8000 word Dissertation by Gill Crouch by GILL CROUCH

Gillian Crouch / Q09902040 / FAD 184

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Dissertation

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How can small fashion businesses survive in the 21st century?

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Gillian Crouch / Q09902040 / FAD 184

â&#x20AC;&#x2DC;How can small fashion businesses survive in the 21st century?â&#x20AC;&#x2122;

Gillian Crouch / Q09902040 / FAD 184

Acknowledgements

Thank you for the help and support given by Dorota Wiatr throughout the planning and execution of this study. Without her support and guidance; writing this dissertation would have been unbearable. Thank you as well for the time and support given from Liz Black. Her detailed interview has made this study interesting as well as providing vital research for the article. Without both Dorota and Lizâ&#x20AC;&#x2122;s support this study would not have been possible.

Gillian Crouch / Q09902040 / FAD 184

Abstract This study will look at five factors (individuality, competitors, target market, consumer shopping behaviour and publicity) that small businesses need to consider in detail, in order to be successful in the 21st century. Liz Black will be studied, giving a first hand insight into the workings of a small brand. The brand will be looked at alongside successful brands such as Henry Holland, Calvin Klein and Vivienne Westwood in order to see how a small business can learn from their experience. Useful tips and suggestions will be comprised into a final list of recommendations set out to help small businesses become more prosperous.

Research shows that Black uncounted a lot of costs when starting the label, some of which she admits could have been avoided e.g. owning her own studio during the first two years of the brand. Black offers advice to other start up businesses by encouraging them to work hard and to not be disillusioned and wherever possible find financial backing.

Several observations can be made from the study that could help small brands such as thoroughly researching local social spots and work places of industry professionals. Researching social spots will help smaller brands get in touch with industry professionals on a personal level. Other points brands should recognise are: to be adaptable, to take risks, and to appoint good staff.

Gillian Crouch / Q09902040 / FAD 184

Contents

Description

Page Number

Acknowledgements

Abstract

Contents

iii

List of Tables and Figures

1. Introduction

2. Literature Review

2.1

Individuality

2.2

Competitors

2.3

Target Market

2.4

Consumer Shopping Behaviour

2.5

Publicity and Advertising

2.6

Other Factors for Consideration

2.7

Rationale

3. Methodology

4. Results

4.1

Designer Interview

4.2

Liz Black Interview

4.3

Customer Survey

5. Discussion

5.1

Liz Black Interview and Customer Survey

5.2

Primary and Secondary Research

27 iii

Gillian Crouch / Q09902040 / FAD 184

6. Conclusion

7. Recommendations

8. Reference List

9. Bibliography

10. Appendices 10.1

Appendix A: Correspondents with Vivienne Westwoodâ&#x20AC;&#x2122;s PA

10.2

Appendix B: Interview with Liz Black B1

10.3

Appendix C: Customer Survey Results C1

Gillian Crouch / Q09902040 / FAD 184

List of Tables and Figures Figure 1: Ansoff Matrix

(ANON 2012) “Strategic marketing planning tool that links a firm's marketing strategy with its general strategic direction and presents four alternative growth strategies as a table.” (Business Dictionary 2013)

Figure 2: Saunders Research Onion

(Academia 2013) “Saunders’ research onion is a generic research procedure which helps the analyst, depict issues underpinning the selection of data collection and research methods.” (Dissertation Wiki 2013)

Gillian Crouch / Q09902040 / FAD 184

1: Introduction Small businesses encounter many different obstacles when they first start; but are the obstacles they face heightened by todayâ&#x20AC;&#x2122;s current financial situation, and what must they learn from successful businesses in order to be thriving themselves?

The text aims to analyse five key factors that a small fashion business needs to address in order to survive in the 21st century. These factors are: individuality, competitors, target market, consumer shopping behaviour and publicity. Using Liz Black as an example of an upcoming small business, it will look at the businessâ&#x20AC;&#x2122; current situation and discuss how a small fashion business can learn from big, successful fashion brands such as Henry Holland, Calvin Klein and Vivienne Westwood. Ultimately, a list of recommendations (derived through research) will be set out from which a small upcoming business could learn in order to be more prosperous.

The text has several objectives; firstly to discuss the importance of individuality for an upcoming brand. A company must have a clear mission statement outlining their goals so that it is clear for their customers and working relations what they try to achieve.

The second objective, highlighting the importance of identifying target market and its needs correctly will be achieved by examining Liz Blackâ&#x20AC;&#x2122;s target market and how it was established, along with the needs and wants

Gillian Crouch / Q09902040 / FAD 184 of the clientele. It is equally important for a brand to understand its competitors; what are they doing that is the same/better than the company in question? The text will look at marketing strategies laid out in Mastering Fashion Marketing (Jackson & Shaw 2009) and Marketing Concepts & Strategies (Dibb 2012) to establish the best way of identifying competitors and target market.

In addition, consumer shopping behaviour will be analysed first-hand through the use of a survey, focusing on the current average monthly spend as well as how the attitude towards shopping might have changed due to the recession. Evidence will be analysed alongside the findings outlined in reports Budget Shopper (Mintel 2011), and Consumer Attitudes Towards Luxury Brands (Mintel 2011).

Next factor, publicity will be discussed by looking at effective campaigns and analysing the key points that made them successful. This could provide helpful tips for a smaller brand as to how they could create a more successful campaign. A range of methods will be examined, for example viral, guerrilla and advertisements.

A variety of research will be used to fully assess the question. Primary research will consist of an interview with Liz Black, founder and director of the Liz Black brand, along with a customer research survey. The survey will be used to identify the needs of a target market (women aged 25-40) and how their shopping behaviour may have been affected by the recession. As

Gillian Crouch / Q09902040 / FAD 184 Liz identified this demographic as her target market (See Appendix A), it will be interesting to see how much they spend on fashion and where they shop, whether Liz’s research is correct or if it is something that needs readdressing.

Secondary research will include reports from industry professionals such as Mintel and The British Fashion Council, along with academic texts on fashion and marketing. This will show an industry perspective on how brands are operating in the current financial climate, while shedding light on potential models and marketing structures they could use, such as Porters Competitive Model. Biographies and testimonials from successful brands (e.g. The House of Klein: Fashion, Controversy, and a Business Obsession. Marsh 2013) will be used to identify how they built their brands and analyse any problems they might have encountered.

By looking at the question from different perspectives (consumers’, small brands’, successful brands’, industry’s and marketing professionals’) the text aims to introduce a deeper understanding of the fashion industry. This will create a more thorough conclusion and more reflective advice for a smaller brand. Using a range of sources, such as interviews and reports, enables a wider understanding of society and other factors that may influence the conclusion – for example shopping behaviours and the recession.

