Tine positioning statement booklet

TINE

THE LABEL

by CHRISTINE PAN

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TINE

TINE

POSITION STATEMENT

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CHRISTINE PAN

• 3 April 2011

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TINE

TINE

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+ unique personal brand : TINE

about the brand

target market label identity

inspiration design principles philosophies space envisioned

retail architecture

garment hanging

artworks s.w.o.t analysis

strengths & weaknesses

opportunities & threats

competitors

future directions

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TINE: UNIQUE PERSONAL BRAND

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UNIQUE PERSONAL BRAND: TINE

ABOUT THE BRAND

TINE

TINE is an edgy, high-end creative contemporary womenswear ready-to-wear brand by designer Christine Pan. Using quality natural and high-tech synthetic fabrications, TINE aims to create simple, distinctive yet coveted casual and businesswear garments whilst remaining commercially viable within Australia and hopefully internationally within 10 years time.

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TINE: UNIQUE PERSONAL BRAND

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UNIQUE PERSONAL BRAND: TINE

TARGET MARKET

TINE

The label is designed for the 24 year old female. She is cultured, creative, intellectual, interested in art, society and history. She is socially-aware, efficient, has a stable job and is interested in casualwear clothing which will make her stand out as an individual, yet can also be corporate. Using artists and designers as muses, TINE creates high-end fashion garments using quality fabrics and sustainable practices.

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LABEL IDENTITY

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L B A TINE

LABEL IDENTITY

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LABEL IDENTITY

TINE

ALL FASHION IS DISTINTERESTED PLEASURE (DERIVATIVE OF KANT’S CRITIQUE OF JUDGEMENT 1788)

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LABEL IDENTITY

LABEL INSPIRATION Looking to architecture for inspiration, the 1934 Penguin Pool perfectly encapsulates the essense of the label, TINE. Its simple, elegant coil has skillfully rendered the design with upmost originality, being both functional and aesthetic.

Translating to the personality of the brand, the label is humble and modest about it’s own talents. There is no pressure to conform yet does not scream individuality or difference for the sake of being different. It is balanced, minimalist and suitable. It is characterised by its attention to detail, conceptual undertones, self-awareness and is commanding because of it. + Label Colour: Pale Yellow + Monochrome It is: -a subtle sweet burst of sunshine -suggests intellect, logical imagination, social energy, organisation, honour, loyalty, clarity, understanding, mellowness, confidence, wisdom, weakness, curiosity -calm, cheerful, moderated, joyous

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LABEL IDENTITY

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Unless we have a ‘mission’ - and I don’t like the word - but something ‘higher’ to strive for - and I don’t particularly like that expression either - but unless we feel that we have a special contribution to make which our very size and diversity and whole outlook can help to achieve, In his own words:

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I for one am not interested.

-Ove Arup, from the Key Speech

TINE

Berthold Lubertkin Penguin Pool 1934, London Zoo. Engineered by Ove Arup

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TINE

LABEL IDENTITY

LABEL NAME: THE INSPIRATION TINE is created from the designers name, Christine Pan. It follows the need for a distinctive yet simple company name to represent a distinctive label, with a simple design aesthetic.

TINE also has a definition: tine (tain) —n 1.

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a slender prong, esp of a fork any of the sharp terminal branches of a deer’s antler

LABEL IDENTITY

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LABEL IDENTITY

TINE

Top: Camilla Akrans, editorial ‘Enchanting Hawaii’, Vogue China July 2009 Left: Sass and Bide, Autumn-Winter 2010 Far Left: Sass and Bide, Spring-Summer 2010

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DESIGN PRINCIPLES

-forward thinking, directional (taking inspiration from architecture, artists, designers, graphics, history, philosophy, culture and society). The label is surprising, creative and engaging. It is conceptual and intelligent.

-compassionate (for environment, freedom and openness, design). It features a high attention to detail.

-self-reflexive (like art movements surrealistic, dada, modernist, abstract expressionism), socially aware.

-intimate & personal (clothing as an extension of the self) yet authoritative.

-skilled artistry, effortless and logical design. Focus shifts from ornament to a consideration of lines, shades, proportions which underpins garment design values in quality make and fabrics.

TINE

-modest, honest and sustainable; NOT fast fashion. It is contemporary, transparent, austere, minimalist. It draws reference to Adolf Loos’ modernist architecture, unadorned and essential.

