrotters who do their shopping while travelling. They relish discovering new cutting-edge brands and are learning to curate their wardrobes to build flexible style options that suit their everyday and high-society needs.

CONSUMER PORTRAITS

ANGIE, aged 25 • • • • • • • • • •

Female, Singaporean Single Media Manager Lives in Singapore in a contemporary home Attends high-society events and exhibitions Enjoys glamorous holidays Well-read, socially astute and technologically savvy Sophisticated yet eclectic style of dress Looks out for distinctive design, concept and brand Shops mainly in boutiques, while buying accessories online

MATURE HNWI WOMEN who possess a strong dress identity and have an eye for quality and craftsmanship. They are open-minded and sophisticated in taste. They enjoy collecting fashion as art pieces, possibly viewing them as investments that can be passed on as heirloom legacies.

CASSANDRA, aged 60 • • • • • • • • • •

Female, Scottish Married,1 grown-up daughter Personal & business development mentor Lives in a spacious penthouse in Edinburgh, Scotland Taste for fine dining, frequents the theatre and art events Globally aware, enjoys travelling to exotic destinations Informally smart style of dress Looks out for distinctive design, craftsmanship and quality Shops in department stores and independent boutiques In touch with social media but does not favour online shopping.

05 : STRATEGY In order to achieve AAIKAI’s brand objectives, a sound business strategy should be devised. It should outline a plan of action that coordinates AAIKAI’s internal activities in response to market forces and consumer expectations, ultimately performing in the luxury fashion sector (Daft, 2000 : 240). A SWOT analysis determines the brand conditions and opportunities that can be leveraged upon AAIKAI’s product, pricing, distribution and marketing strategies, which will be set in motion through effective logistics management.

STRENGTHS

WEAKNESSES

•

• •

• • • • •

Combining craft with technology produces distinctive garments unique only to AAIKAI Quality and modular nature of items ensure longevity Targeting two key demographics widens brand appeal Adherence to philosophy builds AAIKAI’s value Communication and transparency builds trust in consumers and suppliers. Making design first priority while embedding CSR within it allows the avoidance of AAIKAI being pigeonholed as an eco-fashion label.

• • • • •

High entry set-up cost into market Price point could be too high to convince consumers to make their first purchase into brand Naturally small product range due to brand size Sourcing difficulties due to self-imposed sustainable guidelines 3D printing still exploratory – material limitations Not acquiring initial stockists and press coverage Laborious production may disable AAIKAI from delivering large orders

OPPORTUNITIES

THREATS

•

• • • • •

• • • • • •

Returning strength to the economy increases chances of brand survivability Sustainability produces innovative solutions Openness encourages cross-collaboration with other disciplines Focus on craft development and social well-being can lead to local community projects Technology can facilitate more sophisticated bespoke services and shorten production times Multi-functional garment characteristics allow greater wearability and wardrobe integration Controlled production size reduces risk of overstretching while ensuring exclusivity and quality

• •

Competition with established brands Market vulnerable to external factors Consumer loyalty is volatile Company CSR may not be taken seriously Transparency can undermine support from industry due to reluctance in divulging industry information, impeding traceability Market moving into digital retail, forgoing tactility Risk of miscommunication and failure in supply chain

RANGE AAIKAI will be offering clothing carefully sculpted by the human hand and 3D manufacturing methods. These garments can take a laborious amount of time during research and construction due to the complexity of the tasks required. To emphasise the esoteric nature of the garments, the brand plans to produce its bi-annual collections in limited quantities. These collections are in principle timeless in design, mixing luxurious basics with rarefied artefact pieces. The layering aspect in some styles demonstrates the garmentâ&#x20AC;&#x2122;s ease of wardrobe integration and endurance past fashion cycles. The striking element in each garment lie in its customisability, as they are essentially canvasses for adornment. Some pieces feature 3D elements that shape the garmentâ&#x20AC;&#x2122;s silhouette, or can be detached to function as complementary accessories in their own right. These 3D elements can be personalised via custom orders made to the studio; selling them separately as accessories can also possibly raise brand profit margins.

product price range will be between £250 to £4250, PRICE AAIKAI’s depending on varying factors such as garment complexity, production time and methodologies, source materials on top of operating and commercial costs. An additional price premium is charged for bespoke requests, which will be calculated based on the client’s requirements and the method of execution.

Product Development Materials Trims Production Transport Taxes

Studio Rent Utilities & Insurance Studio Equipment Staff Salary Public Relations Research

Shop operational costs Maintenance costs Legal & Accounting IP Rights Packaging Marketing

Cost of Garment

Operating Cost

Commercial Cost

WHOLESALE PRICE = Cost of Garment + Operational Cost x Wholesale percentage RECOMMENDED RETAIL PRICE = Wholesale price + Commercial cost x Retail Percentage BESPOKE = Retail Price + Customisation preferences Illustrated pricing methodology. *Note mark-ups are variable based on other additional costs.

Outerwear

Dresses

Tops

Skirts

Trousers

Components

500

1000

Proposed Price Architecture

1500

2000

2500

3000

3500

4000

4500

Recommended Retail Price Bespoke Price Margins

The AAIKAI woman is highly mobile, making it difficult for AAIKAI to reach out to her. However, as AAIKAI is based in one of the world’s fashion capitals – capturing her attention is possible by positioning the brand in London’s go-to boutiques for sartorial fashion enthusiasts. Ideal stockists would be in The Shop at Bluebird, Hostem, Dover Street Market and Browns Focus, as these boutiques champion emerging designers or stock similar unique products to AAIKAI.

HOSTEM / SHOREDITCH

THE SHOP AT BLUEBIRD / CHELSEA W1S

For an in-depth review of each stockist, see Appendix 9.

RETAIL

DOVER STREET MARKET / MAYFAIR BROWNS FOCUS / MAYFAIR There is the potential for AAIKAI to work closely with these stores due to the close-knit nature of insider fashion retail and their support for niche designers. Additionally, ensuring that the consumer can experience the product first-hand is extremely important for a small brand like AAIKAI due to the sensory nature of luxury goods that requires the full appreciation of the product. These boutiques offer impeccable customer service that will facilitate the engagement between AAIKAI’s products and the consumer through the boutique’s recommendations, heightening the consumer’s appreciation for the innovation and craft that goes into each individual piece.

E-COMMERCE

In addition to the brick-and-mortar format, AAIKAI can also reach out to its consumer by way of e-tail. The average luxury consumer spends an estimated 4.2 hours shopping online per week while the heavy users 9.5 hours weekly on shopping-related activities (Global Cosmetic Industry, 2010 : 6). The high numbers in internet traffic, potential market capture and sale of goods through online means are a reality that companies cannot ignore. However, the setup of an e-shop for an artisanal brand like AAIKAI may not be entirely beneficial. E-commerce lacks personal touch – which is contrary to the brand’s slow and experiential ethos. Furthermore, running a standard e-shop requires the brand to have ready stock. As most of AAIKAI’s items have custom elements, producing them in advance for an anticipated consumer may result in wasted time and resources should the item not be sold. Moreover, investment is needed to establish an efficient technical infrastructure, which may stretch AAIKAI too thinly. AAIKAI should exercise its foray into e-tail with restraint, devising a method that balances online uniqueness and the provision of “an additional complementary and cost-effective means of selling luxury products” (Okonkwo, 2010: 218) to capture a wider market while avoiding unnecessary financial risks and compromising rarity. As of this moment, AAIKAI should concentrate on establishing its presence amongst physical stockists, while creating an online ‘workshop’ offering bespoke and made-to-order services.

Consumers can browse collections online, selecting a preferred style along with any custom requests for the studio. The inclusion of fit visualisation technology can also improve the made-to-measure process. After receiving the order, AAIKAI produces the garment based on given specifications and has it delivered within a stipulated timeframe. The experience of being served is brought online, and the feeling of luxury and privilege is retained by way of the exhilaration that comes with opening a package, as well as knowing the item is made to one’s preferences.

MARKETING

Despite the internet’s impersonal nature, it presents the immense opportunity for AAIKAI to harness and simultaneously divulge information - useful in keeping both brand image and strategy relevant to the consumer. As observed by Jackson and Shaw (2009:25), “Fashion retailers and brands have access to a wide variety of information about customers via their stores and websites.” According to Kapferer and Bastien (2009: 208), “the internet world is a transparent and explicit one.” AAIKAI should leverage upon the statement to openly declare the brand’s dedication to its beliefs and goals. In addition to the e-shop, the website will serve as AAIKAI’s voice and a reflection of its identity. Opening up the virtual doors of the studio immerses the customer into the brand, developing trust between brand and consumer while also invoking a sense of entitlement and desire to see and touch AAIKAI products in real life.

As a young brand, AAIKAI’s promotional abilities are limited due to budget constraints. Instead, AAIKAI can look to building brand reputation through social media activity. Facebook, Twitter, Pinterest and Instagram act as complements to the brand site, maintaining an active brand identity (Mintel 2010) and promoting AAIKAI’s beliefs, interests, aesthetics and product offerings (Chevalier and Mazzalovo 2008: 17) through clear and directed dialogue aided by visual imagery. A company’s credibility can drop because of a lack of communication, and the real-time aspect of the social web can address this. An open conversation can facilitate the building of brand confidence, while allowing AAIKAI to gauge its effectiveness in meeting its social objectives by “[monitoring] consumer psychology, mindset evolution and value-shifts in response to societal evolution.” (Okonkwo 2010:57)

According to McCracken, (1989:310) “any individual who enjoys public recognition and who uses this recognition on behalf of a consumer good...is useful” in spreading the message of the endorsed brand. Dressing personalities who represent AAIKAI’s muse and ethos can raise brand exposure, and a shared interest in ethics can lead to the formation of an alliance in educating the public through the added influence the personality can bring.