Gillian Crouch / Q09902040 / FAD 184

2: Literature Review â&#x20AC;&#x153;Marketing consists of individual and organisational activities that facilitate and expedite satisfying exchange relationships in a dynamic environment through the creation, distribution, promotion and pricing of goods, services and ideasâ&#x20AC;?. (Dibb et al 2012, p.8)

Marketing is used to establish satisfied customers that will return to a company or organisation creating custom for the brand, however start up businesses donâ&#x20AC;&#x2122;t always know the best way to go about this. Five Key factors they should consider are: individuality, competitors, target market, consumers shopping behaviour and publicity. By firmly identifying and exploring these factors, a business will gain a better understanding of their brand, market and ultimately what they need to do to be successful.

2.1: Individuality When setting up a business or brand it is important to differentiate yourself from other already available brands. To do this the brand must create a unique selling point that can be used to draw in customers. Understanding what the brand stands for, aims to achieve and why it is worth buying all contribute to establishing this.

2.2: Competitors Once a unique selling point has been established, the next element to address is competitors; this will help establish how the brand will fit into the current market. A brand must look at other brands to establish if a similar product is already available, paying attention to quality and price, or

Gillian Crouch / Q09902040 / FAD 184 whether they are the sole producer of that product. This will indicate whether the brand is establishing itself as a monopoly, oligopoly or within a monopolistic competition. A monopoly exists when a company has no direct competition or substitutes currently on the market. An oligopoly may have competitors who produce the same or similar products, however there are a few main sellers who control the majority of the market for that product (Dibb et al 2012, p.99).

Monopolistic competition occurs when a company encounters many organisations that are creating the same product. In order to succeed the brand must find a way to differentiate from their competitors, establishing their place in the market. Dibb et al. (2012, p.99) uses Levi Jeans as an example of monopolistic competition as they face a large competition, with many brands also making blue jeans. Despite this, Levi has established an advantage by marketing themselves through the use of a trademark logo, design, good advertising and quality image.

Like Levi, many fashion brands find themselves with monopolistic competition. By identifying their position within the market, a brand can successfully determine whom their competitors are along with a strategy to create an advantage. Ansoffâ&#x20AC;&#x2122; Matrix (See Figure 1) could be used to establish the brands strategy as it examines market penetration, market development, product development and diversification (Jackson & Shaw 2009). The model is used to identify how the brand is performing in the four

Gillian Crouch / Q09902040 / FAD 184 elements, both now and in the future enabling the brand to address any issues and move closer to their goal.

Another method is competitor monitoring. This involves looking at brands competitors to see what marketing, advertising, financial structures they use along with any strong traits that they might have. For upcoming brands this is an extremely useful exercise as they can learn from their competitors mistakes in order to save themselves money, time or bad press.

2.3: Target Market Correctly identifying your target market is equally essential. To do this the brand must again think about their product. They must decide whether it is going to take on a mass marketing, single segment or mulitisegment marketing strategy.

Many small brands will fall under the single segment marketing strategy as they have chosen their product to suit a particular target market. They do not have the resources or money to fund a mass-market strategy. This is more commonly found with larger more established brands such as River Island who offer ranges for men, women and children. By targeting three different sectors River Island can attract more customers and boost their Revenue.

Marks and Spencer also offer a variety of products aimed at different target markets, for example they have kids and babies, menâ&#x20AC;&#x2122;s, womenâ&#x20AC;&#x2122;s and

Gillian Crouch / Q09902040 / FAD 184 accessories departments. This being said, Marks and Spencer are a mulitisegment company as they offer a home, food and wine department and M&S bank. By having departments other than clothing, Marks and Spencer can too increase their revenue, however if one department is not performing well they have other sectors to fall back on. This can be a costly strategy for a small business, but for a large brand like M&S or Mars it is a good way to ensure they continue to turn over a profit even when some aspects of the company might be under performing.

By this point the brand should know what their product is including the unique selling point, who their competitors are and whether they need a mass, single or multi segment marketing strategy. The Marketing strategy will be constantly re-evaluated throughout this period as new information is added. This includes the target market.

To identify the client a brand must look at several aspects such as demographics, socioeconomics, geographic location, personality, motives and lifestyle (Dibb & Simkin 2008, p.9). These can be examined in the form of a Pen Portrait. A Pen Portrait is a detailed evaluation of the client looking at these 7 aspects. Companies such as Sport England often choose to create a personal profile to imagine fully who their client might be. This goes further than just their age and gender as it may feature a name, their likes or dislikes, favourite social spots etc. By analysing the target market in detail the company aims to find out exactly who their client is, and how they can appeal to them. This research is often supported by a survey to

Gillian Crouch / Q09902040 / FAD 184 clarify whether the companies’ perception on their target market is correct. The results will need to be included throughout the marketing strategy to ensure that the proposed action is suitable.

2.4: Consumer Shopping Behaviour Identifying the client is one thing but understanding their shopping behaviour is another. This is especially important today, as the recession has had a massive impact on how consumers think and what they purchase. According to Mintel’s report on Consumer Attitudes Towards Luxury Brands (2011,) when it comes to shopping four in ten people are bargain hunters, which accounts for approximately 21.2 million adults.

When it comes to luxury goods, six in ten people buy them as a treat for themselves with women being the biggest offenders, however men under 35 are the most willing to pay full price for luxury goods. These statistics highlight the importance of identifying your target market correctly, e.g. if you are launching a luxury brand aimed at over 55 year olds it is essential to know that high quality and craftsmanship are of particularly high importance to men and that 61% of over 55’s have no interest in purchasing luxury brands at all Mintel (2011,).

The Budget Shopper Report – UK says “Austere Britain has spawned a new generation of savvy shoppers who plan their spending more carefully than before the recession” (Mintel 2011). With this in mind existing brands may have to adapt their products in terms of price or whom they are targeted

Gillian Crouch / Q09902040 / FAD 184 at, as they no longer be appropriate. New brands are potentially in the best position as they can target a specific group within society that they know their product could sell too, however launching a new brand and earning customer loyalty is not easy in this economic climate.