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LABEL IDENTITY

-organic -minimalist philosophy -architectural -authoritarian -spiritual -subtle -modest -clean -crisp -insouciant -feminine

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TINE

LABEL IDENTITY

LABEL PHILOSOPHIES To maintain a key player in the industry, the label must continue to innovate and diver sify. The label commits to quality and environmentally friendly operations. Unique products in fabric, colour and cut at a premium price adds value; whilst not following market trends but is mindful of its direction.

TINE responds to contemporary fashion and keeps in touch with the lives of its target market. It will initially uses available fabrics sourced within Australia, China and embellishments from India but differentiates from other labels through colour and cut. With plans to develop its own unique fabric prints and finishes in the next 5 years to keep up with current technologies in textile product, the label will sustain its identity as forward thinking.

A quality and eco-aware product: garments feature style, durability and comfort. Other developments include minimal waste-cutting, eco-friendly dyes, durable finishes; wash-fast; emphasis on exclusivity, allows small runs at higher price points. Leathers, silks, natural fibres, synthetics in beautifully finished, elegant designs.

Onto the business side, the brand aims to eliminate the middleman. Operating under no sweatshop workers, only fair pay workers; it will offer better conditions for workers.

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TINE

LABEL IDENTITY

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LABEL IDENTITY

TINE

THE PROBLEM OF THE ARTIST IS TO DEFAMILIARIZE THE ORDINARY (Rand, 1995)

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SPACE ENVISIONED

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S

A P TINE

SPACE ENVISIONED

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SPACE ENVISIONED

RETAIL ARCHITECTURE I envision initially a small boutique in Sydney’s Paddington, then growing into a company with lots of staff but maintaining its intimacy and connections with customers. Modelled on the success of sass and bide store designs, the company will sustain a relaxed image and an effortless design ethos.

Retail spaces will be designed by Kelvin Ho, a Sydney based architect who works with fashion retail architecture.

It will be fresh, sensitive and functional.

Staff will be intelligent, socially aware with a great understanding of design in general. They will be really friendly and will sustain a close-knit customer base. Operations are similar to Country Road with loyalty cards and the authenticity of a large company, yet maintains the intimacy of personal service and exclusivity. Prices are higher than average mid to high-end range, reflecting in a small-tuned-in creative community. However branding and marketing will make it coveted amongst them, i.e like Opening Ceremony. _retail design _store artworks _garment hanging

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TINE

SPACE ENVISIONED

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SPACE ENVISIONED

Tadao Ando retail design. Prada Store, Japan Opp: SANAA 21st Century Museum of Contemporary Art in Kanazawa.

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SPACE ENVISIONED

TINE

RETAIL DESIGN Retail design reflects brand identity of being open and free.Transparent, austere, and modest; it draws reference to Adolf Loos’ modernist architecture: unadorned and essential.The focus shifts from ornament to a consideration of lines, shades, proportions which underpins garment design values. Against a minimalist backdrop, colour and placement of furniture as well as plenty of natural lighting is used to create intimacy and connection with the customers as well as reflect social awareness with a green energy building. The store design will be an amalgamy of the following images extended across various stores across Australia.

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SPACE ENVISIONED

>>Open space and fresh clean colour scheme, the store will be crisp white, spacious and exposed.

I like the emphasis on the floor as a symbolic entity. Architecture supports label identity as austere, stark, modest and essential.

The retail design engages a customer experience as informal, like you’re coming into someone’s home.

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Top Left: Explosion Space, interior, tumblr, uploaded 2011 Right and Below: Fuksas architects, San Paolo Parish Complex, Italy

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TINE

SPACE ENVISIONED

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SPACE ENVISIONED

<< Like the Sass and Bide store, clever use of â&#x20AC;&#x2DC;double skinâ&#x20AC;&#x2122; and interrior structure forms a strong reference to the relationship between garment and body.

Top 1: Kelvin Ho, Vanessa Bruno Paddington Store, Sydney.

Top 2: Kelvin Ho,Willow Store, Sydney.

Far Left: Kelvin Ho, Sass and Bide, Queensland

<<Lots of mirrors and clean aesthetic.

Use this idea of store layout composition to give a sense of depth and natural lighting. Spaciousness preferred and a link between garment display and store circulation. A colour scheme of creams, blacks, hint of earthy browns and the signature colour of pale yellow reflects the TINE label store design.

TINE

<<Relating outside and inside as cohesive entities, the store communicates the brand as spiritual, connected, extension.

Perhaps a backyard to further communicating homely aspect of store design as intimate and personal.

