Melissa Jones by Hannah Corrine Hussain

Acknowledgement I would like to express my sincere gratitude to all those who helped me during my postgraduate study. Dr. Christine Hardy: Helping to achieved and understand relevant research methods during scale up sessions Yvonne Trew: Course leader For her guidance through the entire MA in terms of struture and useful instruction on the creative arts. Sue Pike & Sally Fenn: Technical support on the Adobe Suit Claire Percival & John Crump: Subject administrators, for their understanding in terms of extensions and finance support Liz Bolt Supervisor. For her professional guidance, suggestion and great patience during this academic year, guiding and directing my through study, injecting passion and enjoyment into the chosen subject and additionally influencing career direction in a positive way. For her kind encouragement and useful instructions on research material and advice on sample range creation.

Implementation

Empowering a new phase of womenâ&#x20AC;&#x2122;s tailoring dedicated to the modern women.

Contents Page 1.Introduction Executive Summary

6-8

2.All about Tailoring History and Revival Saville Row

11-20 17 18-20

3. Methodology

22-26

4.The Working Women Power Dressing The Psychology of Dress Consumer Profiles

27-48 30 36 42-48

5.The Market

50-60

6.Building a Brand Branding Strategies SWOT Visual Identity

61-99 66 76 80-99

7.Marketing Mix 100-150 Product/ Promotion/ Price/ Place 8, Conclusion

157-158

9. List of References, Figures and Bibliography 10. Appendix

171

159

Introduction

The purpose of this report is to evaluate the key research aims and objectives stated in the literature review with additional primary and secondary findings to form a viable business in the tailoring market. The main aim is to understand the fundamentals of suit tailoring, the suiting needs of the working women and to establish pitfalls within the market to create a niche and new approach to womenâ&#x20AC;&#x2122;s tailoring. From all the research gathered, a viable business has been created, and this marketing report is the foundation.

The business idea The business is a bespoke tailoring womenâ&#x20AC;&#x2122;s suit service. The client would be visited from home to be precisely measured by a professional tailor in order to create her customer made suit, choosing from a range of fabrics, colours, shapes and additional details with advice from a stylist. .

The philosophy of the brand is great service with suits that fit 7

Executive summary A long-term analysis of UK employment shows the continued path towards white collar working, with manufacturing and construction losing out to office-based industries such as finance and administration for men and women (Mintel 2009). In one aspect, this trend has taken its toll on specialist work wear such as uniforms and bespoke suits due to the advantage of casual clothing styles and ready to wear, fast fashion work attire. However for an older generation and for women’s in less creative industries such as legal, banking and administration, suits remain a key player in showing professionalism and authority. More importantly, it has been discovered that fit is a main problem a mature customer has with buying suits on the high street, with a higher concern towards shape and style. This is why this demographic of 30+ tend to demonstrate a loyal behaviour, returning to the same stores every time they shop for work attire; and this is due to a number of issues such as confidence, feeling comfortable, reliance, trust and expectation. ‘Fashion stores Marks & Spencer and Next are the most popular shops for buying office wear among UK consumers’ (Mintel 2009 ‘office wear’: online). Women tend to utilise work wear as a pathway in which they can ‘role play’ in a tough and challenging working world, with one in ten workers buying smarter work clothes annually in order to get ahead at work. This underlines the renewed emphasis of dressing for the job you want (or the job you want to keep), and in terms of the dissertation, spurs an array of conversations relating to the psychology of dress which is yet to be explored. The growing role of women in the workplace has fuelled the fashion element of office clothing and economic uncertainty has recently fuelled sales of formal wear with a growing tendency for brand to try and bridge the gap between smart and casual in the office. Smarter clothes in general have increased in sales due to the recession, high amount of unemployment and the new economy, as both working consumers and the unemployed buy smart clothing to give a more professional images and help them secure employment of avoid redundancy (Mintel 2009).

To critically analyse, although the office clothing market has made gains on the back of the recession, clothing spend emerges and one of the most vulnerable areas in terms of discretionary spend, being an area consumers will cut back on. Nonetheless, even on the face of tightening budgets people maintain a business like appearance and hold it with great value (Mintel 2009). This demonstrates and area for penetration and modernisation and looking forward, a continued line of stylish yet professional clothing that is both affordable as well as high quality is expected to drive value sales for the clothing industry. This report is custom-made to demonstrate why shopping for suits is an unenjoyable past time for many working women, and to identify any weaknesses within the market to reveal the opportunities yet to be exploited. The service purposed will aim to transform the wardrobes of working women into edible mirrors that reflect one’s personal lifestyle and gives room for self-expression. It will be a door-to-door service that allows women to choose from a range of basic suit designs, to then be modified around her needs. For example, specific fabrics, shapes and colours may be more suitable for an active female working within a creative industry, with plainer more sturdy suits for a politically involved female. Overall, the brand in context will strive for high quality bespoke goods, where design is fundamental. ‘’Value for quality, not cheap, it’s the key driver in the retail world of tailoring” (Helfgott (2010) in Barrie 2011: online). 9