2.5: Publicity and Advertising Emerging brands can benefit from the use of clever publicity and advertising campaigns. Without funding it can be very expensive but with the enormity of social media not all advertising has to be costly. The main aim is to create excitement about the brand and to get people talking about it, whether it is a massive launch party or exclusive invite only affair. Guerilla marketing is a good way of creating interest as to the public it appears spontaneous. In the past brands have hired dancers, choirs etc for such PR stunts. This type of advertising is good because it can be of low cost with maximum impact as many people the event along with posting it on social media. Videos can go viral creating a global sensation overnight, yet not all guerilla marketing has to be an event. It could be a cleverly worked out piece of advertising for example a campaign Mini Cooper did a few years ago. They placed a large cardboard box on a rubbish pile at the side of the street with the Mini Cooper image printed on the side. The campaign was designed to remind people how small and practical the Mini Cooper is (Designer Daily 2011).

Guerilla marketing is not the only option when it comes to cost effective advertising. When used correctly, social media can be used both for social

Gillian Crouch / Q09902040 / FAD 184 and business purposes. Twitter, Facebook and Instagram have the potential to reach people all over the world. As a free resource, it would be a wasted opportunity if a brand did not to utilize it. “25% of smartphone owners ages 18-44 say they can't recall the last time their smartphone wasn't next to them” (Cooper 2013). 189 million Facebook users do so through their mobile phones; with this in mind a social media campaign could be highly effective as it has the potential to reach a large proportion of people quickly with little expense.

2.6: Other Factors for Consideration The five factors stated all intertwine so it is essential that these areas be clarified early on in a brands development. As well as the factors outlined there are other elements that need to be addressed, so it is important to remember that these are not the sole areas for consideration. Ethics and Macro forces are all areas that require attention when launching a brand. Ethically a brand has to think about where they source their products, where they are produced and who produces them.

Macro forces refer to environmental issues such as political, legal, regulatory, societal, technological and economic/competitive. They are described as the macro forces as “they effect all organisations operating in a particular market” (Dibb et al 2012, p.76). Laws, political movements and the economic climate can all create obstacles for a brand however it is down to the organisation as to whether they take a proactive or passive approach to these obstacles. If a company is proactive they will find a way

Gillian Crouch / Q09902040 / FAD 184 around the obstacle, or implement a different plan so that they can still achieve their goal. Alternatively, if a brand takes a passive approach they have chosen to accept the obstacle and may discontinue with their original objectives. It is the same situation with technological issues, either a brand chooses to endorse the technical advances available to them or not. By taking advantage of them they can keep up to date with what the client, and other businesses are doing, keeping them current in an ever-changing climate.

2.7: Rationale The five factors, along with other factors for consideration, provide a company with a lot of guidance as to what they need to address to establish their company efficiently within their chosen market. Despite being detailed, some areas may still need further investigating to ensure that the company establishes itself with the best chances for success. As previously discussed, competitor monitoring is beneficial as it gives a first hand insight as to how a brands competitors are doing, giving the company the chance to learn from their success and mistakes. For an upcoming brand it would be highly beneficial to look at not only their competitors, but also companies they admire within the same market. By looking at what made them successful, the smaller brand can hopefully implement some of their strategies to in turn gain success.

Calvin Klein is a prime example of a designer and brand that could be examined and learnt from. Klein started off taking jobs such as a copywriter

Gillian Crouch / Q09902040 / FAD 184 at Women’s Wear Daily, before he landed himself a contract with Bonwit’s. Klein secured the interview for the deal at Bonwit’s while using a room at The York Hotel as a showroom. This was a popular location for upcoming designers to rent a room as a mobile showcase, meaning many high fashion professionals would often come to see who was showing their work (Marsh 2003). A small designer and upcoming brand could really benefit from this information and insiders knowledge. Popular hangouts and showroom locations are of a vital interest to a small designer and could mean the difference between make or break for the brand. By examining other brands in detail an upcoming business could position themselves in a more favourable position within the industry.

The customer shopping behaviour could benefit from a more recent study to examine how shoppers are behaving now. This would provide a comparison to how they were shopping in 2011 when Mintel conducted their research. This information may also benefit from being first hand, direct from the customer. It would be interesting to see whether a specified demographic is behaving in the way they may have been identified.

Hearing from successful brands and the customers is insightful, but this study would also benefit from the views and comments of an upcoming designer. Hearing about what struggles they face along with and success they may have had would portray a more balanced picture of the fashion industry as a whole.

Gillian Crouch / Q09902040 / FAD 184 These three areas could be addressed through the use of customerâ&#x20AC;&#x2122;s surveys and interviews. Hearing directly from the customer or designer is important as facts cannot become blurred or altered through personal perception. These primary research techniques would also provide an insight into the minds of the customers and brands that may not have been previously explored, which is why it is vital for this study.

Gillian Crouch / Q09902040 / FAD 184

3: Methodology Research for this study has been designed using Saunders’ theory, The Research Onion (Academia 2013). Saunders’ theory is that research should be designed like an onion (See Figure 2), only when you have considered the step in front of you can the layer be peeled back to reveal the next stage for consideration. Saunders breaks the process down into 5 steps: research philosophy, methodical choice, strategy, time horizon and techniques/procedures.

Research philosophy is the first Layer. This stage is designed to make the researcher consider different methods, processes and outcomes for the project. The four philosophies listed by Saunders are: positivism, realism interpretivism and pragmatism.

This study will take on a pragmatist

approach to the research conducted, meaning it will “consider that no single viewpoint can ever give the entire picture and that there may be multiple realities” (Academia 2013). The research aims to investigate how a small fashion business can survive in the 21st century. To do this it must hear from industry professionals, successful brands, upcoming brands and even customers. By hearing from many sources the research will benefit, as it will gain a more rounded view of the industry as whole.

The second layer, methodical choice, refers to whether the research uses a quantitative or qualitative method, or a combination of the two.

The

quantitative method analyses research in a statistical manor such as graphs

Gillian Crouch / Q09902040 / FAD 184 and figures, whereas qualitative is analysed from a more narrative approach e.g. an in depth interview with drawn conclusions (Academia 2013). This study will use a combination of quantitative and qualitative (known as a mixed method), as it is most suited to the subject. A customer survey will be carried out to examine shopping behaviour of a target market (women aged 25-40). The results will be formulated in to graphs and charts so will primarily take on a quantitative approach, however some answers may be derived from personal comments so may require a qualitative analyses.

In depth interviews with industry professionals will be conducted along with an interview with Liz Black, an upcoming luxury fashion designer. The interviews will provide a comparison from different levels within the fashion industry; along with shedding light as to any issues they may have faced in their careers with potential coping strategies to overcome them. As these interviews will be personal accounts no facts and figures will be necessary, so the research will take on a qualitative format.

Secondary sources will also take on a mixture of methods, as some texts will incorporate facts and figures, whereas others will recall personal opinions and experiences.