SUSIE BUBBLE

PARK & CUBE

Strong, socially aware celebrities are AAIKAI’s ideal ambassadors. However it may be a lofty dream for a small brand to have, moreover, consumers can struggle to relate to people on a pedestal.

LOVE AESTHETICS

On the flipside, AAIKAI can reach out to fashion bloggers - real, normal people with tremendous opinion. These digital celebrities are powerful personalities who accelerate the spreading and dissemination of messages across the internet and into the public conscience. However, digital overexposure can lead loss of exclusive appeal; approaching the right blogger is crucial in avoiding identity dilution. They should be representative of AAIKAI’s ideal consumer, exhibiting a taste for culture and celebration of aesthetics. Bloggers can be invited to view AAIKAI’s work their reportage will give their audience a peek into AAIKAI’s world and pique their interest in discovering it for themselves.

CATE BLANCHETT

TILDA SWINTON

37 ROONEY MARA

06 : LOGISTICS A supply chain encompasses the entire flow and production of goods, starting from the source of inspiration through, through to sourcing and manufacture before reaching the consumer (Hines, 2004 : 5). In order for it to be sustainably sound, important factors must be considered in logistics management. Berger (2001:65) stresses the following: â&#x20AC;&#x153;The inclusion of environmental aspects in integrated chain management of industrial chains for manufactured goods; the integration of technological innovations for environmentally beneficial outcomes throughout all the industrial supply chains; and the participation of a broader range of industrial actors (i.e. suppliers, producers) for the environmental management of industrial production to strengthen capacity building of environmental governance.â&#x20AC;? To achieve that end, AAIKAI must be prudent when sourcing for suppliers and manufacturers needed for production. Organic, fair-trade and natural fibres are sourced, environmentally friendly dyes must be applied and any artificial components should ideally be recyclable or biodegradable. This creates a cyclical flow of the supply chain (McDonough and Braungart, 2009), ensuring resource efficiency and waste reduction. Materials with a traceable production line are sourced within Europe to reduce the brandâ&#x20AC;&#x2122;s carbon footprint, encourage resource development and ensure traceability. This information will also be published online. Production will be mostly in-house or within the UK, although when future possibilities arise, AAIKAI can look at working with local communities, which will be detailed in the conclusion. Crittical Path; see Appendix 10.

CONCEPT INSPIRATION

RESEARCH & DEVELOP DESIGNS, COLOURS AND RANGE

INITIAL MATERIAL SOURCING

EXPERIMENTAL TOILING & 3D MODELLING

MATERIAL & TEXTILE SAMPLING

1ST PROTOTYPE

TRIMS & FASTENINGS SOURCED

AMENDMENTS MADE TO PROTOTYPE

FINALISED MATERIAL SUPPLIERS SOURCED

3D PRINT COMPONENTS

TEXTILE PRODUCTION

FINAL SAMPLE

ONLINE LOOKBOOK LAUNCH

WHOLESALE ORDERS PLACED

MADE TO ORDER / BESPOKE

MATERIALS ORDERED

PRODUCTION BOUTIQUE RECOMMENDS AAIKAIâ&#x20AC;&#x2122;S CUSTOM SERVICE TO INSTORE CLIENT

GARMENT MATERIALS RECIRCULATED INTO SUPPLY CHAIN OR RETURNED TO EARTH

DISTRIBUTION

CONSUMER

07 : DEBUT CO AAIKAIâ&#x20AC;&#x2122;s organic yet engineered approach to garment design is evocative of the perpetual nature of the human experience. The debut collection is derived from the experience of loss and the desire for recovery. Highly personal in nature, the collection explores a reconstruction of self through an intuitive and accidental process that serves as a journey of catharsis leading to a hopeful resolution.

OLLECTION

Learning Techniques; see Appendix 13.

TEXTURE & MATERIALS FELT & 3D ELEMENTS

08 : CONCLUSIO AAIKAIâ&#x20AC;&#x2122;s subversively elegant and timeless garments are achieved through considered design and technological practices backed up by key CSR management policies â&#x20AC;&#x201C; proving that a responsible fashion industry need not sacrifice aesthetic appeal. As a brand, AAIKAI foresees itself as a long-term venture with multiple business and creative research opportunities. The brand aims to be part of a positive change in the luxury fashion industry, mixing the future and the traditional in order to progress fashion and satisfy its customers, while promoting sustainable development in both emerging and mature communities, as well as safeguarding ecosystems.

ON LIMITATIONS The issues tackled by AAIKAI are ambitious in nature - as a small label, AAIKAI’s capabilities are limited. It is crucial for the brand to be realistic and take small steps towards its goals. The brand should first form alliances with likeminded individuals, strengthening the collective effort to influence change in the industry. Another limitation lies within the business proposal itself: the financial aspects of the brand need greater evaluation to determine the true financial feasibility of launching the company. A professional external opinion should be sought after for further consultation.

POSSIBILITIES Collaborations with practitioners of different disciplines can elevate AAIKAI’s work and also connect AAIKAI to more visionaries keen on pursuing innovation. There is also the possibility of working with local communities to help harness and preserve their craft knowledge. Should 3D printing become more widely available, garment components can be printed closer to these communities and pieced together with their craft, reducing carbon footprint and transport time from production to consumer. AAIKAI recognises its weakness in financial knowledge – perhaps AAIKAI can be created as a partnership between designer and business entrepreneur, to ensure an all-rounded, coherent fashion brand.

APPENDIX

APPENDIX ONE PERSPECTIVE IMPACTS OF THE FASHION INDUSTRY

APPENDIX TWO SURVEY FINDINGS

GENERAL PUBLIC OPINION DATA SET OF 100 / ONLINE & STREET SURVEY

Age Group

Occupation Student

Over 50

Professional 35 - 49

Educator Tradesman

25 - 35

Service Industrty Creative

18 - 24

Self-employed Under 18

Other 0

Where do you shop most often?

Do fashion trends influence the way you dress?

Second Hand Thrift Stores

Yes Value Chains Trend-led/High Street

Updates Self Mid Range/High Street Premium/Accessible Brands

No Designer Luxury

What do you look for in a garment?

What compels you to return to a brand?

Design External perception Fit Quality Product experience Sustainability Wearability/Functionality Reliable brand promise Price

Are you aware of humanitarian & ecological issues ongoing in fashion?

Can brands be instruments of social change?

Yes

100

Do you pay attention to advertising and its messages?

Yes

Would you be inspired by a brand that claims to be sustainable and has proof to show for it?

Yes

EVALUATION OF FINDINGS

100

Would you be inclined to shop more at your favourite brand if they adopted a credible sustainable ethos?

Yes

Do you believe in environmental marketing claims put out by fashion brands?

Yes

The survey revealed that most find products desirable based on the brand promise it embodies. Some mentioned that it helps them identify their emotional preferences. Majority of the respondents are aware of sustainability issues within the fashion industry. However, design and value is still at the top of their priority when making a purchase. Many express scepticism regarding sustainable marketing, because

they feel that it is simply a PR exercise without credibility. They say that brands are simply capitalising on peopleâ&#x20AC;&#x2122;s insecurities and selling a lie. As such, they still see sustainability as a choice, and not a life necessity - but some have suggested that if companies become more transparent and are regulated with certifications, that would make their stance more convincing and more inspiring to the public. 51

APPENDIX THREE RECOMMENDATION

SUSTAINABLE PRACTICES WITHIN THE LUXURY FASHION MODEL

BENEFITS VALUE DIFFERENTIATION • • • •

Uniqueness Rarity A fashionable investment Emotional connection

INNOVATION • • • •

Evolution of design Responsible solutions New and improved material sources Cost efficient management

FUTURE PROOFING • • • •

Resource Protection Social cohesion Skill preservation Long term survival

REPUTATION • • • •

Integrity Provenance Respect Quality

APPLICATIONS • • • • •

Customisation of taste and philosophy Controlled production output Perennial design: fashion as an artefact Revealing the journey of the product Ingraining ethical codes into product

• • • •

Use technology to contemporise aesthetics Conscious design codes R&D with a sustainable focus Implementing regenerative practices within the fashion lifecycle

• • • •

Protection & rehabilitation of ecosystems Supporting community development Observing cultural well-being Opening up opportunities through apprenticeships

• • • •

Keeping authentic truths Transparent & traceable supply chain Working with ethical suppliers Exquisite craftsmanship and attention to detail

APPENDIX FOUR CASEHONEST STUDY BY BRUNO PIETERS HONEST BY

BACKGROUND

Honest By is a pioneering luxury label that has social awareness at its core and a 100% transparency policy. The label offers ethically and environmentally friendly designer products; each product and its price justification can be fully traced through its supply chain due to it open business operations policy. Honest By hopes to reduce its impact on the social and ecological environment, and encourage their values to become an industry status quo.

Bruno Pieters studied at the Royal Academy of Fine Arts in Antwerp before working with designers like Martin Mergiela, Thimister and Christian Lacroix. In 2001 he created his own couture and ready-to-wear label. Known for his architectural aesthetic and sharp tailoring, Pieters went on to head the men’s line of Delvaux, before being established as art director at Hugo Boss. In 2011, Pieters went on a two-year sabbatical before returning to the scene with a newly launched label in 2012 with a reoriented outlook, and an aim to set a new benchmark for sustainable practices within the industry.

Designed by Bruno Pieters and Glenn Martens, the main collection reinvents classic wardrobe pieces through a deconstruction/ reconstruction process, resulting in garments with a post-modern twist.