Tailoring While many manufacturers, designers and specialty stores offer a wide array of suiting options, there are often issues with the fit, width and length with the ready-to-wear pieces. Many professionals are now turning to boutiques and bespoke services for customer made suits based on the customer’s actual measurements, fabric preferences and sizing needs (Stream, 2011). Bespoke tailoring is the process by which a suit is cut and built for an individual by a skilled tailor. It has traditionally been a manufacturing enterprise with an element of retailing activity, and thus categorised as a form of light industrial land use (Hadley, 2006). What is tailor-made? ‘It is a unique service in which the client’s individual measurements are applied to the creation of a garment made to their exact size specifications’’ (Almond, 2011) Tailoring has also been seen as deceptive by changing the way a women’s body shape appears by minimizing or accentuated certain parts of her physic to create an illusion of specific body types. The use of interfacing, canvassing, cloth or design creates these different looks and silhouettes. For example a well-structured, made-to measure suit can aid in enhancing particular parts of a women’s body and minimizing others. The deception can install a confidence and elegance in the wearer and has been a way in which women can convey authority and reek empowerment in the workplace (Almond, 2011). ‘’The luxury of the traditional tailoring process is in the time, craft and experience instilled into each garment. A bespoke tailor is a sculptor whose medium is cloth. He moulds a shell out of this cloth that refines and accentuates the human form‘’ (Almond 2011)

History Today, skilled tailors can be found in Rome as well as Richmond, VA, Paris and Pittsburgh Hong Kong, Rio and Dallas - as well of course as Milan, London and New York. All are standing in the long shadow of tradition and craftsmanship that is the art of tailoring (Bruce, Kayer 2009)

Tailoring, as it is perceived today began in the thirteenth century when coats first became a fashion statement, requiring skilled labourers to sew together by hand the cloth cut pieces. The labourers eventually took the name ‘Tailor’ from the French ‘Tailler’, meaning ‘to cut’. Tailoring originated when the trends of the traditional male attire began to change, when men’s tunics for example became shorter and closer fitting to the body. This shaping of the body with fabric pieces evolved into the tailoring techniques in existence today. The skills needed to keep up with the ever changing and advancing fashion demands, enabled the development of craftsmen into technical tailors. The contemporary three-piece suit was consistently re-worked, and slowly evolved from the fourteenth century tunic to the seventeenth century frock coat. In terms of fashion, the pre Civil war era created the need for thousands of soldiers’ uniforms, underwear and shoes brought the sewing machine and industry into wide use, while ready-made clothing evolved into a big business. After the war these purchasing trends continued as people began to rely on affordable massproduced good instead of making their own (Natalie T. Wood,p44).

Revival and Survival of Bespoke Tailoring The evolution of youth fashion in the 1950’s the bespoke industry’s biggest threat. Fashion diversified and became widely accessible with the rise manufacturing garments globally creating a fast-fashion surge. It became throw away and casual popular culture, led by the couture designer Yves Saint Laurent. The nineteenth century, the increase of ready-to-wear fashion declined the popularity of bespoke tailoring, however luckily the trends of ready-to-wear fashion began to mirror those of bespoke tailoring, with craftsman techniques being a reoccurring theme in fashion. Recognising the wealth of craft and heritage in the industry, tailoring was able to establish its dominance in the industry. This was aided by contemporary representations of tailoring by ‘cool’ tailors such as Oswald Boateng and Richard James, and many fashion designers at the cutting edge of the fashion industry such as Vivienne Westwood and Alexander McQueen pushed the look of tailoring and the craft traditions of bespoke to the forefront of directional fashion (Almond, 2011). Inevitably this provoked a resurgence of interest in the craft and heritage, aided the restoration of couture.

Designer Pioneers •

Fig 3: Yves Saint Laurent’s classic ‘Le Smoking’ look.

• Fig 4: Dior, who revolutionised structured tailoring in his New Look collection in 1947, by introducing hip and breast padding in order to enhance silhouette.

• Fig 5: Chanel is also emphasised as a designer who innovated soft tailoring, by removing structural underpinning, in order to create softer, more fluid lines.

“I don’t understand this desperate need to always move forward. To strive for the new is the most conformist thing you can do. Everyone can tell you about what is new and clever, but no-one can tell you what is good! There is a myth that the past is irrelevant, that progress is the only thing” (Westwood in Holgate, English vogue 1998). 17

Saville row Saville Row : James Sherwood, The London Cut Saville row bespoke tailoring. Marsilio. Florence. 2007.