More than one research strategy will be used to successfully tackle the question. As already stated, the most appropriate sources of research take the form of a survey and a series of interviews to thoroughly understand different points of view within the fashion industry. To ensure the validity

Gillian Crouch / Q09902040 / FAD 184 of the survey, a minimum of 50 responses will be collected, preferably more if possible. Designers too will be asked to sign a disclaimer acknowledging that all the information given in the interview is correct to the best of their knowledge. Secondary research from marketing experts and biographies of fashion professionals will also be used, along with reports from the British Fashion Council to provide theory and context to the research.

The time horizon for this study is cross-sectional. This means the research was collected in a â&#x20AC;&#x2DC;snapshotâ&#x20AC;&#x2122; or short timeframe as apposed to a longer period of time. The research will be carried out approximately over three months allowing time for interviews and survey responses. This is primarily due to the time constraint on this study however it is also most appropriate considering the format of the research. If it were a longitudinal study it would be better suited to an experiment or grounded research (Academia 2013).

Due to location and cost constraints, the interviews will take place online and will be conducted via email. This may work in favour of some designers as they are busy preparing for their upcoming Autumn/Winter 2014 collections and so are very busy.

Gillian Crouch / Q09902040 / FAD 184

4: Results

4.1: Designer Interviews Interviews were sent to a number of designers such as Henry Holland, Vivienne Westwood and Calvin Klein. Unfortunately due to the time frame to complete the interview none were able to offer any assistance. This being said, Westwoodâ&#x20AC;&#x2122;s assistant did reply suggesting two websites (See Appendix A), which may offer some help answering the questions set out in the rationale. The House of Klein (Marsh 2003) also offers some insight into the initial workings and development of the Calvin Klein Brand.

The websites that were suggested for information on Westwood were very descriptive in terms of the brands heritage to rebellion and how it started at 430 Kings Road (Vivienne Westwood 2014), however what the sites lack is an insight as to how she marketed the brand, and any models or structures that may have been used to establish the company. What they also lack is any information on any errors in judgment. Westwoodâ&#x20AC;&#x2122;s website explains how she was arrested under the obscenity laws for t-shirts and clothing that was being produced in the seventies, but it does not give detail as to the nature of the obscene clothing (Vivienne Westwood 2014).

Westwood started by making clothing for her partner McLaren before opening a store together. The store was reinvented and renamed many times before settling on the name it still has to this day; Worlds End.

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As an activist Vivienne is always trying to be outspoken and cause a reaction with her clothing. She has produced many collections that have done just this, bringing with them tremendous amounts of publicity. The Pirate collection of 1981 was Westwood’s first catwalk show. It had a romantic look that made the collection memorable even to this day (Vivienne Westwood 2014).

As mentioned The House of Klein (Marsh 2003) offers a detailed insight as to the process Calvin Klein the brand went through to become the success it is today. Chapter 1 touched upon how the book has useful facts that a small business could benefit from knowing, such as The York Hotel in New York is commonly used by upcoming designers (even to this day) as a mobile showroom and is a good place to meet contacts (Marsh 2003, p.25-27). The book is full of useful hints along with some personal success moments that help depict the brands current success.

One of Klein’s personal success moments was securing Gabriella Forte, at the time executive at Giorgio Armani, as the executive of Calvin Klein in 1994 (Marsh 2013, p.114). Forte was hired to help take the brand to the next level internationally along with expansion into other departments and products. Forte was nicknamed the “terrible terrier” (Marsh 2013, p.115) and

known

for

being

extremely

hardworking

and

respected

businesswoman.

Gillian Crouch / Q09902040 / FAD 184

Klein’s most successful advertising campaign was shot by Bruce Webber, 1983 (Calvin Klein 2012). The images featured pole-vaulter Tom Hintnaus in nothing but the famous Calvin Klein briefs, and was displayed all over New York. Traffic in Times Square came to a standstill due to the images. These images changed the way that brands advertised underwear and have since inspired brands such as Abercrombie and Fitch, Hollister and Emporio Armani.

Unfortunately not all of Klein’s campaigns have been successful. One campaign for children’s underwear barely made it onto the billboards as the number of complaints it received was phenomenal (Marsh 2013, p.146148). It featured children in their underwear jumping on sofas and playing which people felt was too sexualised. The brand received a lot of complaints and withdrew the campaign, however the outcome was still there, as they say ‘all publicity is good publicity’.

This book too does not go into detail about any marketing plans or structures that may have been used; or how they identified their competitors and target market. For Klein it seems he started small, working hard and just trying to make connections wherever he could. It was his hard work and determination that has made him a success today. He has had to learn the hard way about publicity mistakes but has paved the way for brands today in terms of the progress he has made within the fashion

Gillian Crouch / Q09902040 / FAD 184 industry. Small brands can learn from hit grit and determination. He too, like Westwood, was not afraid to push the boundaries. 4.2: Liz Black Interview Liz Black is an upcoming luxury women’s-wear brand named after the designer. The brand was founded in 2010 and is aimed at women aged 25-40 with an interest in fashion (See Appendix B, Q.1).

Black states that the brand opts for quality over price with the brand aiming for a “timeless, elegant look” (See Appendix B, Q.2). As a luxury brand, Black has identified her competitors as Alexander Wang, David Koma and Christopher Kane, however when asked what method the company used to identify such brands she could identify no fixed models. Liz Black identified it’s competitors by discussing who had a similar style and price points on the market but did not use any formal marketing structures (See Appendix B, Q.4-5).

Black commented that she looks up to Vivienne Westwood as a designer because she is “utterly fearless” (See Appendix B, Q.9). This is a good trait to take on board as in the fashion industry you have to be prepared to take risks to achieve your goals. When asked what she could learn from Westwood she said it was important to stick to your beliefs. Black also mentioned that Westwood’s catwalk shows often take on a theme or a hidden message, which is something; she could embrace herself (See Appendix B, Q.10).

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Liz Black is on sale in “the UK, China, Hong Kong, Canada and Saudi Arabia” however these stores are not the sole occupancy of Liz Black designs as they are boutiques. Liz Black designs are not currently available online (See Appendix B, Q.7) but Black did confirm that she would like to move the brand into America as it has the “biggest demand for new and innovative designs”, so this could potentially be expanded in the future.

Liz Black had been featured in many high fashion magazines such as Elle, Vogue, Dash and spindle magazine; however there are many more the brand would like to be featured in. The current publicity is often segments on the brand, however the brand would benefit more from a full feature or editorial spread.