BUSINESS MODEL CHARACTERISTICS • • • • • •

Honest By is sold through its online e-store in small quantities or by made-to-order. The label maintains an open dialogue with the public, share designers’ own design processes through an in-depth review of their work and motivations. There is an emphasis on sourcing organic, vegan and recycled materials while prioritising ethical production processes. Manufacture is ideally made in Europe to have better control over quality and reduce the company’s carbon footprint. Customers can trace the manufacturer and composition of the garment, fabrics and lining and other components such as zippers, buttons, thread and labelling. Supply chain of textiles can be traced from its raw origins through to material processors whenever possible. Wholesale and retail mark-up percentages are published together with an itemised breakdown of the garment’s cost.

ADVANTAGES • • • • •

By being a pioneer in this new concept, there is an added value to the label. In-depth designer interviews give a window into their thinking processes, educating and informing the customer. A successful and exemplary open business can inspire others to follow suit. Collaborative work encourages the sowing of sustainability seeds in other designers, and sharing of research knowledge. These additional capsule collections also benefit Honest By, increasing customer appeal through the expanded range of clothing style choices.

DISADVANTAGES • • • •

There is little evidence of long-term financial success of this business model – it will be a matter of trial and error by Honest By. Likely problems with finding stockists who are willing to adjust to the transparency concept. Many obstacles during sourcing phases due to the limitations set on materials. Should the label expand its business, it will be increasingly difficult to micromanage and monitor the supply chain.

APPENDIX SIX BRANDING LOGO DESIGNS

APPENDIX FIVE PERSPECTIVE

UNDERSTANDING THE LUXURY FASHION MARKET

FUTURE PROSPECTS A view into the luxury sector reveals a positive future outlook, indicating the opportunity for new brand entries into the market. While the industry has always demonstrated a strong resilience to economic fluctuations, recent market trends show a significant surge in revenue growth. (PwC, 2012) This is mainly due to a renewed consumer confidence in mature markets, and the extraordinary demand from emerging markets such as the BRIC countries. The global luxury goods market now generates over £200 billion, and it is expected to increase steadily to a rate of 5-6% through to 2015. (Bain & Co, 2013) Amidst the overall category growth, luxury apparel is observed to be accelerating its revenue sales by 16.9% within its share of the market, (Mintel, 2013a).

THE MOVE FROM UBIQUITY As lifestyle needs and roles change, the everyday ‘dressedup’ luxury look is less relevant than a ‘casual chic’ style for the modern woman. The change in clotthing demand prompted luxury brands to adopt casualwear into their product range. By doing so, luxury brands widened their appeal and also helped to bring down margins - mass production was easier with the simpler designs. However, this led to the increasing ubiquity of luxury, and there are signs of a backlash: consumers are increasingly opting for craftsmanship and rarity - demanding easy yet refined pieces for daywear and beautifully intricate dresses for special occasions that have a one-of-a-kind appeal. The desire for hassle-free shopping and search for intricacy and functionality has opened up a new opportunity in building brands that sell demi-couture, “pieces that have the intricacy, opulence and price tags that are associated with haute couture, but technically are ‘off the rack’.” (Tillyer, 2012) Clothing with couture characteristics can give designers an outlet to maximise their creative vision in the commercial arena while still offering their customer the ease of purchase.

P E S T L E

• • •

Strict regulations for companies to abide by such as Health & Safety laws Sourcing and delivery within Europe would be easier with the UK being in the EU Tax policies enforce by the UK

•

The global economy is picking up pace (UK’s economy growth has been revised to 1.8% this year & 2.7% for the next) which creates a favorable environment to start a business The UK provides tax incentives for new startup businesses Relatively unchanged spending power in core luxury consumer group Inflation rates remain high, income disparity is worsening With London being one of the world’s fashion capitals, there is abundance of a young and talented workforce

• • • •

• • • • •

Fashion has become an important aspect in modern day lifestyles Changing expectations, consumers have become more demanding and discerning in terms of quality and style Consumers are becoming actively involved in the shaping of a brand Signs of social discontent at the bleak prospects for graduates and the underclass Increasing age of population & growth in obesity - brands may have to think of the bigger and/ or long-term picture and thus edit design elements or carry a wider range of sizes The digitisation of the whole fashion industry including luxury Technological advances has led to a variety of distribution channels (e.g.: multi-channel retailing - online sales) New methods of information dispersal and dissemination through social media networks 3D printing is seen as viable production process with customisable potential Scarcity of certain materials may be incentives for new material innovations

• • • • •

The UK has an efficient and transparent regulatory and legal environment Property rights are well protected (Good as start-ups are especially vulnerable) Contractual agreements are strictly honored in the UK Unpaid work is becoming regulated by government The industry has repeatedly been affected by ethical and environmental issues (unpaid internships, factory worker’s rights, pollution, exploitation and waste of resources etc)

• • •

Growing need to address environmental issues Cradle-to-cradle product cycles are increasingly paramount Globalisation has affected product offerings by brands - less inclined to be influenced by seasons so as to increase the possibility of product being consumed in the southern hemisphere.

APPENDIX SIX MARKET RESEARCH

COMPETITOR COMPARISON CHART

BRAND

STYLE • •

• •

• • •

•

AGANOVICH

•

• •

PHOEBE ENGLISH

• • • •

PRODUCT RANGE

PRICE POINT

Conceptual modernist tailoring Innovative focus on technology and materials

• • • •

Ready-to-wear Diffusion label / Grey Line Accessories Perfume

•

RTW: £165 - £2100

Structured, engineered clothing Experimental forms

• •

•

RTW: £110 - £3500

• •

Ready-to-wear Secondary Lines / Pleats Please, APOC, Me, I32 5, HaaT Accessories Perfume

Elongated shapes and drapery Nomadic vibe Use of rich fabrics

• • •

Ready-to-wear Accessories Footwear

•

RTW: £300 - £4000

Architectural shapes with a futuristic touch Avant-gardist aesthetic

• •

Ready-to-wear Bespoke orders

•

RTW: £280 - £1500

Unique embellishment and print Sculptured luxury pieces

• • •

Ready-to-wear Swimwear Accessories

•

RTW: £250 - £3000

• •

Ready-to-wear Bespoke

•

RTW: £170 - £2400

Raw decoration Simplistic forms Layering Deconstructed look

USP & CSR VALUES

STATUS

STOCKISTS

• • • • •

Multi-functional garments Incorporation of technology Creating hybrid textiles Social commentary in narrative Cross-disciplinary collaborations

• • • •

Established brand Pioneering visionary Mid-sized company High commercial value

• • • •

No physical shop 6 London physical stockists Stocked worldwide & online Owns an online e-shop

• • • • • •

Advancing garment technology Japanese craftsmanship Multi-functional garments Ease of care & storage Zero-waste methodologies Use of recycled polyester

• • • •

Established brand Pioneering visionary Multi-label company High commercial value

• • • •

Stand-alone boutique 5 London physical stockists Stocked worldwide & online No online e-shop

• • • •

‘Slow fashion’ philosophy Unisex, multi-functional potential Quality materials built to last Interest in protecting global cultures

• • • •

Up-and-coming Industry veteran Mid-sized company High commercial value

• • • •

No physical shop 6 London physical stockists Stocked worldwide & online No online e-shop

• • • • •

Uniquely customisable Zero-waste methodologies Interest in using future technology Socially-charged narratives Strict ethical codes of practice in garment manufacture

• • • •

Under the radar Insider knowledge Small company Niche value

• • • •

No physical shop 6 London physical stockists Stocked worldwide & online No online e-shop

• • •

Sustainable business model Ethical supply chain Open to collaboration

• • • •

Young brand Eco-fashion exemplar Small company Niche value

• • • •

No physical shop 4 London physical stockists Stocked worldwide & online No online e-shop

• • • • •

Artisanal Hand-made Upcycling resources Interest in reviving craft Small production

• • • •

Under the radar Insider knowledge Small company Niche value

• • • •

No physical shop 3 London physical stockists Stocked in Hong Kong No online e-shop

APPENDIX SEVEN SURVEY FINDINGS

LUXURY CONSUMER BUYING HABITS & VALUES DATA SET OF 50 / STREET SURVEY

Age Group

Estimated Annual Income Not applicable

Under 18

Under £20,000

18 - 24

£20,000 - £35,000 25 - 35 £35,000 - £50,000 35 - 49

£50,000 - £75,000

Over 50

Above £75,000 0

How much do you spend during one shopping trip?

Where do you shop most often? Department Stores

Below £100

Branded Flagships

£100 - £250

Independent Boutiques

£250 - £500

Concept Stores £500 - £1,000

Vintage Fairs

£1,000 - £2,500

Online

Above £2,500

Highstreet Boutiques 0

How do you shop?

How open are you to trying new dress styles?

For a purpose/occasion Very Seasonaly Impulsively Dependent on variables In Sale Trend No, I know what I am comfortable in Other 0

100

What are your information sources when it comes to updating your fashion knowledge?

What draws you to a fashion product? Aesthetics

Word of Mouth

Uniqueness

In-Store Recommendations

Exclusivity Magazines

Quality Fit

Advertising

Functionailty

Online Sources

Sustainability

Browsing/Window Shopping

Brand Name 0

Have you ever purchased any made-to-order product?

How do you perceive brand values? A reflection of what I personally believe in

Yes

An indication of how the brand works and its worthiness

An image I can use to influence how people view me

Do you collect fashion? (As investment / art pieces)

Yes

100

Would you expect that sustainable values are already practised by a luxury brand?