Saville row is a unique street located in the heart of Mayfair London were over one hundred working tailors practice an art stretching back to the 18th century. In 2003 Savile row Bespoke was formed by the pioneers, Anderson & Sheppard, Dege & Skinner, Gieves and Hawkes, Henry Poole and Huntsman (Sherwood, 2007: P). The group now embrace the new tailors, joining with designers, colleagues and aspiring craftsmen to insure that Saville Row Bespoke remains not just a name but a thriving community; and the highest standard of handcrafted couture. ‘Though nobody could surpass Savile Row for craft, fashion has long since left the street behind’ (Sherwood, 2007) A typical bespoke suit produced on Savile Row can take up to forty hours to produce, hand worked, stitched and steamed to maintain a specific shape (Almond, 2011). Due to the time and attention to detail required for the creation of a bespoke suit it’s cost can be justified. It is also seen as a cheaper alternative to haute couture that has a similar process but charging for the glamour of the brand name. Now many customers recognise that bespoke can be a feasible alternative. A suit produced at Savile Row tailors Grieves & Hawkes can cost between £1200 and £1400. There are however many small tailoring businesses throughout the UK who produce bespoke work at more affordable prices. Raymond Andrews – Gents Bespoke Tailors in

Leeds, advertised a three piece bespoke suit at £400 in 2010. In contrast, a woollen jacket alone from the 2010 Yves Saint Laurent Autumn/Winter, ready-to-wear collection retailed at £3174. Prices for jackets from the couture collections of Dior or Valentino can cost up to £20,000 (Almond, 2011) The Savile Row tailor, Timothy Everest, reiterated this: “We are men’s tailors but women seek us out as a viable alternative to haute couture. The price of a British bespoke trouser suit is much less” (De La Haye, 1997 p.61).

Fig 6: Savile Row London Collections Men AW13/08.01.13

Fig 6: Madonna wearing a three-piece. Tailor Henry Rose. Page from ‘’Madonna Marlene’’ photo seven daily. Vanity Fair, USA/ no 506, October 2002 Henry Rose. He started the vogue for girls about town to wear black or white variations on the Royal Ascot morning coat with miniskirts and heels. Tailoring as a fashionable look suffered a setback in the 1970’s with the increased popularity of informal clothing. It wasn’t until the 1980’s and the advent of power dressing that the look became prominent, both through bespoke and a high street interpretation.

Methodology From the secondary findings, we have been able to understand the fundamentals of the suit tailoring industry. Secondary research proposed that the psychology of shopping for work wear needs to be changed to reinvent the suit purchasing industry. ‘The wardrobe is a woman’s individual aesthetic; this aesthetic is not only the colours and styles she favours but is also ‘personhood in aesthetic form’ (Gell, 1998, 157). Only the most appropriate sources have been used throughout to generate strong outcomes that could inform decision making. The market has also be intensively analysed through the literature review, and trend research has guided the creative outcomes. Platforms such as WGSN, Mintel, Emerald Insights, Style sight and Stylus have been the main point of reference. Documentaries on fashion and function, and websites covering topics on marketing and branding, slow fashion and the new consumer, feminist issues and the history of tailoring in general has provided valuable unpinning. Although online sources can prove unreliable, choosing legitimate websites took key consideration throughout all research with finding reliable information being an objective in itself. A lot of information gathered has been backed up by books in order to help validate findings. It’s central to set smaller but longer term goals to achieve the overall business objects to eventually enable the business to maximise profits over a set time period. Aims and objectives help to find a gap in the market in which to differentiate and succeed to implement the business idea. The main research aim is to find out, ‘who wear’s suits’. This will done through broad research methods that use a varied accumulation if quantitative, qualitative, observational, ethnographic, and exclusive means. By evaluating inconsistencies in attitudes and suit shopping behaviours through specific research practices, we can spot patterns that allow subcultures to be grouped together. Extensive consumer investigation into ‘who wears suits’, enables the segmentation and division of the market to form groups that help to define, understand and pinpoint the target market. Research will so determine the brands niche attributes so that a common marketing strategy can be applied with coherent visual identity to aid the execution of the sample range. By studying the lifestyle of the working women the project can be moulded to fit their requirements and attain a modern approach to tailoring. Furthermore, it was vital to look at the motivational drivers towards suit purchasing. Motivational drivers, paired with secondary research about the psychology of dress for working women, help to create a solid retail strategy and dissect the brand’s unique selling proposition. Primary research allows us to understand and differentiate between her wants and needs, and discover the negative misconceptions she has with certain styles, to ensure a successful purchase and long-lasting relationship. Women differ from men in their shopping habits, typically spending twice as much as men on average per year (Mintel, 2012), however this is not the case when it comes to suits. By creating a niche experiential service it will assist the reinvention of the women’s suit industry.