The Alice in Wonderland inspired collection for Autumn/Winter 2013 has gained the most press so far (See Appendix B, Q.13); except for one dress in particular that Lady Gaga was pictured wearing. The dress was part of Black’s Graduate collection from Central St. Martins. Other Celebrities such as model Amber Le Bon and Eve have also been pictured wearing Black’s designs (See Appendix B, Q.14). Using celebrities to advertise a brand is called celebrity endorsement, however as Black describes it is not always a smooth process.

Former Pussycat Doll Kimberly Wyatt also wore some of Black’s designs, however never mentioned in any publicity who the designer was. All images

Gillian Crouch / Q09902040 / FAD 184 that followed, even ones she tweeted herself, were unidentified and so were useless to the brand. Black reposted many of the images herself on Twitter and Facebook but without this there would be no link between the brand and Wyatt at all. This does not seem to have deterred Black though as she commented, “generally the press is positive” and so is worth doing (See Appendix B, Q.15).

Celebrity endorsement, when it goes well, is a good way of promoting a brand or a collection for free or a very minimal cost; which for a small brand is very appealing. Liz Black keeps costs down by hiring many interns to work as part of her team, along with utilising advertising from bloggers and social media. Black said that hiring interns “allows them to develop their talents whilst helping me keep costs down” (See Appendix B, Q.16).

Black has learnt the hard way that it is expensive starting a label acknowledging that she could have saved money by not having a separate studio in the first two years of the label (See Appendix B, Q.18). Despite this the brand is gaining much needed publicity and could have some great opportunities in the upcoming months such as collaboration with high-street store, River Island (See Appendix B, Q.17). Black’s advice for any upcoming designers who intend to launch their own brand are “don’t be disillusioned, work hard and don’t give up”, and of course financial backing would also help! (See Appendix B, Q.20).

Gillian Crouch / Q09902040 / FAD 184 4.3: Customer Survey The survey was designed to target women aged 25-40 to examine how their shopping behaviour may have changed, as well as testing how effectively Liz Black has identified her target market and whether this needs readdressing.

The survey shows that 82% of respondents believe that their shopping behaviour has changed, with the majority claiming this is because of a change in disposable income or generally having less money (See Appendix C, Q.9). Some respondents said that their shopping behaviour has changed as they now buy more expensive items than before. They put this down to “becoming less impulsive” (See Appendix C, Q.9) and having higher salaries due to graduating from university. These response were however in the minority.

This change in behaviour was supported by nearly half of the respondents claiming to prefer shopping online compared to visiting a store. Only 56% preferred to shop in store saying they prefer to try clothes on before they buy them, yet 44% would shop online for the convenience and because it allows them to “compare prices” (See Appendix C, Q.6).

The recession has caused everyone to tighten their wallets; this is reflected again in the survey where 92% of respondent’s occasionally/never purchase luxury brands. Only 2% of the surveyed respondents frequently bought luxury brands on a regular basis (See Appendix C, Q.7). This is a troubling figure for upcoming luxury brands and already established brands alike.

Gillian Crouch / Q09902040 / FAD 184 When asked what were their top five favourite brands or designers were they answered: Topshop, New Look, Warehouse, Hollister and All Saints (See Appendix C, Q.8). Other popular answers included Zara, French Connection, Ted Baker and Marks and Spencer. As you can see the majority of these brands are high-street brands as apposed to high-end designers. They are still at the top end of high-street prices with 66% of respondents still saying they would choose quality over price (See Appendix C, Q.4), however they do not follow Liz Blackâ&#x20AC;&#x2122;s target market of women buying luxury brands.

The recession has affected more than just the way we shop; it has affected the way we socialise too. People have less spare money so more and more people are choosing to stay in rather than go out. 74% of they people who took part in the survey said that they socialise at home, whereas only 26% socialise at parties. The results did show that 48% of people still choose to go to bars and clubs while another 36% choose to socialise at the pub (See Appendix C, Q.3).

The results as a whole show that people are being more cautious with their money. Luxury brands have to ensure that they are aware of the changes in consumer shopping behaviour and make any necessary amendments to their marketing plans if they are to make it through this period.

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5: Discussion 5.1: Liz Black Interview and Customer Survey By analysing and comparing the results given from the Customer Shopping Behaviour survey and the interview with Liz Black this text can gain a more accurate picture to how the brand relates to their customer and how effective the selection of Black’s target market might be.

During the interview (See Appendix B, Q.2), Black expresses that the brand is more concerned about quality than price. This is supported by the views of the customer as 66% agree that they too would choose quality as it “lasts longer” (See Appendix C, Q.4). This shows that Black understands that her market prefer quality clothing which is why she had chosen to market the brand as a high fashion, luxury brand.

Despite choosing quality over price, it still appears that Liz Black’s target market are being careful with their money, with 34% saying they only go shopping 2-3 times a month (See Appendix C, Q.5). A further 92% of respondents said they occasionally, or even never, buy luxury brands (See Appendix C, Q.7). Only 2% bought luxury brands on a regular basis. Liz Black needs to be aware of this as it means the proportion of women aged 25-40 actually buying luxury brands is very small meaning the brand has to strongly appeal to the other 8%.

Gillian Crouch / Q09902040 / FAD 184 Liz Black also describes her customer as being strong and independent while looking elegant and feminine (See Appendix B, Q.1). Her customer would have a keen interest in fashion meaning they attend events, formal functions and parties on a regular basis. The survey results showed that this was not necessarily the case. Indeed 26% socialised at parties although a further 74% said they socialised at home. This is a staggering figure meaning that the functionality of Liz Blackâ&#x20AC;&#x2122;s clothing either needs readdressing, or the brand accepts that it appeals to the minority. If the garments are not wearable for the customer and their environment then they will not sell.

Black does mention that there will be an upcoming collaboration with River Island (See Appendix B, Q.17). While this is not strictly her target market, the mass exposure and publicity will boost the brandâ&#x20AC;&#x2122;s image. It may also inspire customers to the wearability of the brand.

Liz Black has identified competitors such as Alexander Wang, David Koma and Christopher Kane (See Appendix B, Q.4). As outlined in chapter 4, this information is not built on any formal marketing structures or techniques but is merely the opinion of Black and her team. These may be direct competitors in terms of style and pricing, but the survey shows that there may be other brands that Liz Black is competing with. The top five brands outlined in the survey results are: Topshop, New Look, Warehouse, Hollister and All Saints (See Appendix C, Q.8). These brands may not be similar in terms of style, yet they are brands that the target market has identified as their favourite. Liz Black could benefit from looking at these brands in more

Gillian Crouch / Q09902040 / FAD 184 detail to see if it is just the cost that is appealing to customers or whether there is something else that is attracting them. This information could then be implemented within the Liz Black brand to boost their appeal to customers.