Yes

EVALUATION OF FINDINGS

100

The survey revealed that the general luxury consumer is quite open to trying unfamiliar dress, particularly if the aesthetics and its uniqueness were striking enough. This could mean that even niche offerings might still be accessible to the mainstream consumer. Because their fashion knowledge is mostly educated based on online sources and instore browsing, ensuring that instore tactility and online publicity is

100

accessible to the luxury consumer is key to convincing them to try a new brand. The results also indicate the willingness an existing demand for custom goods, partly driven by the consumerâ&#x20AC;&#x2122;s motivation to collect fashion as investment or art pieces. Majority of the respondents also expressed an expectation of luxury brands having sustainable values in their brand, as it is indicative of the brandâ&#x20AC;&#x2122;s sincerity and worth.61

APPENDIX EIGHT FOCUS GROUP

INTERVIEW TRANSCRIPTS

A focus group was conducted with a diverse pool of women within the two target segments: these women are representatives of different eclectic dress styles and may share differing outlooks, but it was possible to ascertain common preference trends amongst both niche and mainstream consumers in each individual segment. By cross-referencing the data gathered against the survery results detailed in Appendix 7, it was possible to create two unique profiles of the AAIKAI consumer as illustrated in the report.

YOUNG AFFLUENTS (25-35 YO)

MATURE HNWIs (50+ YO)

ANGIE 25, Social Media Assistant Singaporean

STEPHANIE 28, Freight Forwarder Singaporean

CASSANDRA 60, Development Mentor Scottish

SULIAN 57, Philanthropist

CATHERINE 29, Business Strategy Manager Taiwanese

OLIVIA 31, Stylist English

MIN 51,Dermatologist Singaporean

TANYA 53, Gallery Owner American

Singaporean

Q: WHERE DO YOU LIVE, AND HOW WOULD YOU DESCRIBE YOUR HOME AESTHETIC? ANGIE: In Singapore, with my parents in a semi-detached bungalow. CATHERINE: I live in Hong Kong with my boyfriend in a spacious mansionette apartment. STEPHANIE In Singapore. My house is cluttered with objets dárt that I acquired from abroad. OLIVIA: I am based in Hong Kong, but I split my time between London and HK. The decor in my apartments have a swedish vibe to it. CASSANDRA: Edinburgh, Scotland with my husband and daughter in a spacious penthouse, uncluttered yet warm and relaxing. MIN: Singapore with my husband and university-going children. My house is modern, with lots of light. TANYA: I live in NYC with my partner, but I maintain a home in London too. My home decor is ecletic, with plenty of items collected during my travels. SULIAN:I live in Singapore with my husband. I keep my house luxurious, but comforting. My children are studying in America. Q: DESCRIBE YOUR LIFESTYLE AND INTERESTS. ANGIE: It’s a little mundane, but I add my bit of interest in it. Books, food and clothing mean everything to me. CATHERINE: Shopping, pamper holidays and attending parties. I’ve just started cooking classes, we’ll see how that goes. STEPHANIE: Yoga, photography and taking my cars out for a spin or travelling with my friends to random destinations. OLIVIA: I paint frequently, travel a lot, eat lots of food and find lots of clothes. CASSANDRA: I enjoy travelling, attending cultural events and dining out. Reading is important to me - education never ends. MIN: I attend many client and fundraising dinner parties, exhibitions and other events. Singapore is so happening these days! TANYA: Cooking, going to art exhibitions (I organise a lot myself) When I am in Europe I travel around frequently. SULIAN: Evening walks with my husband are a pleasure and keeping myself busy with charitable events around Asia means fun to me. I also like the occasional musical performance. Q: WHAT IS YOUR STYLE PHILOSOPHY? ANGIE: Eclectic, offbeat. I never stick to a style because I just love fashion too much. CATHERINE: Elegance with an edge. STEPHANIE: I love channelling different looks, I kind of have a daily theme that I try to dress around. OLIVIA: Smartly elegant with a touch of avant garde. I’m constantly moving about for meetings and shoots, so something easy and multifunctional works for me best. Night events are my excuse to go all out and show off my latest looks! CASSANDRA: Informally smart, using a mix of high street brands and designer. MIN: I’m usually in my clinic workwear, but when time allows it, I love a polished look thrown off by some interesting raw element. TANYA Roomy and comfortable. I love big shapes. SULIAN: Know what works best for you and stick with it. Q: ON AVERAGE, HOW MUCH DO YOU USUALLY SPEND DURING ONE SHOPPING TRIP? ANGIE: £250 - £500 CATHERINE: Above £2500 STEPHANIE: £500 - £1000 OLIVIA: £500- £1000 CASSANDRA: £500 - £1000 MIN: Above £2500 TANYA: £1000- £2500 SULIAN: Above £2500

Q: WHERE DO YOU SHOP MOST OFTEN? ANGIE: Online or in little curated boutiques that mix the usual favourites next to yet-to-be-discovered designers. CATHERINE: Online and independent boutiques. Joyce is a favourite in Hong Kong. STEPHANIE: I love concept stores because the assistants tend to be super helpful. Online shopping s my vice. OLIVIA: Independent boutiques and concept stores. CASSANDRA: Department stores and independent boutiques. MIN: Department stores and branded flagships. TANYA: Independent boutiques and concept stores. SULIAN: My shopping is done through a personal shopper, or in branded flagships and independent boutiques. Q: WHAT ARE YOUR SOURCES OF INFORMATION WHEN IT COMES TO UPDATING YOUR FASHION KNOWLEDGE?

ANGIE: Online blogs and in-store recommendations. CATHERINE: Online sources, in-store browsing and word-of-mouth. STEPHANIE: Online blogs and window shopping. OLIVIA: Word-of-mouth and online sources. The internet is a treasure trove of inspiration!! CASSANDRA: Instore-browsing and reading magazines. MIN: Advertising and in-store recommendations. TANYA: In-store and word-of-mouth recommendations. SULIAN: Magazines, in-store and word-of-mouth recommendations. Q: WHICH IS MORE IMPORTANT TO YOU: INVESTMENT OR TREND? ANGIE: Investment. All my clothes could be collector’s items in their own right. CATHERINE: Trend, because that’s where the best design is. Investment for basics. STEPHANIE: I tend to buy clothes after being inspired by street trends...but these then they end up becoming an investment because I keep them for years. OLIVIA: Investment. CASSANDRA: Investment. MIN: I’m quite trend led, but I purchase clothes to keep as investments for later on. TANYA: Investment. SULIAN: Investment. I collect clothes as art pieces. Q: TELL ME ABOUT YOUR MOST FAVOURITE GARMENT SPLURGE AND WHAT ABOUT IT HAD ENAMOURED YOU. ANGIE: My Mary Katranzou dress. The print is a work of art. CATHERINE: All of my evening dresses...each of them are beautifully hand crafted. Workmanship is something I’d definitely drop a bomb for. STEPHANIE: My Balmain jacket. I just love running my fingers over its textured details. It must have taken so many hours to make. OLIVIA: A Haider Ackermann coat. The fabric and leather was incredible and the way it enveloped me was sublime. CASSANDRA: A Dries Van Noten Coat. I loved it. MIN: A vintage Balenciaga dress. I didn’t buy it, its previous owner gave it to me. The silhouette was amazing! TANYA: My Yohji Yamamoto collection just keeps growing...its modularity just makes it so easy for me to layer different styles together. SULIAN: My Hermes overcoat. It will definitely stand the test of time - I am planning to pass it down to my daughter when the time is right.

Q: DO YOU HAVE ANY CONCERNS REGARDING FASHION TODAY? ANGIE: Fashion is getting boring. I find it really sad how designers have to dilute their designs just to convince investors that they are commercially viable...what’s the point of creativity then? CATHERINE: Bad taste and cheap looking clothes. STEPHANIE: I’m tired of fast fashion!! Bad quality, trashy even. OLIVIA: There is so much choice, yet nothing to buy because everything looks the same. CASSANDRA: Fashion is becoming homogeneous, individualism seems to be very contrived these days. MIN: Clothes are definitely of lesser quality today than clothes made a decade ago. It seems like everything is mass produced and there’s a lot less emphasis on craftsmanship. TANYA: The unsustainability involved in fast fashion. There is just so much waste involved. Have you heard about an incident in New York about how a H&M store have been getting rid of their unsold stock by simply slashing perfectly new clothes and dumping them? That is ridiculous. SULIAN: Sweatshops and ethics involved in mass fashion production. Q: WHAT DO YOU THINK ABOUT SUSTAINABILITY IN FASHION? ANGIE: I know it’s a topic of the moment, but I personally couldn’t care less about it because aesthetics are more important to me. However in the first place, designers as inventors should have thought about sustainability and made it a part of their practice like a natural thing. CATHERINE: I’d never buy eco-fashion because it’s so ugly. But if you’re talking about designers like Stella McCartney, then I’d give sustainability my whole-hearted support. STEPHANIE: I’ve never thought about it deeply, but I do appreciate it when brands incorporate ethics into their garments. It makes me feel like I’m doing my part to support a better planet. OLIVIA: Sustainability is definitely getting more important, now that people are becoming more aware of what goes into clothing. But that doesn’t mean that people are going to avoid unethical products. If it’s cheap, people will still buy the garment. Wealth limits ideals sometimes, and it should really be the brands that make the first move in introducing green elements in their products. MIN: I don’t really think much for sustainable fashion codes. However, In terms of business, it makes financial sense to include sustainable policies. Plus if ‘normal’ brands do that, it may help remove the dowdy stigma ecofashion has been labelled with. CASSANDRA: I think the ecological and ethical issues linked to sustainability happen in waves and during different periods of time in each region of the world. It seems that all financially emerging nations go through these tough work situations, Britain did also in the industrial revolution. They need to find their way through, so it is difficult for us to judge. What we can do is to do our best to highlight particularly unsavoury or unfair work practices and not exploit their self-actualisation for our own greed for fashion. TANYA: It needs to happen soon. So far eco-fashion and fashion has been two separate things, but I don’t see why the mainstream can’t adopt some things that the eco niche does. SULIAN: Practising sustainability in fashion will be beneficial to all those involved - particularly developing nations. I don’t think it simply encompasses human rights and environmental problems, i think adopting sustainability can grow communities too, and not leave any nation behind.