Visits

Visits to a range of suit selling stores was critical to gain first-hand experience and to get into the mind-set of the consumer. By visiting stores that specialise in suits such as Paul Smith, Next, Jager and Reeces pictures could be taken of the suits in store, by asking in store advisors what the keys pieces are and photographing them for sample range research and general trend research. Also visited were places that focus on tailoring such as Saville Row and independent retailers around Nottingham to gain industry insight and to discover any pitfalls within the market. An observational research method will be used and an investigation into why women buy suits from selected stores will be explored. This type of research will allow me to; • • • • •

Discover needs and wants of the working women Discover her shopping behaviour when it comes to suit purchasing. Discover if there a lack of choice in the market? Discover if women have the time to get fitted? Are women unaware of the options out there for tailor made suits

Questionnaire

The questionnaire was the focal point of all research. Appropriate questions were carefully selected and analysed to ensure the most reliable and appropriate data would be revealed. Open questions were added to attain quantitative results so the customer could express their feelings and to allow for in-depth and personal insights. The other close questions relied on multiple choice principles with quantifiable data that could be statistically analysed into graphs to discover patterns and correlations if neccessary. 5 questionnaires were via emails were carried out and questionnaires send through LinkedIn and direct Emails. Each participant was carefully selected as they fell into target consumer category. Questionnaires in shown in appendix 1.

Bio 1 : Claire, Managing Director of a design company on a large Income and has to wear suits for work. Evaluation – Claire normally shops at places that are good value for money, with on trends styles that retain a classic look such as: Whistles / Reiss / Zara. She looks for Good quality cut and fabrics in a suit. Her major frustrations when suit shopping are well cut trousers and choice of styles, which has been considered in the sample range. Although this participant isn’t interest in the service we gained valuable insight in to the competitors or the service and key areas of focus, such as style and quality. Bio 2: John Llewellyn a tailor on 20-30k a year. Evaluation - He doesn’t shop for suits he makes his own, but he is was to buy a suit off the peg it would be at an independent retailer. His reason for this is the lack of Fabric selection available and styles on the high-street. John is a participant with a design background, so if he would only visit this service depending on the design service and fabric choice offered. He believes a bespoke service is only interesting if you have something to offer other than a well-fitting suit. Bio 3 : Sue Everitt Marketing Manager, Working environment dictates tailoring is worn for customer meetings especially. What she likes most about Melissa Jones is the fact we would produce a garment of perfect fit with a wide fabric selection and overall uniqueness. Her main concern would be the fact she hasn’t had any tailor made suits done for her previously. People’s lack of confidence and the worries women have with getting fitted and purchasing an expensive suit will be tackled through the marketing mix of the report. Bio 4: Nadine S, the head of e-commerce at Thomas Pink London. Contact found via LinkedIn and emailed questionnaire with consent form and brief overview. Her manager frustrations when buying suits is finding unique styles and shapes. She prefers bespoke tailored suits but knows that not everyone has time on their hands to get fitted by a proper tailor, or the money to do it. She agrees that the best aspect of this business idea is the service aspect, ‘’Visiting clients from home shows you’re flexible and that you care about your customers. ‘’ Bio 5: Katherine Malin, a women’s tailored found on LinkedIn working on Saville Row in London and in her studio in Bedfordshire. Exclusively a Ladies Tailor offering both traditional Saville Row bespoke and Made to Measure tailoring for Women. She now works at her studio in Bedfordshire but Katherine has worked as a Tailor for over thirty years with over twenty spent in Saville Row. The company ‘ Katherine Malin bespoke tailors’ does not use fitters or style consultants; every garment is worked on by herself. She states she hates boring suits and would never buy ready to wear, unless it was a unique vintage piece or something one of a kind. She loves the idea of the service and states customer service is one of the most important aspect of a bespoke business.

Evaluation: This method was beneficial in getting feedback from people in different occupational positions with expertise in this field, offering a personal and direct approach to the subject matter at hand. Each customer gave honest feedback and we gain perspective form business women and tailors. The participants helped shaped the project and underpinned the unique selling proposition through their feedback. The interviews prove most beneficial by establishing the weaknesses of the service in which to research, resolve and improve, with revealing responses and fresh ideas. The method use was selective and with minimal participants however time was not wasted and direct responses were gained from industry professionals.

Range Planning

The other stage of research was surrounding the product to define the elements of a ‘good suit’. This was achieved through secondary research methods such as future trending research material to identify macro and micro trends that may influence the women’s tailoring and general suit industry, The questionnaire conducted for primary research helped to discover what the consumer wants from the product and help predict future market potential. Fashion trends are beginning to allow organisations to target specific demographics as a potential marketing strategy, and so consumer exploration helped determine which designs would be most suitable to become an innovative pioneer within the suiting tailoring market. ‘To overcome information barriers and lack of communication between designers and the consumer is an area ready for intervention’ (Morley 2006: Online). It’s crucial recognise current consumer requirements to obtain wide product knowledge, in order to transpire valid reasons to invest. This involvement will correspondingly generate an engaging and emotional connection in which to emphasis during the marketing stage. Overall primary research helped define ‘What do city women want? The methods chosen are more appropriate to achieve authoritative outcomes to direct the project and inform creative decision making; and all primary research findings will be supported by secondary findings from the literature review to demonstrate that the outcomes are viable and timely. All primary research will be conducted ethically according to the University ethical code, and consent forms will be used appropriately. The extension of each method, analysis, limitations, blank questionnaires, graphs and results will be presented in the appendix of the final report.