Furthermore, the interview states that Liz Black is currently on sale in the UK, China, Hong Kong, Canada and Saudi Arabia (See Appendix B, Q.7). Liz Black is not currently available online in the UK. This is a missed opportunity by Black as nearly half of the respondents surveyed stated that they prefer to shop online (See Appendix C, Q.6). The appeal for a luxury brand not to sell online is the exclusivity. Black must decide what is more important, exclusivity for the brand or availability and the potential to turn a profit. If she decides exclusivity is more important it is best for her not to sell online as this makes the brand more commercial, however if she decides availability is more crucial it would be a good way to reach a larger proportion of the brandâ&#x20AC;&#x2122;s target market.

5.2: Primary and Secondary Research The primary research showed some similarities and some differences to the research found in the literature review. The secondary literature (chapter 2) talks about the importance of identifying the target market and competitors correctly. As no interviews were available from an established brand it is not possible to comment on how they accomplished this, however what can be said is that as successful brands that have both been around for several decades whatever methods (if any) were used they must have

Gillian Crouch / Q09902040 / FAD 184 worked. Liz Black provided an interview to represent an upcoming brand, however gave no evidence of using any marketing methods when identifying her target market or competitors. This is not to say that this is wrong; however as shown through the customer survey her target market and competitors may need readdressing (See Appendix C).

Mintel’s Consumer Attitudes towards Luxury Brands report (2011) shows that men under the age of 35 are most likely to pay full price for a luxury item. Women are more likely to buy a luxury product as a treat for themselves (Mintel 2011), but this does not mean it is necessarily a full price product.

The report states, “17.6 million over-16s have no interest in buying premium brands” (Mintel 2011). The survey supports this statement as only 8% of respondents regularly buy luxury brands (See Appendix C, Q.7) while 92% occasionally or never purchase luxury goods at all. What this shows is that luxury goods as a whole do not appeal to the mass market. It is not to say that consumers will not purchase them, however they may be looking for a ‘bargain’, with less customers prepared to pay full price for designer products. Companies must be aware of these statistics when selecting their target market as this could significantly alter their chances of success.

Chapter 2 also highlights the importance of publicity and advertising, and how an upcoming brand (unless they have they benefit of financial backing) should utilise social media and other free publicity techniques. Black gave

Gillian Crouch / Q09902040 / FAD 184 some good examples of ways the Liz Black brand achieves this, such as blogging, social media and celebrity endorsement (See Appendix B). As established with celebrity endorsement, free publicity might not always be a smooth process but on the whole the reward is worth it. Even publicity that is commission based does not come without its share of risks or hassle. Take Klein, who is noted for using many large advertising campaigns, but even for Klein it was not always an easy process. One campaign had to be withdrawn due to complaints (Marsh 2013, p.146-148). This shows that all companies face good and bad experiences with publicity; what is important is remaining positive and protecting the image of the brand.

Additionally, Westwood showed that being individual and unique pays off too, but it may sometimes get you into trouble (Vivienne Westwood 2014). Westwood is successful today as she stood out from the rest of the brands on the market. Her first catwalk collection entitled Pirates was so successful not just because it was her first and so drew more publicity, but because it was different. This is something designers should always remember. It is the differences between brands and collections that make them special, so a designer should not be afraid to take risks. Liz Black commented that she looks up to Westwood because she is â&#x20AC;&#x153;utterly fearlessâ&#x20AC;?, (See Appendix B, Q.9).

The primary research reiterates how closely linked the five factors are, so a good understanding and thorough analyses of them all is needed when establishing a brand. If a brand overlooks or fails to identify one of these

Gillian Crouch / Q09902040 / FAD 184 factors correctly it could misinform a brands direction.

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6: Conclusion The text had three main aims: to analyse five key factors that a small fashion business needs to focus on to survive in the 21st Century, to discuss what a small fashion business can learn from successful fashion brands and to provide recommendations for a small fashion business. The study achieved all three aims, however some areas were more detailed than others.

The text concludes that the five factors that have been discussed throughout cannot be treated individually; they are five elements that are all closely linked and affect each conclusion made about the brand. There are other factors that also have to be addressed when starting a brand however these five provide a solid basis to a brands identity and direction; which is essential if the brand is to be successful. Other factors should be incorporated once these initial areas have been clarified. Creating a good marketing plan will cover all of these factors and more. It is essential that the brand have direction and an achievable process in which to reach itâ&#x20AC;&#x2122;s goals.

In addition, small fashion brands can learn a lot from successful fashion brands. The main points a brand could learn are: To thoroughly research local social spots and work places of industry professionals, to be adaptable, to take risks, and to appoint good staff. Researching social spots will help smaller brands get in touch with industry professionals on a personal level.

Gillian Crouch / Q09902040 / FAD 184 Appointing good staff is essential as it is the designerâ&#x20AC;&#x2122;s job to design, having marketing directors and publicity staff to look after and promote the image of the brand frees up the designer while driving the brand forward. Lastly, Klein and Westwood showed that not all press is good publicity, but as long as you counter act any bad press then make the most of it, as the overall outcome is still that people are talking about the brand.

As an upcoming brand and designer, Liz Black also offered some useful advice to any designers entering the early stages of creating a label. Blackâ&#x20AC;&#x2122;s advice is to save money where you can by utilising and opportunities for free publicity as you can, for example social networking and bloggers. This could also apply to brands sourcing materials. Buying in bulk is often costly but works out cheaper overall. Just be sure not to over stock on resources you donâ&#x20AC;&#x2122;t need.

The rationale set out in chapter 2 had several main aims including: to create an up to date study of consumer shopping behaviour and test whether small brands are identifying their target market and competitors correctly, to establish whether brands fully understand consumer shopping behaviour and to assess whether consumer shopping behaviour has been affected by the recession.

As a whole the rationale was achieved. An up to date study of consumer shopping behaviour took place, which showed that Liz Black (representing small brands) might not have correctly identified her target market and

Gillian Crouch / Q09902040 / FAD 184 competitors. It also showed that Black may not have a solid grasp on the current state of shopping behaviour in her target market and so should take some time to research it more. The Survey also proved that shopping behaviour has been affected by the recession as respondents found themselves with less disposable income making them spend less on recreational and fashion purchases.

The final part of the rationale was not concluded. The rationale set out to hear first hand from successful brands as to how they established there brands, marketing strategies etc. No interviews were available at the time of writing this study so unfortunately this is incomplete. Texts such as autobiographies and brand websites provided answers for some questions however not all.