APPENDIX NINE RETAIL RESEARCH

THE SHOP AT BLUEBIRD / 350 KING’S ROAD LONDON SW3 5UU

THE SHOP AT BLUEBIRD is a lifestyle boutique offering an eclectic selection of fashion, home and beauty products. The store takes an innovative approach at retails and Its constantly changing interior and carefully edited wares adds to the store’s dynamism that attracts not just Londoners but also global clients. Much like rifling through the local convenience store (albeit a luxurious one), the store’s interior exudes a sense of familiarity yet its delegated spaces promise treasures that might have been easily overlooked.Collaborations also happen with their stocked designers, resulting in unique product offerings to the shop’s loyal clientele.

KEY POINTS TO NOTE

• • • • • •

Emphasis on the eclectic, mixes the likes of Balenciage next to sma;; brands like Emma Cook and Phoebe English Varied customer range, high exposure for new brands Niche brands are picked based on ease of wardrobe integration Neutral interiors and careful merchandising do not overpower products, conceptual and mainstream brands can thus mingle side by side Collaborations and close-knit relationships between shop and stocked brands show the potential for interchanging of ideas Support for emerging brands

INTERVIEW WITH PAUL BAPISTE

Buying & Operations Manager

WHAT IS IT ABOUT BLUEBIRD THAT MAKES IT SO SPECIAL? We are a local store with international appeal - we try to make our store approachable from any angle. The store as a whole is a lifestyle trip, starting from revisiting familiar brands before moving on to discovering new ones. You pick up books and souvenirs along the way, and end it off with a facial or a massage in our in-store spa. The store is constantly evolving, so each visit is always a new adventure! HOW WOULD YOU DESCRIBE THE BLUEBIRD CUSTOMER? Our customer is never the same. We attract both the local crowd and the international jet-set. All of them however have a strong sense of identity and an open mind to discovering new things. HOW MUCH DO THEY USUALLY SPEND INSTORE? Because of our wide selection of products that appeal to different levels of customer, we have people who come in spending under a £100 to the clients who shell out as much as £20,000 here. HOW DO YOU SELECT THE DESIGNERS AND PRODUCTS YOU SELL? We like a good mix - some brands in our store are conceptual and others are extremely commercial. We don’t dismiss products that seem to appeal to only a niche customer, we try to see how their products can fit into a woman’s existing wardrobe. What is most important to us is that the designers we stock must have a clear vision and understanding of what style is. WOULD YOU BE OPEN TO ACQUIRING NEW AND EMERGING DESIGNERS? Of course! We wholly support nurturing new designers. I get people coming up to me with new products, and it’s always exciting to see fresh ideas that has the potential to work. We try to work directly with our emerging designers stocked here to give them the best support and a good platform next to industry heavyweights.

RETAIL RESEARCH

DOVER STREET MARKET / 17-18 DOVER ST LONDON W1S 4LT

“I want to create a kind of market where various creators from various fields gather together and encounter each other in an ongoing atmosphere of beautiful chaos: the mixing up and coming together of different kindred souls who all share a strong personal vision.” - Rei Kawakubo

DOVER STREET MARKET is a multi-level fashion retail store created by Comme Des Garcons founder Rei Kawakubo. Designed to look resemble an indoor bazaar, the store stocks cutting-edge high-fashion alongside a selection of footwear and accessories, and lifestyle products. Its stylistic avant-garde interiors vary level to level are immersive, and customers are compelled to explore every area of the store. Adding to the market feel, food is also sold instore. Evoking the sense of newness is key to creating customer engagement - thus the store closes down every six months to open with with completely new visual and merchadising arrangement. Products are also refreshed through frequent collaborates with its stable of nramds and other disciplines to create limited pieces or window installations for DSM.

KEY POINTS TO NOTE • • • • • •

•

Fashion is considered art - emphasis on edgy, interesting, technological products Knowledgeable staff educate the customer on new brands Artful, chaotic stall-like interior arrangements create great effective impact. Traditional sits next to the new, a clash of worlds Customers have high spending power and look to collect fashion. Collaborations and close-knit relationships between shop and stocked brands show the potential for innovation Support for niche, otherwise unknown brands

WHAT IS IT ABOUT DSM THAT MAKES IT SO SPECIAL? We are always new, never old. The store redefines what retail spaces are meant to be; it’s beautifully chaotic and each time our customer comes into the store, they get reinvigorated by what they see. HOW WOULD YOU DESCRIBE THE DSM CUSTOMER? It’s hard to describe because so many different types of people walk in for a peek. However, most of our paying customers are Asian, Middle Eastern or Russian, aged about 28+. They want the best of what cutting-edge can offer them. Somehow, even if the garment seems super niche, they would buy it for the sake of collecting. Price does not matter, it’s what’s explosive and unique that attracts them. HOW MUCH DO THEY USUALLY SPEND INSTORE? I once served a Russian lady who spent about £25,000. It was one of my most memorable sales ever. I NOTICED HOW DSM MIXES THE UBER LUXE WITH THE CONCEPTUAL AND UNEXPECTED VINTAGE PIECES. HOW DOES DSM APPROACH ITS PRODUCT SELECTION? I would say it’s a non-judgemental approach - a democratic selection of what’s interesting and unique and has the potential to be made your own. Basically what a luxury street market should offer.

INTERVIEW WITH POLLY PAN

Sales Assistant

RETAIL RESEARCH

HOSTEM / 41 REDCHURCH STREET LONDON E2 7DJ HOSTEM is a highly curated concept store which emphasises on the handmade and the artisanal. Once only stocking menswear, a new womenswear space was created in October 2013 atop the original store. The store takes an intimate and quietly refined approach - interiors are kept minimal, service is highly personal and the product mix champions a slow approach to fashion. Emerging designers sit next to avant-garde veterans, austere heritage brands and crafted wares, while visiting designers take residence instore to provide custom services to the discerning customer. Hostem rejects consumerist standards and instead invokes luxury in its deepest level - restrained, artistic and experential.

INTERVIEW WITH CHRISTIE FELS

Head of Womenswear

WHAT IS IT ABOUT HOSTEM THAT MAKES IT SO SPECIAL? Its strong curation of luxurious products. Hostem carries beautifully crafted investment pieces that are timeless and offer a story in the product. We also sell one-of-a-kind custom goods by designers exclusive only to us. Our service is also very intimate - we like to communicate directly and in depth with our customer to pass on our knowledge about the product and the designer’s ethos. I NOTICED THAT HOSTEM DID NOT HAVE AN EXTENSIVE WEB PRESENCE, WHY IS THAT SO? This is also in line with our service ethos. We prefer a brick-and-mortar approach to retail as tactility and direct selling is very important. Our digital store which will be launched in a month or so will carry a catalogue, however, items can only be ordered by phone or email to bring a personal service to our client. Direct selling is very important. We believe that by maintaining a slight distance from full e-commerce, we can focus on our clients and create a more private experience for them. HOW WOULD YOU DESCRIBE THE HOSTEM CUSTOMER? Our womenswear section only just opened a few weeks ago, so it’s still quite early to gauge who our customer is. We get a lot of footfall on weekends during which people discover the store - and they are people of all varieties. I suppose our product mix appeals to different dress sensibilities. Most of our current clients are partners or friends of the Hostem man - they are stylish, discerning and intelligent people who like unique products that can be added to their look. HOW MUCH DO THEY USUALLY SPEND INSTORE? I wasn’t here when it happened, but a socialite made a phone order worth £18,000 last week.

WOULD YOU BE OPEN TO ACQUIRING NEW AND EMERGING DESIGNERS? Yes, we are always on the lookout for new and emerging designers. Some of our designers such as Amy Revier are stocked exclusively to Hostem. We work directly with our designers to encourage them to keep honing their craft. It’s important to nurture innovative artisanship especially in this world of fast fashion.

KEY POINTS TO NOTE • • • • • •

Quality, artisanship and design stories are important qualities Hostem’s product offerings have Digital strategy addresses the problems with creating a personal luxury experience online. Intellectual customer base who wish to engage beyond the product Priority of educating the customer about what they are buying into and to explain the mark-up Interiors evoke a sense of privacy - encourages customers to take their time to appreciate the products Keen on nurturing new designers to hone their artistic values

RETAIL RESEARCH

BROWNS FOCUS / 24 SOUTH MOLTON ST LONDON W1K 5RD

BROWNS FOCUS is an extension of Browns, a long-established independent boutique founded in 1970. An important fashion destination, the boutique has long been a platform for fresh UK talent to be noticed; many designers have Browns Focus to credit for their current success. Having recently undergone a revamp to align itself better with its sister stores and its customers, Brown Focus’s mininmal, yet trendy interiors reflect its attention to the contemporary and new - Browns Focus stocks covetable designer and runway pieces with an edge, as well as new and exclusive designers for the sophisticated, cutting-edge market.

WHAT IS IT ABOUT BROWNS FOCUS THAT MAKES IT SO SPECIAL? We sell the season’s must-haves alongside fresh talent we are confident will become future trend-setters themselves. Our product range has personality and exlusivity. HOW WOULD YOU DESCRIBE THE BROWNS FOCUS CUSTOMER? A younger incarnation of our Browns customer. Edgy and more trend-focussed, but nevertheless well educated on quality. Originality is her biggest priority. HOW DO YOU SELECT THE DESIGNERS AND PRODUCTS YOU SELL? Innovation, original and adaptable. They might not be mainstream, but they need to have the potential to sell next to the current brand of the season. WOULD YOU BE OPEN TO ACQUIRING NEW AND EMERGING DESIGNERS? We have a history of supporting new design talent, sometimes we buy whole collections from fresh graduates and give them feedback to help them in growing their brands.