Fashioning the career women: power processing as a strategy of consumption

Power Dressing

‘’ Clothing is lifeless, without strength, it is an object. A woman uses this object as a representation. It symbolized the impression that a woman wants to give herself, but it’s her body that plays. That body which will make her mysterious, strange, or seductive’’. – Sonia Rykiel in Fischer.

Aurore Lucie Dupin was one of the first pinoeers of male attire, wearing mens suits and mens clothing as early as the 1830’s to protest the unequal status of women. As the independence of women increased, the gendering of professionals in the work place occurred, with historians using the term ‘masculinization’. In almost every category of work at this time, skills were divided into men’s work and women’s work, which limited women to junior positions and so different career tracks appeared through history (Wood, 2012:394). Power dressing began during the feminist movement or avant-garge art movement in the 1920’s, were European and American women started wearing suits to shock society in order to declare their independence from rigid gender roles that were cemented in civilisation (Fischer, 1995:77-88). It fully emerged in the 1980’s as a concern with female empowerment in the workplace exceeded, speaking to the emerging ‘career women of that time, and thus signifying the importance of ‘dressing for success’. Power dress also taught women how to showcase themselves as capable professionals (Andrews, Talbot, 2000).

Fig 8: Angelina Jolie (2001)

The autumn/winter collection saw a return to the fashion phenomenon of power dressing from the 1980’s, and in august 1997 the US edition if vogue signalled the ‘return of the suit’, Fig 9

Fig 10: Tailleur By Gucci Vogue Italia, November issue 1997

Fig 11

The return of the women’s suit created a guideline of for the working women. The Womens Dress for Success Book by John T. Molly (1980) suggests that in creating this guideline, it eliminats the stress of shopping for work attire, opening up new marketing routes that cater for professional women, thus creating new strategies for consumption as a retail strategy (Talbot, 2000). (Andrews P: 235) In a study (1994) that examined power dressing for women in different occupations, when one women was asked ‘what is the difference between male and female dress at work?’ she replied ‘men do not have to make choices’. The vastness of choice was discovered to be a recurring issue, especially for females with low confidence or a lack of fashion knowledge, creating anxiety of what to wear for work. This suggests that when forming the sample range, it will be significant to consider that the target consumer may not be ‘fashion –savvy or fashion-conscious. Therefore limiting amount of suit choice in terms of colours, shapes and fabrics for the suits range will be important to eliminate the anxiety of ‘making the wrong choice’ (Molly 1980). High street shops such as Jigsaw and Hobbs are an example of this retail strategy, being recognized for providing tailored clothes for female professionals and business women. The phenomenon of power dressing has also stimulated new career roles such as dress consultants and personal shoppers.

“Women in business and in many professions have worn and will continue to wear suits to work: it is a fact of life not a fashion statement”(Andrews, Talbot, 2000).

Women un Uniform Female uniform started as a means of distinguishing particular groups dedicated to service. ‘Uniform arises when a section of the community stands apart, for some specific purpose and identifies this change by adopting a distinctive mode of dress’ (Ewing 1995). Fashion trends are established by dominant groups in a community, and therefore all fashion is a slant towards uniformity as a part of the life of any community. This is why the history of women in uniform is closely bound up with their position in society, and also therefore in some way a pictorial story of their development and movement in society (Ewing 1995). Nevertheless, in modern society with acceptance of universally shared responsibilities, there has been a bridging of gaps between uniform dress and casual wear in the workplace. ‘During the 17th and 18th century’s many women invaded the man’s world of uniforms, living and working as soldiers, police form and sailors’ (Ewing 1995:28). As modern female trends began to show resemblance to uniforms, the lines between fashion and uniform became blurred, with stylish spin-offs of naval officer’s making their way into couture houses, transforming function into fashion. To analyse, it is questioned that this could be the reason modern day females do not perceive work clothes of high importance. What’s more, although the ultratailored ‘menswear’ look remains a strong component of a business women’s wardrobe, it is no longer necessary for women in this industry to assert their dominance and prove she is equal through an aggressive suit (Fishcer:88). In fact, dressing this way has created the opposite notion, where by it is seen to be an overcompensation that transpires weakness. The question remains, ‘do we still aim to reflect the winning battle of women’s rights to reflect a feminist and modern culture’? Overall, it is clear that we used to mimic the male attire to assert our authority; however, we have now earnt the right to dress feminine in the work place by proving our capabilities in the working world, as establishing person style as a type of uniform (Fischer 1995:88). Figure 12: Kurt Gieger S/S 2010

The masculine Mystique

It is important to distinguish between a masculine look and one that is androgynous. Fischer has dissected the theory of androgynous dress into three points, differentiating intersexual style from that of a feminist for example (Fischer, 1995:77-88)-: 1. It has a playful, ageless quality that makes the wearer appear more youthful 2. It relived the wearer of the need to either live up to the female idea or compete with a masculine image. So she feels and appears relaxed and comfortable. 3. It projects an innocent eroticism based on the mysterious ambiguity about the wearerâ&#x20AC;&#x2122;s sexuality. Celebrities like Marlene Dietrich, Katherine Hepburn and Rosalind Russell helped broadened the acceptability of men look-alike styles. They managed to attain a cool assurance in mannish pant suits, whilst remaining seductive and feminine. This juxtaposition of elements of masculine clothing with feminine makeup and hairstyles create a unique eroticism (Fischer, 1995:77-88).