The rationale aimed to achieve a more rounded view of the fashion industry. Despite no first hand contributions from successful brands this has still been possible. The text examined the fashion industry from the perspective of a consumer, a small brand, larger brands (through secondary sources) and industry professionals through the use of reports and literature. For these reasons the study has been a success, yet the addition of successful brands research would provide evidence for further study.

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7: Recommendations The main recommendation for further investigation would be securing interviews with successful brands or designers. Without being able to ask questions regarding marketing structures it is very hard to determine how they established their target market and competitors.

This study could also benefit from hearing from other upcoming designers to see how they cope with the struggles of launching a brand. Liz black provides some excellent insight however a second opinion would be beneficial.

Finally the research could benefit from a more extensive Customer Shopping Behaviour survey. This would mean collecting more responses and asking more detailed questions; e.g. examining which magazines the focus group reads would be beneficial as it would provide businesses with a more realistic range of publications where they could advertise the brand. The survey could also look more in depth at the location of its customers e.g. if they are predominantly in Manchester it would provide useful information as to where the brand could be sold or even where a store could one day be opened.

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8: Reference List •

Academia, 2013. The Layers of Research Design: by Mark Saunders and Paul Tosey [Online] [Viewed: 1st December 2013]. Available: http://www.academia.edu/4107831/The_Layers_of_Research_Design

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Academia, 2013. The Layers of Research Design: by Mark Saunders and Paul Tosey [Digital Image] [Viewed: 21st December 2013]. Available: http://www.academia.edu/4107831/The_Layers_of_Research_Design

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ANON, 2011. Budget Shopper – UK [Online], [Viewed: 10th October 2013]. Available from: Mintel

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ANON, 2011. Consumer Attitudes Towards Luxury Brands - UK [Online] [Viewed: 10th October 2013]. Available from: Mintel

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ANON, 2012. Ansoff Matrix [Digital Image] [Viewed 21st January 2014]. Available: http://mugglelyyours.blogspot.co.uk/2012/01/ansoffmatrix.html

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Business Dictionary, 2013. Ansoff Matrix [Online] [Viewed 21st January 2014]. Available: http://www.businessdictionary.com/definition/Ansoffmatrix.html

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Calvin Klein, 2012. #Bruce Webber [Online] [Viewed: 17th December 2013]. Available: http://calvinklein.tumblr.com/tagged/bruceweber#index

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Cooper, B., 2013. 10 Surprising Social Media Statistics That Might Make You Rethink Your Social Strategy [Online] [Viewed: 11th November 2013]. Available: http://www.huffingtonpost.com/belle-beth-cooper/10surprising-social-medi_b_4325088.html

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Dissertation Wiki, 2013. Saunders’ Research Onion and Research Methodology [Online] [Viewed: 21st January 2014]. Available: http://dissertationwiki.com/index.php?title=SAUNDERS’_RESEARCH_ONI ON_AND_RESEARCH_METHODOLOGY

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Designer Daily, 2011. 20 Creative Guerrilla Marketing Campaigns [Online] [Viewed: 12th November 2013]. Available from: http://www.designer-daily.com/cool-and-creative-guerilla-marketingcampaigns-13471

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Dibb, S. and L. Simkin, 2008. Market Segmentation Success: Making it Happen. New York: Haworth

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Dibb, S. et al., 2012. Marketing Concepts & Strategies. 6th Edition. Andover: Cengage Learning

Gillian Crouch / Q09902040 / FAD 184 â&#x20AC;˘

Hartley, R.F., 2004. Marketing Mistakes and Successes. 9th Edition. Hoboken, NJ: Wiley

â&#x20AC;˘ Marsh, L., 2003. The House of Klein: Fashion, Controversy, and a Business Obsession. Hoboken, NJ: Wiley

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9: Bibliography •

Academia, 2013. The Layers of Research Design: by Mark Saunders and Paul Tosey [Online] [Viewed: 1st December 2013]. Available: http://www.academia.edu/4107831/The_Layers_of_Research_Design

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Academia, 2013. The Layers of Research Design: by Mark Saunders and Paul Tosey [Digital Image] [Viewed: 21st December 2013]. Available: http://www.academia.edu/4107831/The_Layers_of_Research_Design

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ANON, 2011. Budget Shopper – UK [Online], [Viewed: 10th October 2013]. Available from: Mintel

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ANON, 2011. Consumer Attitudes Towards Luxury Brands - UK [Online] [Viewed: 10th October 2013]. Available from: Mintel

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ANON, 2012. Ansoff Matrix [Digital Image] [Viewed 21st January 2014]. Available: http://mugglelyyours.blogspot.co.uk/2012/01/ansoffmatrix.html

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British Fashion Council, 2010. Value of Fashion Report [Online] [Viewed: 10th October 2013]. Available from: http://www.britishfashioncouncil.com/content/1745/Value-of-Fashion.

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British Fashion Council, 2010. Future of Fashion: Strategic Considerations for Growth [Online] [Viewed: 10th October 2013]. Available from: http://www.britishfashioncouncil.com/content/1890/Future-ofFashion.

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British Fashion Council, 2013. Annual Review: 2012-2013 [Online] [Viewed: 10th October 2013]. Available from: http://www.britishfashioncouncil.com/content/1962/Annual-Report2013

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Business Dictionary, 2013. Ansoff Matrix [Online] [Viewed 21st January 2014]. Available: http://www.businessdictionary.com/definition/Ansoffmatrix.html

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Bussey, C., 2011. Brilliant PR: Create a PR sensation, whatever your budget, whatever your business. Harlow: Prentice Hall

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Calvin Klein, 2012. #Bruce Webber [Online] [Viewed: 17th December 2013]. Available: http://calvinklein.tumblr.com/tagged/bruceweber#index

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Cooper, B., 2013. 10 Surprising Social Media Statistics That Might Make You Rethink Your Social Strategy [Online] [Viewed: 11th November 2013].