INTERVIEW WITH REBECCA OSEI BAIDOO Buyer

KEY POINTS TO NOTE • • • • •

An interesting personality and exclusivity are important traits that should be offered in products Brands should keep to their ethos but need to be commercially aware Supportive of new design talent - willing to buy up collections should it have the potential to be adapted for commercial selling Interiors evoke a sense of advancement, tactility and freshnesss Demanding customer who wants originality and innovation

APPENDIX TEN CRITICAL PATH PROJECT MANAGEMENT

PLANNING CONCEPT DEVELOPMENT

WEEK / DATE CONCEPT PROPOSAL CONTEXT RESEARCH PUBLIC OPINION SURVEY CONCEPT MODELLING BUSINESS RESEARCH BUSINESS PLANNING MARKET LEVEL RESEARCH PESTLE COMPETITOR ANALYSIS RETAIL RESEARCH RETAIL INTERVIEWS CONSUMER RESEARCH CONSUMER SURVEY FOCUS GROUP SUPPLY CHAIN BRAND IDENTITY & ETHOS BRANDING DESIGN MARKETING MIX LAYOUT & FINAL DRAFT

CONCEPT INSPIRATION CONCEPT DEVELOPMENT COLOUR & MOOD BOARD MATERIALS & TECHNIQUES EXPERIMENTATION MATERIAL SOURCING 3D SOFTWARE PRACTICE

INITIAL DESIGNS

23/9 9/9

30/9 6/10

7/10 13/10

14/10 20/10

21/10 27/10

28/10 3/11

4/11 10/11

11/11 17/11

18/11 24/11

25/11 1/12

2/12 8/12

9/12 15/12

16/12 22/12

PRODUCT DEVELOPMENT WEEK / DATE

2/1 5/1

6/1 12/1

13/1 19/1

20/1 26/1

27/1 2/2

3/2 9/2

10/2 16/2

17/2 23/2

24/2 2/3

3/3 9/3

10/3 16/3

17/3 23/3

CONCEPT DEVELOPMENT 2D DEV DRAWINGS TEXTILE EXPERIMENTATION 3D EXPERIMENTATION SAMPLING & TESTING 3D MOCK-UP TEXTILE MOCK-UP DESIGN DEVELOPMENT RANGE PLANNING FINAL DESIGN SELECTION SOURCE FASTENINGS/TRIM TESTING COMPONENTS PATTERNCUTTING 3D PROTOTYPE PRINTING MATERIALS PROTOTYPING 1ST PROTOTYPE TOILES PROTOTYPE TOILE CRIT

PROTOTYPE AMENDMENTS MATERIALS ORDERED FASTENING/TRIM ORDERED

PRODUCT REALISATION WEEK / DATE PROTOTYPE AMENDMENTS FINAL PATTERNS FINAL 3D MODEL FINAL TEXTILE MOCK-UP FINAL TOILE PROTOTYPE ORDER LABELS & SWINGTAGS

PRINT 3D MODEL IN FINAL MATERIALS TEXTILE PRODUCTION PATTERNCUTTING IN FINAL MATERIALS SAMPLE PRODUCTION SAMPLES COMPLETED

PHOTOSHOOT TEAM SOURCED STUDIO/ LOCATION SCOUTING MODELS SCOUTED PHOTOSHOOT TOUCH-UPS LOOKBOOK DESIGN & PRINT

MEDIA PACK COMPLETE FINAL COLLECTION RELEASED PORTFOLIO COMPLETE TECHNICAL FILE COMPLETE

24/3 30/3

31/3 6/4

7/4 13/4

14/4 20/4

21/4 27/4

28/4 4/5

5/5 11/5

12/5 18/5

19/5 25/5

APPENDIX ELEVEN CASE STUDY 3D TECHNOLOGY: THE NEW INDUSTRIA

L REVOLUTION

OVERVIEW

While 3D printing technology has been around since the 1980â&#x20AC;&#x2122;s, it only started achieving commercial success in the early 21st century. Fuelled by reduced prices and larger growth, the 3D printing technology market is estimated to be worth $2.2 billion at the moment. The technology main applications lie in architecture, construction, industrial design, automotive and dental/medical industry and increasingly fashion. Notable garments have been designed by Iris Van Herpen, Steven Ascensao and Francis Bitonti - and 3D technology is set to become more prevalent in the fashion industry.

ADVANTAGES

DISADVANTAGES

The new technology enables designer to create exactly what they want, in essence a sculptural piece of art. With consumers being able to print off items they just purchased online using their 3D desktop printer, a new method of customization will emerge. To put it succinctly, the consumer now also becomes a designer and manufacturer.

However, with over 816,000 people in the UK fashion industry, 3D printing technology would have a drastic impact (e.g.: reduction in dressmakers or middlemen such as shop workers). Moreover, there is a strong potential for counterfeit goods and/or people copying designs at home. 3D printing has thus also created a lot of anxiety in the fashion industry with many engaged in a never-ending fight to protect intellectual property and with 3D printing poised to compromise that. It also threatens traditional handmade artisanal work in the luxury sector, eliminates quality control and forces people to rethink what luxury means. 3D printing will lead to the question; if a piece can be created simply by typing a code into a machine, what differentiates the quality of a piece by designer A from designer B?

3D fashion jewellery is already available on websites such as etsy.com (for less than ÂŁ10) and designer Janne Kyattanen enables consumers to freely download her shoes and print them from their home, with four wedge styles to choose from. Established brands such as Nike have used it to offer unique customisations. New Balance offers individual running assessments to create a 3D printed plate to add to the soles of its trainers. Garment making thus becomes more personal. Additionally, 3D technology solves the longstanding problem of sizing. It allows customers to ensure an exact fit simply by inputting their exact measurements and thus eliminating any sizing issues.

OPPORTUNITIES 3D printing can be harnessed in such a way that it avoids the abovementioned pitfalls that may affect the fashion industry. It is possible to utilise 3D printing to support the design and making process of fashion, instead of completely replacing it. By combining the future of 3D technology with traditional means of manufacturing, perhaps new garment innovations can be made. If 3D technology is used as a tool to create and meet new design challenges and not as a means to an end - new job types can be created, craft preserve and intellectual property safeguarded as a new standard of uniqueness comes into realisation.

APPENDIX TWELVE PRACTISE NEW DIGITAL SKILLS AND TEXTILE TECHNIQU

LEARNING RHINO 3D

KNITTING AND FELTING Exploration and learning of traditional craft skills to open up new design possibilities that can be applied to existing skills.

Self-directed study of Rhino 3D techniques through practice. Online tutorials were useful to follow for producing practice stock shapes while learning about the many tools in the program. More 3D technologies like Freeform modelling and scanning will also be explored.

APPENDIX THIRTEEN SOURCING ATTENDING TRADE SHOWS, CONTACTING

SUPPLIERS

COMMENTS During the course of material research, suppliers were investigated and contacted. Examples of correspondence are shown. The designer was able to contact nonEnglish speaking companies due to the ability to converse in Mandarin and French. For this collection however, as AAIKAI strives to source everything from the UK and mainland Europe, AAIKAI contacted companies from around the continent. While it can be presumed that writing in English can be understood by most countries, it is always ideal to bypass the language barrier to enhance business relationships. Using French proved useful - but for other foreign companies such as Daimer Filz - a German company, AAIKAI used the services of friends and translators to enable correspondence. As a designer, AAIKAI should also attend tradeshows in order to keep up to date on the latest textile developments, as well as get in direct contact with suppliers. AAIKAI attended the 3D printshow held in Paris from 1516 November 2013 in order research and better understand 3D technology.

Compnies dealing in felt and special fabrics were contacted. Care was taken to source organic suppliers, although sometimes it was difficult to trace their company background. Following the receiving of samples to test, AAIKAI would select the fabrics or raw materials that best represent of the collection. Further research into its ethical production is also conducted. It is during this time that companies such as Emphusis, while producing very unique fabrics, may not be considered later on in the supply chain. It may be due to irrelevance to the collection, price/time factor, or the level of sustainability within the matieral that will influence the decision.

SAMPLE TRANSLATION (French) Hello Alexa Chan, The materials that I have developed are made the traditional way, you will therefore understand that in this context it is not we possible for us to provide a price list. In good faith we offer students (as part of their project) 2 by 2 meters at a 50% discount. In exchange, we would reserve right to use the images. The rest of the order would be at the normal price of 100 euros and 200 eruos for the the first 2x2 meters. The first sample is free and others are payed depending on format, including the thickness and size request. The maximum dimension for manufacturing are 2M and 1.4M share 0.5mx0.5m. The minimum completion time is 3 weeks, including receiving the material to be coated. Prices depend on materials as well as a a coat or thickness desired. cordially. Shipping costs are extra. Cordially jean-charles Barbotin

BIBLIOGRAPHY SUSTAINABLE BRAND DEVELOPMENT LITERATURE •

Birkeland, J. (2002) Design for Sustainability: a sourcebook of integrated, ecological solutions. London: Earthscan

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Carson, R. (2002) Silent Spring. New York: Houghton Mifflin

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Entwistle, J. (2000) The Fashioned Body: Fashion, Dress, and Modern Social Theory. Cambridge: Polity Press.

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Fletcher, K (2008) Sustainable Fashion and Textiles: Design Journeys. London: Earthscan

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Maslow, A. H. (1954) Motivation and personality. New York: Harper.

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McDonough, W., Braungart, M (2009) Cradle to Cradle: Remaking the way we make things. London: Vintage

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Schumacher, V. (2011) Small is Beautiful: A study of Economics as if People Mattered. London: Random House Group

JOURNALS & REPORTS •

Bendell, J & Kleanthor, A. (2007) Deeper Luxury: Quality and Style when it Matters. WWF.