Fig 13: A key designer responsible to easing women into trouser suits and establishing them in the fashion world is design Andre Courreges, leading on to the era of the pantsuit and designer jeans (left image) .

Fig 14+15: About the same time (1960’s), Yves saint Lauren invented the women’s tuxedo. Yves Saint Laurent’s first women tuxedo in 1966 (left) caused a public scandal but remains still on the most popular pieces in todays fashion shows (right, YSL’s F/W 2011 collection).

Fig 15: Soon, Giorgio Armani acknowledged the masculine trend and added accessories to assist the now established trouser suit in 1980 (Fischer, 1995:77-88)

Interestingly, in terms of the psychology of women in mannish clothing, men can find this type of dress quite alluring. Her mannish appearance serves him the right to fantasize about her in a sexual manner without the fear of commitment, marriage or procreation, since intimacy with the same sex does not lead to babies (Fishcer, 1995:77). Being with androgynous women can also eliminate a man’s anxiety of being caught enjoying homosexuality. For a women, wearing an items of a man’s clothing such as a boyfriends jumper, or dads socks, allows us to feel protected and wrapped in masculinity (Fischer, 1995:80). It is no mystery why women would want acquire male qualities, since historically men have been given a horizon of opportunities and privileges denied to women, and ‘donning men’s clothing is a symbolic way to inherit this privileged position’ (Fischer, 1995:77). Women are now more in touch with their masculinity through the ever-growing rise of his-for-her styling which rose with equilibrium of female independence; nevertheless it is vital for modern brands understand how to create the balance between positive authority and negative intimidation.

Transgender tailoring

For transgender women, shopping means choosing between men’s clothes that don’t fit a butch women’s physique and those that don’t fit ones sense of self (Leland, 2013:online). Where female clothing tends to accentuate the hips and breasts, transsexuals often want a silhouette like a man’s, “there is a very tiny space that exists between being a butch dyke and being a trans man,’’ (Tutera in Leland 2013:online). Suiting however has helped many transgender women express themselves and escape pressures of dressing. For example the tailoring brand Bindle and Keep has begun creating suits for transgender women that are mannish but don’t drown them, whilst being equally unfeminine. They have now extended to creating suits for lesbian weddings, tripling their client base and started a blog called The Handsome Butch (Leland 2013). From this, competitors have grown such as Tomboy Tailors, Haute Butch and Saint Harridan.

Fig 17

Psychology of Dress It is vital to understand the journey women went through to get to the level of empowerment and equality they symbolize today in the 21st century, to unpick the psychology of ‘why women wear what they wear’. The concerns that women have when choosing what to wear relate both how the clothing makes them ‘feel’ and how it makes them ‘look’. The idea of women using suiting a type of armour, or wearing clothing, which they feel identifies themselves as an individual as a means of selfshielding, with the psychology of dress representing work attire as a type

‘role-play’

by of costume. Within the saturated we can wearing clothes that project a lifestyle or demeanour opposite to our own. It is important to investigate who enjoys buying suits and why. Is buying work wear, specifically a suit an enjoyable pastime or simply a work requirement? A personal touch can brings opportunities for new marketing strategies in the un-saturated market of women’s suits. ‘’Different professional require different fashion approaches. Mastering the unspoken dress code of your particular corporation or industry can help you protect a professional demeanour’’ (Fischer, 1995:99). In terms of role-playing, the act of wearing something that reminds you of a certain time in one’s life or an experience, gives us pleasure and allows us to express ourselves. Similarly, it can cause us to avoid certain fashions, whereby people acquire negative associations with

‘Role playing can breathe new life into a humdrum wardrobe, express aspects of your personality you don’t otherwise get a chance to expose’ Fischer:99).

Fig 18

our place of work and therefore the shopping experience. Therefore self expression is magnified out of work with the women who often wears a boring suit dresses in a flamboyant floral dress at the weekend. This may explain negative connotations when suit shopping. Or maybe it is because they feel they can’t express any individuality through their suits, due to work requirements, not knowing how to style suiting attire or just have no interest in work wear as it is not considered of high importance in certain job roles. ‘The tension between conformity and individuality can be a motor for change at the level if the fashion system’ (Simmel, 1971). However, ‘’continuity in dress is also important in business, taking on a different style or image each week says the wearer is unstable, indecisive’ (Woodward 2007).