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SPACE ENVISIONED

GARMENT DISPLAY Garment display will â&#x20AC;&#x2DC;hangâ&#x20AC;&#x2122; on the walls and on mannequin stands. Like a museum display, these garments are presented on strings or placed against a white wall backdrop. It re-signifies the function of clothing as not just utilitarian but to make it an object to be prized and coveted. Communicates brand identity as different, conceptual and having exquisite quality of make and attention to detail.

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SPACE ENVISIONED

STORE ARTWORKS To evoke the brand as a fresh contemporary, artinfluenced label, the store will feature largely nonfashion decorations, setting garments as skilled artistry clothing rather than trend focused. It will have commissioned artists and designers to keep it current and forward thinking.

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Above: Katie de Bruycker uploaded March 2, 2011, Flickr Photostream Top right: Jean ProuvĂŠ, bicycle, 1941 Right: Tadao Ando, Collezione, Tokyo, 1989 Left: Bill Henson, Unititled, 2008 Far Right: Arjan Benning, Posters, Behance Network.

TINE

SPACE ENVISIONED

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SPACE ENVISIONED

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Katie de Bruycker March 2, 2011, Flickr Photostream

TINE

SPACE ENVISIONED

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S.W.O.T ANALYSIS

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O W TINE

S.W.O.T ANALYSIS

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S.W.O.T ANALYSIS

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S.W.O.T ANALYSIS

STRENGTHS AND WEAKNESSES What are your strengths and weaknesses as a designer?

Strengths: -good at making things commercially viable -pin pointing what will sell -print/web marketing -sourcing fabrics -human resources -budgeting -illustration, visual presentations both hand-generated and graphics -team work and organisation -colour in garment design -different point of view, unusual taste with influences outside of fashion.

TINE

Weaknesses: -bad a PR or personal promotion.

-canâ&#x20AC;&#x2122;t consistently push for original ground breaking ideas all the time, but I can play off other peopleâ&#x20AC;&#x2122;s ideas and work off that.

-production sewing -time management -overloading with too much. Getting too excited, it clouds the clarity of content.

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S.W.O.T ANALYSIS

OPPORTUNITIES AND THREATS What Problems does you business help them to solve?

In acknowledging the current market opportunities and threats, TINE reponds to the need for creative, eco-conscious garments of superior quality in fabrics and make. It offers elegant, stylish and intellectual feminine ready-to-wear garments. In the contemporary scope of cheapening fabrics and bad fit, this label is refreshingly affordable yet committed to quality in comparason to its competitors.

5 benefits for customers: -refined quality in fabrics and cut (cashmeres, silks) and ethically manufactured garments -intrigue infused into local Australian Style -prestige, intellectual niche, desirability -quality at affordable prices -contemporary minimalist yet references modern architecture

Left: Nirrimi Harkanson, 2010

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TINE

S.W.O.T ANALYSIS

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S.W.O.T ANALYSIS

COMPETITORS: Country Road Sass and Bide Theory Acne Assin Material By Product Toni Maticevski Zambesi Scanlan and Theodore Ruby Smallbone Therese Rawsthorne Max Mara Ansdorf Yeojin Bae Antipodium Vanessa Bruno

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Left: Scanlan and Theodore, Autumn-Winter 2011 Right: Ant!podium Spring-Summer 2011, film still.

S.W.O.T ANALYSIS

POINT OF DIFFERENCE: How will the label stand out against them?

The difference is this label will be creatively distinctive, exclusive yet very commercial at affordable price points:

TINE

-sustains a strong brand identity based on conceptual and intelligent design aesthetic -possesses a label inspiration that is personal to me and therefore will be different to whatâ&#x20AC;&#x2122;s currently in the market. Develops close ties between fashion and architecture -offers selling point of a great range of fabrics and individual design aesthetic -focuses on intimate, personal service and clever marketing -delivers covetable items which locates the zeitgeist amongst creatives

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S.W.O.T ANALYSIS

TINE

Left: Ant!podium Spring-Summer 2011, film still. http://vimeo. com/17295760

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S.W.O.T ANALYSIS

FUTURE DIRECTIONS TINE the label is created to serve as a standalone brand ‘to test the waters’ with the intention to grow and become a multi-brand under the name of CHRISTINE PAN by which TINE will slowly become a diffusion label offering a similar aesthetic but to cheaper price points. Similar to Wayne by Wayne Cooper, the brand will be TINE by Christine Pan. The multi-brand will incorporate menswear, resort and accessories.

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TINE

S.W.O.T ANALYSIS

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© CHRISTINE PAN 2011

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TINE