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Raconteur (2011) Sustainable Luxury. Raconteur Media [PDF] Accessible at: http://raconteur.net/sustainable-luxury [Retrieved 25 October 2013]

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Wrinkle, H., Eriksson, E., Lee, A. (2012) Free2Work. Apparel Industry Trends: From Farm to Factory. Free2Work [PDF] Accessible at: http://www.free2work.org/trends/apparel/Apparel-Industry-Trends-2012.pdf [Retrieved 25 October 2013]

ARTICLES •

Claudio, L. (2007) Waste Couture: Environment Impact on the Clothing Industry. Environ Health Perspect, September [Online] http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1964887/ [25 October 2013]

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Jenkin, N. (2012) Ethical Fashion Forum. Sustainable Luxury Fashion – Is it possible?. Ethical Fashion Forum, 17 September. [Online] Accessible at: http://source.ethicalfashionforum.com/article/sustainable-luxury-fashion-is-it-possible [Retrieved 1 November 2013]

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Kibbe, R (2013) Why Sustainable Fashion Needs Better Aesthetics. The Guardian Sustainable Fashion Blog, 18 September [Online]. Accessible at: http://www.theguardian.com/sustainable-business/sustainable-fashion-blog/ sustainable-fashion-better-aesthetics [ Retrieved 2 November 2013]

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Young, R. 2013. Stripped Bare: Brands Move Toward Transparency and Traceability. Business of Fashion, 23 July 2013 [Online]. Accessible at: http://www.businessoffashion.com/2013/07/nike-nudie-honest-by-bruno-pieters-stripped-barebrands-move-toward-transparency-and-traceability.html [Retrieved 17 October 2013]

VIDEOS •

Bookarmy (2011). Lucy Siegle - To Die For: Is Fashion Wearing Out the World? [Online]. Available from: http://www. youtube.com/watch?v=yan-N6RRk3I [Retrieved14 October 2013]

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Handprint. (2013) Directed by Mary Nighy. U.K.: White Lodge [Online]. Accessible at: http://www.vogue.com/vogue-daily/article/who-really-makes-your-clothes-mary-nighy-debuts-the-short-film-handprint/#1 [Retrieved 26 November 2013]

LUXURY STRATEGY LITERATURE •

Chevalier, M. & Mazzalovo, G. (2008) Luxury Brand Management: A World of Privilege. John Wiley & Sons (Asia) Pte. Ltd

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Daft, R. (2000), Management. New York: The Dryden Press

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Hines, T. (2004) Supply Chain Strategies. Oxford: Elsevier

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Jackson, T. and Shaw, D. (2009) Mastering Fashion Marketing. Hampshire: Palgrave Macmillan

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Kapferer, J.N., 2008. The New Strategic Brand Management. 4th ed. London: Kogan Pages

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Kapferer, J.N. and Bastien, V (2009) The Luxury Strategy. London: Kogan Pages

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Meadows, T. (2009) How to Set Up and Run a Fashion Label. London: Lawrence King

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Okonkowo, Uche. (2010) Luxury Online. London: Palgrave Macmillan

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Thomas, D (2007) Deluxe: How Luxury Lost its Luster. London: Penguin Press

JOURNALS & REPORTS •

Bain & Co (2013) Worldwide Luxury Markets Monitor - Spring Update [PDF]. Accessible at: http://www.fccihk.com/ files/dpt_image/5_committees/library/Library%20Luxury/2013%20Bain%20Luxury%20Study%20Spring%20Update.pdf [Retrieved 10 November 2013]

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Fashion and Business Drapers (2012) The Luxury Report, 17 November. London: Drapers

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Global Cosmetic Industry (2010) Best Luxury Consumers May Never Visit Store. Global Cosmetic Industry, vol. 178, no. 9

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Green, K., Morton, B., New, S. (1996) Purchasing and environmental management: interactions, policies and opportunities. Business Strategy and the Environment, Vol. 5, pp. 188–197 [PDF]. Accessible at: http://infohouse.p2ric. org/ref/31/30682.pdf [Retrieved 5 November 2013]

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McCracken, G (1989) Who is the celebrity endorser? Cultural foundations of the endorsement process. Journal of Consumer Research, Vol. 16, Iss. 3

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Marshall-Johnson, R., (2011). Future Consumer Forecast 2013. WGSN, 07 September [Online] Accessible at: http:// www.wgsn.com.arts.idm.oclc.org/content/report/Think_Tank/2011/June/consumer_forecast20130.html [Retrieved 7 November 2013]

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Melius, L. (2012) Purchasing Power: Wealthy Europeans. WGSN, 29 Novermber [Online] Accessible at: http://www. wgsn.com.arts.idm.oclc.org/content/report/Marketing/Consumer_Insight/2012/November/wealthy_europeans.html [Retrieved 7 November 2013]

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PwC. (2012) Market Vision Luxury: Challenges and opportunities in the new luxury world: winners and strategic drivers. PricewaterhouseCoopers

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Wazir Management Consultants (2013) The Road to 2025: Textile and Apparel Sector Report [PDF] Accessible at: http://www.wazir.in/pdfs/The%20Road%20to%202025%20-%20Wazir%20Advisors.pdf [Retrieved 14 November 2013]

ARTICLES •

Bainbridge, J. (2013) The Rise of discreet luxury and a new consumer elite. Marketing Magazine, 27 September [Online]. Accessible at: http://www.marketingmagazine.co.uk/article/1213629/rise-discreet-luxury-new-consumer-elite [Retrieved 14 November 2013]

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Benjamin, B. (2008) An Interview with Issey Miyake. The Harvard Adovocate [Online]. http://www.theharvardadvocate. com/content/interview-issey-miyake?page=show [Retrieved 15 November 2013]

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Design Museum. (2009) Interview with Hussein Chalayan [Online]. http://designmuseum.org/design/hussein-chalayan [Retrieved 15 November 2013]

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Hanna, J. (2004) Luxury isn’t what it used to be. HBS Working Knowledge, 16 August. [Online] Accessible at: http://hbswk.hbs.edu/item/4321.html [Retrieved 1 November 2013]

DATA •

Google (2013a) How Affluent Shoppers Buy Luxury Goods: A Global View. Google Think Insights [Online] Accessible at: https://www.google.co.uk/think/research-studies/affluent-shoppers-luxury-goods-global.html [Retrieved 25 November 2013]

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Mintel (2013a) Luxury Goods Retailing - International. Mintel Oxyen. [Online] Accessible at: http://academic.mintel. com/display/676128/ [Retrieved 17 November 2013]

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Mintel (2013b) Clothing Retailing. Mintel Oxyen [Online] Accessible at: http://academic.mintel.com/display/638286/ [Retrieved 17 November 2013]

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Mintel (2012) Lifestyle of the Ultra-affluent and HNWIs. Mintel Oxyen [Online] Accessible at: http://academic.mintel. com/display/612224/ [Retrieved 10 November 2013]

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Mintel (2011) Consumer Attitudes Towards Luxury Brands – UK. Mintel Oxygen[Online] Accessible at: http://academic. mintel.com/display/545468/ [Accessed 10 November 2013]

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Mintel (2010) Marketing to Affluent Consumers. Mintel Oxyen [online http://academic.mintel.com/display/482735/ [Retrieved 20 November 2013]

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Mintel (2008) Over-50s (The) – Changing Lifestyles. Mintel Oxyen [online] http://academic.mintel.com/ display/291693/ [Retrieved10 November 2013]

WEBSITES: • • • • • • • • • • • • • • •

Ada Zanditon : http://www.adazanditon.com/ Aganovich : http://www.aganovich.com/ Browns Fashion : http://www.brownsfashion.com/ Chalayan : http://chalayan.com/ Dover Street Market : http://london.doverstreetmarket.com/ Haider Ackermann : http://www.haiderackermann.be/ Honest By : http://www.honestby.com/ Hostem : http://www.hostem.co.uk/ Issey Miyake : http://www.isseymiyake.com/en/ Kering : http://www.kering.com Look to the Stars Organisation : http://www.looktothestars.org/ OECD Forum : http://www.oecd.org/ Phoebe English : http://phoebeenglish.com/ The Shop at Bluebird : http://www.theshopatbluebird.com/ World Trade Organisation : http://www.wto.org/

COLLECTION DEVELOPMENT RESEARCH REFERENCES •

Adams, P. (2013) Saatchi Gallery: Paper. London: Saatchi Gallery

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Cohen, A.C (2010) J.J. Pizzuto’s Fabric science. New York: Fairchild Books

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Cole, D. (2008) Textiles Now. London: Laurence King Publishing

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Forsha, L. (1988) Judith Shea. California: La Jolla Museum of Contemporary Art

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Fukai, A.; Vinken, B.; Frankel, S. and Kurino, H. (2010) Future Beauty: 30 Years of Japanese Fashion. London: Merrell Publishers Limited

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Hallett, C. and Johnston, A. (2010) Fabric For Fashion: The Swatch Book. London: Laurence King Publishing

• • •

Houghton, Lizzer (2009) Felting fashion : creative and inspirational techniques for feltmakers. London: Batsford

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Murphy, K. (2005) Resin Jewellery. London: A & C Black Publishers

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Penn, I. (1988) Flowers. London: Harmony Books

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Presenti, A. (2010) Rachel Whiteread Drawings. London: Prestel Publishing Limited

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Steele, V. (2009) Isabel Toledo : fashion from the inside out. London: Yale University Press

Lidewij Edelkoort (2012) Bloom Magazine, vols 14 - 21. [Online Image Bank] Accessible at: hhttp://www.edelkoort. com/fr/editions-2/ [Retrieved throughout October 2013]

EXHIBITIONS •

Blumenfeld Studio: New York 1941-1960. 23 May 2013 – 1 September 2013, Somerset House, London, United Kingdom. (Visited July 2013)

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Death: A Self-Portrait. 15 November 2012 - 24 February 2013, Wellcome Collection, London, United Kingdom. (Visited January 2013)

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Esthetica at London Fashion Week. 13 - 17 November 2013, Somerset House, London, United Kingdom (Visited November 2013)

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Model : making, 6 September 2013 - 9 November 2013,Contemporary Applied Arts, London, United Kingdom. (Visited October 2013)

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Permanent Collections. Natural History Museum, London, United Kingdom. (Visited October 2013)

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Permanent Collections. Tate Modern, London, United Kingdom. (Visited September 2013)

TRADESHOWS •

3D Printshow 2013. 15 - 16 November 2013, Paris, France. (Visited November 2013)

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Source Expo 2013. 30 - 31st October 2013. [Online] Accessible at: http://source.ethicalfashionforum.com/digital/ source-expo

IMAGE REFERENCES

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Page 4: Floral Background. Author’s own

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Page 7: Clothing Stall Photograph. Sin Kei Chak, Jacky.