With women in suits signifying female empowerment, women can also use clothing to enhance aspects of her personality that she feels are undeveloped, and gives her a sense of ‘who she can be’. Many women may buy a new suit in order to signify a new career direction, life goal or personality change. Women often supress their sense of indemnity and discount their own tastes and decision making ability by wanting to conform to a particular group. They also signify suiting as armour in a male dominated industry to create certain leverage in the workplace (Fischer, 1995:89). These ideas are developed through a lifetime of preconceived ideas of how they should look, dress and consider their social roles (Woodward, 2007:68, 12). A women’s sense of what goes together emerges from both an awareness of external factors such as fashions and social expectations and also from the ‘fossilised evidence of this history of an individual’ (Levis-strass, 1966:22). Furthermore the relationship women have with shopping could extend to external factors such as how we judge our bodies against the proliferation of media, that advertise unrealistic ideal body perceptions which women are subjective too (Woodward:17).

“The wardrobe is a woman’s individual aesthetic; this aesthetic is not only the colours and styles she favours but is also personhood in aesthetic form” (Gell, 1998, 157)

To contextualise, it was vital to conduct extensive field research into the motivational drivers towards suit purchasing to dissect the target market.

Fig 19

Maturing Market It is vital to be mindful of the mature market with studies showing specific concerns with sizing, often being dissatisfied with ready-to-wear ranges because their changing body measures and postures tend to be overlooked by designers (Iltanen, 2007, p. 51 in Maegan Zarley Watson, Ruoh-Nan Yan, (2013). â&#x20AC;&#x2DC;For mature consumers, quality, fit, comfort, material, style and design more than price and fashionability influence clothing purchasing decisions (Nam et al., 2007, p. 102).â&#x20AC;&#x2122; Despite the greater access to variety that niche-sized consumers now have from online retailers, the issue of size is likely preventing these consumers from trying new ranges and products because they are unfamiliar with how these sizes will fit them (Mintel 1, 2012). Body size and shape can create internal anguish that relates to self-image and may make shopping difficult (Tatzel, 1982 in Watson, Ruoh-Nan Yan, 2013). The present idealisation of slimness and youth has of course had an influence also on mature womenâ&#x20AC;&#x2122;s clothing choices. They prefer flattering styles that make them look youthful and slimmer and therefore choose specific young cuts and shapes. Designers that see the mature woman as a modern representative of one consumer group without any stereotypical notions of someone boring and conservative can fulfil the clothing expectations and requirements of the modern mature woman (emarldinsight, 2011:online). According to Mintel (2000), the size 16 plus market segment will continue to grow as the number of women aged 45 and over increases. This is the largest

population segment with most shoppers’ size 16+. Findings show two distinct categories of lack of enjoyment with the shopping experience: retailer related and consumer related (Jones, 1999), meaning shoppers who are most unhappy are those in the size 16 plus group who have an emotional response to the whole shopping experience. The Jones study (1999) also revealed that women size 16 plus could not find clothes they perceived as fashionable which were well fitting and affordable, in an environment that didn’t make them feel second-class to their ‘thinner sisters’ (Jones, 1999:online). These women want more choice in style, fashion, colour, fabric and size options, better quality, pricing, non-patronising and larger sales girls, integrated displays and opportunities for feedback. The “avoidance triggers” are aspects that require special focus in fashion retailing, with the issue of self-image and dissatisfaction with the shopping environment (and therefore fitting environments) across the size 16 plus subset requiring investigation. Furthermore the business will be able to be flexible enough to allow for alterations for pregnant women with maternity offerings, being at the forefront of femininity. Secondary research has determined that it is important to create a range of fixed shapes to make it approachable and less-daunting for a non fashion savvy customer, and primary findings with support this.

One of the key primary research aims was to understand and differentiate between the target customers wants and needs, and discover any misconceptions she has with certain styles. Primary research determined that the target demographic has little knowledge of fashion with confusing notions about work wear. This means that the service has to be able to connect with women on a personal level and establish a trusting relationship in order to guide the client through the sample range and ensure successful purchase which the customer is comfortable with. The target consumer will be aged 25+ and have a lot of concerns regarding fit; therefore further research on the topic of maturing markets and sizing has been undertaken. While many manufacturers, designers and specialty stores offer a wide array of suiting options, there are often issues with the fit, width and length of many ready-to-wear pieces. Many professionals are now turning to boutiques and suit designers to create custom suits based on the customerâ&#x20AC;&#x2122;s actual measurements, colour and fabric preferences, and sizing needs (Author Stream, 2011).

Fig 20

Consumer Profile The profiling of consumers is something which is evolving from the grouping of age boundaries to the grouping of like minded values and attitudes. The modern world of social media is making it easy for consumers to choose their own paths and personas in which to portray. They can almost pick and choose who they want to be or how they wish to appear to others, with the characteristics of certain tribes being easy to imitate. The internet has empowered people to obtain ultimate freedom to shop as they want, meaning that new businesses are utalising the attributes of the shopper they hope to reach. Age is no longer the main driver of consumer profiling but the wants and beliefs of the customer, and brands much match these desires in order to appeal to them. For example this brand must adhere to the consumerâ&#x20AC;&#x2122;s quest for speed and a suit that fits. It must be able to deliver a suit that can be practical while being worn within a working environment but also represents an outfit that simply makes them feel good at work, with a youthful and timeless feel.