Gillian Crouch / Q09902040 / FAD 184 Available: http://www.huffingtonpost.com/belle-beth-cooper/10surprising-social-medi_b_4325088.html •

Chaston, I., 2009. Boomer Marketing: Selling to a recession resistant market. London: Routledge

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Designer Daily, 2011. 20 Creative Guerilla Marketing Campaigns [Online] [Viewed: 12th November 2013]. Available from: http://www.designerdaily.com/cool-and-creative-guerilla-marketing-campaigns-13471

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Dibb, S. and L. Simkin, 2008. Market Segmentation Success: Making it Happen. New York: Haworth

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Dibb, S. et al., 2012. Marketing Concepts & Strategies. 6th Edition. Andover: Cengage Learning

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Hartley, R.F., 2004. Marketing Mistakes and Successes. 9th Edition. Hoboken, NJ: Wiley

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Jackson, T. and D. Shaw, 2009. Mastering Fashion Marketing. Palgrave master series. Basingstoke: Palgrave Macmillan

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Marsh, L., 2003. The House of Klein: Fashion, Controversy, and a Business Obsession. Hoboken, NJ: Wiley

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Sherman, G. J. and S. Perlman, 2010. Fashion Public Relations. New York: Fairchild

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10: Appendices 10.1: Appendix A – Correspondents with Vivienne Westwood’s P

Gillian Crouch / Q09902040 / FAD 184 10.2: Appendix B - Interview with Liz Black Name of Brand:…Liz Black………………………………………………………… Name of Designer:…Liz Black……………………………………………………. Founded:…2010…………………………………………………………………..

Who is your target market/client? Please be as detailed as possible.

I design clothes for strong, independent women with an eye for detail. My designs appeal to cosmopolitan women who have a strong interest in fashion and in making a fashion statement, and who know what they want. She wants to look elegant and feminine, but also to stand out from the crowd. Typically my client would be women aged 25-40. 2.

What is more important to your brand, quality or price?

Definitely quality - we aim for a timeless, elegant look, and to achieve this quality is vital. 3.

What does the term ‘Success’ mean to you?

Success is seeing someone whose fashion credentials you respect wearing something you designed to a public event such as a film festival or premiere, or to a fashion event. Success is having a fashion spread in a magazine such as Vogue Success is having your designs appear on the catwalk at major fashion shows. 4.

Who are your main competitors?

Alexander Wang, David Koma and Christopher Kane 5.

How did you identify your competitors? Did you use any marketing models to do this? Please be specific.

We identified our competitors by discussing who is creating garments of a similar quality and price for our target market. No marketing model were used as such. 6.

How do you differentiate your brand from the competition?

By the use of specific materials and classic structured pieces, which form the basis of the collection. 7.

Where do you currently sell your collection?

Liz Black designs are currently on sale in the UK, China, Hong Kong, Canada and Saudi Arabia.

Gillian Crouch / Q09902040 / FAD 184 8.

Where do you aspire to sell your brand and how do you aim to achieve this?

The main market I haven’t yet broke into has to be America. This is where the biggest demand for new and innovative designs is to be found, and so that has to be my target. To achieve it I need to raise my profile and create a demand for the sort of quality items I feature in my collection. My designs have been worn to the Grammy awards in LA, and to a film premiere in NY, so I need to build on this exposure to widen my clientele base and get the designs out there where the media can see them. 9.

What designers do you look up to in terms of inspiration, success, and business knowledge? Please state why.

I love Vivienne Westwood, she’s utterly fearless and her designs are so empowering. I think the most important thing is to stay true to your beliefs and to the brand and the rest will follow. 10.

What could you learn from their success or mistakes in order to make your own brand more successful?

I think the most important thing is to stay true to your beliefs and to the brand and the rest will follow. She uses publicity to her advantage, often conveying a message in her catwalk shows. 11.

What publications has your brand been featured in?

My designs have appeared in many major fashion publications such as Elle, Dash, Phoenix, Idol, Spindle, Absolutely L’Autre, Papercut, Pride, etc. I was recently named as a Vogue talent. 12.

Are there other Publications where you would like your brand to be featured? Please give examples and state why.

I would love to see the brand featured in publications over seas, for Numero and American Vogue. This would help move the brand internationally. For the UK I would just like to see a more frequent use of our garments in the publications above. This will keep the brand in the public eye, making the name more recognisable. 13.

What has been your most successful marketing campaign or publicity to date, looking at exposure, coverage and future possibilities? Please state why.

The publicity received for the 2013 Autumn/Winter collection based on Alice in Wonderland. 14.

Have you ever used celebrity endorsement? If ‘Yes’ please give examples. If answered ‘No’ please skip to Question 14.

Lady Gaga has worn my designs, as has model Amber Le Bon, TV presenter Izzy Lawrence and singers Sophie Blackburn and Eve. Most recent publicity was from

Gillian Crouch / Q09902040 / FAD 184 former Pussycat Doll Kimberly Wyatt, who wore a few garments from different collections. 15.

Was this a good experience for you in terms of exposure, recognition and press?

Lady gaga is such an icon of fashion that anything she wears gets maximum exposure and publicity worldwide. Some of the others increased my exposure in America and the UK, and generally the press was positive. Unfortunately our experience with Kimberley Wyatt was not so positive. We were told she would be wearing the items to high press events however it ended up being to small galas and events, with little or no publicity. She was photographed in a few outfits, which she later tweeted about, however there was no mention of the brand or the designer, so unfortunately this press goes unnoticed. 16.

Living in an economy where everything is expensive, how do you keep costs down?

I support the concept of providing opportunities for internships, to help aspiring fashion designers, PR staff, etc. to get experience of working for a fashion house in London. This allows them to develop their talents whilst helping me keep costs down. I also make use of the Internet using blogs and social media such as Facebook and Twitter to raise my profile and develop a fan base for my designs. 17.

What are the pinnacle moments in your brands existence? Please state why.

Having a show at London Fashion Week. For a London based designer this is the ultimate in getting your name and ideas out there for people to see. We are also working on an upcoming collection for River Island, a budget line version of the brand. This will provide us with a huge amount of press and exposure. 18.

Looking at where your brand is now in relation to where you started, is there anything you would change or have done differently? Please state why.

Not really. I only launched the fashion house 3 years ago, so I am still building the brand and creating a name. In terms of finances I could have researched a few things better. I was na誰ve about the cost of owning and running a studio in the first two years. In Hein sight it would have been better to work on a smaller scale during the early stages of the brand, and move to a separate studio and showroom when the brand was more financially stable. 19.

Where do you see your brand in 5 years time? Please state how you intend to get there.

New York Fashion Week. I would also like to see the brand being sold in more stores, potentially even have my own store in London.

Gillian Crouch / Q09902040 / FAD 184 20.

From your experience so far, what advice would you give to a new designer entering the industry?

Don’t be disillusioned in the early days. It takes many years and lots of money to build a fashion brand (or a huge dose of good fortune). You need good financial backing to ensure that you can still eat! Work hard and don’t give up.

Disclaimer: - I confirm that the information given is correct to my knowledge - I understand that answers provided may be quoted or used to inform research within the dissertation ‘How can a small fashion business survive in the 21st century?’ Signed:

Name: Liz Black

Date: 23 / 10 / 2013

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