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Page 8: Model with Cross. Erwin Blumenfeld (1945) Red Cross Editorial Cover, Vogue [Online Image] Available at: http://trendland.com/wp-content/uploads/2011/05/erwin-blumenfeld-photography-collage.jpg

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Page 9: Hybrid Butterfly. Anne Ten Donkelaar (2011) Broken Butterflies [Online Image] Available at: http://anneten.nl/ works/16-broken-butterflies

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Page 12: Brand Logo. Author’s own

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Page 14: Brand Market Positioning. Author’s Own

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Page 15: Brand Competitor Axis. Author’s Own

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Page 16: Chalayan Editorial Image. [Online Image] Available at: http://31.media.tumblr.com/tumblr_lpd6mlDClr1qb9pdio1_r1_500.jpg

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Page 17: Issey Miyake Editorial Image. [Online Image] Available at: http://media-cache-ak0.pinimg.com/originals/1e/ e6/a4/1ee6a4323091801076f1af39d81ac03d.jpg

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Page 18: Haider Ackermann Editorial Image. [Online Image] Available at: http://andreahuelse.com/setdesign/pictures/ image638.jpg

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Page 19: Aganovich Editorial Image. [Online Image] Available at: http://andreahuelse.com/setdesign/pictures/image638.jpg

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Page 20: Ada Zanditon Editorial Image. [Online Image] Available at: http://media.tumblr.com/tumblr_lys4w5z6qD1qzxsww.jpg

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Page 21: Phoebe English Editorial Image [Online Image] Available at:http://joshuadrewyou.files.wordpress. com/2011/12/phoebeenglish_1.jpg

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Page 23: Muse. Erwin Blumenfeld

• Page 24: Target Consumer Groups Consumer Image – Young Lady in Red [Online Image] Available at: http://s8.postimg.org/nuxqumhut/Fall_2013_ Attendees_B2mk_Hgzpx_Vix.jpg Consumer Image – Mature Lady in Black [Online Image] Available at: http://www.advancedstyle.com • Page 26: Consumer Portrait The Young Affluent Consumer – Media Manager. Provided by Angie Chen. Beach Resort Holiday Image [Online Image] Available at: https://d22d7v2y1t140g.cloudfront.net/m_4481694_Ty LecDV0wzm7.jpg Wardrobe Image 1 [Online Image] Available at: http://static.oprah.com/images/201203/omag/201203-omag- gayle-closet-color-coordinated-284x426.jpg Home Image 1 [Online Image]Available at: http://www.mymilieu.com.au/wp-content/uploads/2013/09/9.-wall- art_pinterest.jpg

• Page 27: Consumer Portrait The Mature HNWI Consumer – Personal & Business Mentor. Provided by Cassandra Struthers. Forest Resort Holiday Image [Online Image] Available at: http://receptivocolombia.com/images/phocagallery/ santa%20marta%203.JPG Theatre Image [Online Image] Available at: http://www.starofthe21stcentury.com/sites/starofthe21stcentury.com/ files/theatre_1_small.jpg Food Image [Online Image] Available at: https://lh5.googleusercontent.com/-r_-1f4Rcbns/UfkZB8Dgt7I/A AAAAAAAGGE/OS0Nmdyn7ts/s720/KT%2520%252811%2520of%252016%2529.jpg Home Image 2 [Online Image] Available at: http://photographyheat.com/wp-content/uploads/2013/02/Interior- Design-Ideas-40.jpg Wardrobe Image 2 [Online Image] Available at: http://4.bp.blogspot.com/-z7vSi0gF4Ek/UfzdhAFND5I/ AAAAAAAAEwc/BBvPsfz7HoE/s1600/tumblr_mn6227Uuzp1qifn2ao1_500.jpg •

Page 29: 3D Textile Background. [Online Image] Available at: http://livingdesign.info/wp-content/uploads/2012/10/ Sample-Sample-11.jpg

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Page 30: Illustrated Pricing Methodology. Author’s own.

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Page 31: Pricing Chart. Author’s own.

• Pages 32-33: Stockists Browns Focus Interior [Online Image] Available at: http://www.studiotoogood.com/ Hostem Interior [Online Image] Available at: http://graphics8.nytimes.com/images/2013/11/25/t- magazine/25hostem-ajudua-slide-218Y/25hostem-ajudua-slide-218Y-tmagArticle.jpg Dover Street Market Interior [Online Image] Available at: http://www.dazeddigital.com/Image Store/620/7/627999.jpg The Shop at Bluebird Interior [Online Image] Available at: http://justalittlejoy.files.wordpress.com/2012/05/92524 ce7b9742fe1385833604f3bf979.jpg?w=652 •

Page 34: Reclining Lady [Online Image] Available at: https://www.tumblr.com/

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Page 35: Social Media Icons. [Online Images] Available at: https://www.facebook.com/, https://twitter.com/ , http://instagram.com, http://www.pinterest.com/

• Page 36: Personalities Blogger -Susie Bubble [Online Image] Available at: http://www.manrepeller.com/wp-content/uploads/2013/09/a_4x- vertical-1.jpg Blogger – Park & Cube [Online Image] Available at: http://www.parkandcube.com Blogger – Love Aesthetics [Online Image] Available at: http://love-aesthetics.blogspot.co.uk/ Celebrity – Cate Blanchett [Online Image] Available at: http://backseatstylers.com/wp-content/uploads/2013/09/ Cate-Blanchett-in-Armani-Priv%C3%A9-at-Deauville-American-Film-Festival-2013.jpg Celebrity – Tilda Swinton [Online Image] Available at: http://pixel.nymag.com/content/dam/fashion/lookbooks/ tilda-swinton/119.jpg Celebrity – Rooney Mara [Online Image] Available at: http://st2-fashiony.ru/pic/celebrity/pic/73488/84.jpg Page 39: Supply Chain Diagram. Author’s Own.

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Page 39: Supply Chain Diagram. Author’s Own.

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Page 41: Girl with Memory Phials. [Online Image] Available at: http://birdicatt.files.wordpress.com/2013/07/caryndrexl3. jpg

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Pages 44-45: Initial Collection Visualisation. Author’s own.

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Page 49: Fashion Industry Perspective. Author’s Own.

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Pages 50-51: Survey Result Diagrams. Author’s Own.

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Page 52: Honest By Image. [Online Image] Available at: http://www.honestby.com/

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Pages 53-54: Brand Design Logos. Author’s own

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Page 56: Image of Models [Online Image] Available at: http://tumblr.com

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Pages 60-61: Supply Chain Diagram. Author’s Own.

• Pages 66-67: The Shop at Bluebird Shop Signage. Author’s Own. Shop Interior. [Online Image] Available at: http://static.tribaspace.com/image/scaled/2e/2e1973ca-d8ea-4ed0-bf63- 560f09e802ac.jpeg Shop Interior [Online Image] Available at: http://www.theshopatbluebird.com • Pages 68-69: Dover Street Market Shop Logo. [Online Image] Available at: http://london.doverstreetmarket.com Shop Interiors 1, 2 & 3 [Online Image] Available at: http://london.doverstreetmarket.com Image of Shop Assistant [Online Image] Available at: http://photos.mandarinoriental.com/is/image/MandarinOrien tal/dmo-8-london-cool-britannia-4?$DMOFancyPort$&fit=wrap • Pages 68-69: Hostem Shop Front Image [Online Image] Available at: http://internationalvisual.files.wordpress.com/2011/02/img_0691.jpg Shop Interior Image [Online Image] Available at: http://blog.arkpad.com.br/wp-content/uploads/2012/02/ Hostem-45016.jpg Bag with shop name cards [Online Image] Available at: http://blog.arkpad.com.br/wp-content/uploads/2012/02/ Hostem-44891.jpg • Pages 70-71: Browns Focus Browns Focus Interior 1 [Online Image] Available at: http://thesnapassembly.com/wp-content/uploads/2013/08/ TSA_DESIGN_Toogood_Browns_13.jpg Browns Focus Interior 2 [Online Image] Available at: http://www.studiotoogood.com/ Browns Focus Interior 3 [Online Image] Available at: http://www.myshoppingspy.com/sites/default/files/imagecache/ max_600/Browns%20Focus.jpg Browns Focus Window Display [Online Image] Available at: https://lh4.googleusercontent.com/-SxVkE0QNll WdyPQkOgByYKcOQx3p8ASu1pJRon_GHc •

Page 78: Rhino 3D Practice Screenshots. Author’s own. Felting Practice Image. Author’s Own.

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Pages 79-80: Supplier Email Screenshots. Author’s Own.