She is a representation of the consumers that are beginning to spend money on investment pieces, and of those that donâ&#x20AC;&#x2122;t want to compromise style for good fit and high quality. She is taking the steps into mindful consumption and in many ways represents the tipping point of a contemporary consumer of today that is more connected, engaged, price aware and understanding of market dynamics. This segmentation of consumers are therefore them harder to please and difficult to fool, thus consumer awareness is trading is higher than it has ever been (Mintel 1, 2009). 4 consumer profiles have been created to dissect the market and show how the service will be lifestyle applied. An interesting slant is that consumers 3+4 donâ&#x20AC;&#x2122;t know anything about fashion. Their clueless to what is in style and to what suits them, and fashion is not a prioirty; whereas consumer 1+2 do care, and are in a friendship circle with women who do take interest in fashion. To generalise, the target customer is fairly wealthy, career motivated and educated. Her style is flexible and interchangeable; she wants to look youthful but isnâ&#x20AC;&#x2122;t sure how to dress for her age or body type and therefore sticks to either a signature style or a plainer look buying from dependable brands.

Unique Point of Difference

It is important to embed accountability by showing consideration for slow fashion, whether it is through the luxury of bespoke elements, perfect fit, more sustainable fabrics or UK manufacture. For a price conscious consumer these elements help justify spend. To analyse, Experiential retail ‘a strategy that transforms products and services into a total consumption experience, including aspects that are both utilitarian and hedonic’ (KimYK et al 2007:6) The bespoke fit, sizing and tailoring stages that the customer undertakes to get a fully fitted suit will be a will be knock-on effect to its success as it needs to be an experience that can’t be replicated. Melissa Jones Tailoring for Women will use emotional branding to expressively connect with the target demographic in order to create a brand journey, taking a stand for something beyond selling product (Richman (2011) in janlgordon, 2012: Online). This refers back to the psychology of dress, looking at how women create a biography through their clothing, throwing out clothing that retains ‘bad memories’ and keeping or collecting items that have positive connotations. Giddens (1991:12) suggests that the construction of these personal narratives enables individuals to establish stability in their identities. Regarding this, the business will connect with women on a personal level to establish positive feelings towards purchasing work wear. This will eliminate any previous negative implications with the pastime and minimise the anxiety of not knowing what to buy or what is appropriate. This type of emotional engagement is an important part of memory creation, with brand authenticity providing general underpinning to effectively highlight trust within the business. Consumer touch points will be the focal point of the business in order to established connectivity.

‘’The recession has brought about a change in the way that workers dress, with the adoption of a more ‘professional’ image in the light of growing job cuts’’ (Mintel 2009).

Fig 21

The business overall will show consideration towards, slow fashion, sustainability and traditional elements, however the philosophy of the brand is to transpire a service rather than focus on one key driver, with suits that fit. The uniqueness is the service, and discovering how to make the women feel comfortable while projecting sincerity. It will be reflective of the concerns of consumers however the identity will stay away from these brand labels, however it is key to identify them and illustrate a reflective nature.

Slow Fashion Our profit-driven society of today has begun to revolutionise, ‘we live in a multidimensional world where contrast and diversity rule’ (KJAER.A 2013: online). As a consumer driven society we are being suffocated by multi-channel branding and fast paced retail. The recession has caused brands to lower prices and through globalisation, the mass production of apparel has become an ever growing and profitable industry (Mintel, 2010). ‘We’ve gone from a place where 200 years ago your market was where you could walk in a day, to a place where your marketplace is the whole globe’ (Parsons 2012: Online). Although fast fashion still dominates the market for the younger shopper, for an oldermid market, investment purchasing is a booming movement as we become more ethically conscious and quality driven. As the UK revives the recession, the future of buying is moving towards investment pieces that last (Chandaria 2012, Kantar Word Panel). ’Consumers have been buying into fast and throw away fashion for years but are now demanding quality over quantity’ (Mintel, 2009. ‘Value Clothing Retailing – UK’ :online). Essential to this are brands that offer bespoke and contextual concepts, that convey genuine and trustworthy qualities but also allows for personality reflection (Clark, WGSN: 2012). Brands such as Abercrombie and Fitch, Burberry, and James Perse all carry clothing pieces that may be considered slow fashion. These brands may be harnessing this differentiation technique in order appear more socially responsible to increase brand equity. Consumers can avoid the guilt of purchasing fast fashion through investing in slow fashion pieces which they feel will be longer lasting. Buyers’ remorse is a common post-consumption feeling felt by consumers, and it focusses on the concept of buying into quality over quantity (Maegan Zarley Watson, Ruoh-Nan Yan, 2013). The new consumers’ expects their clothing to be high quality, low maintenance, versatile, higher in price, and a good fit. When the consumers’ slow fashion clothing aligns with these expectations, they are satisfied with their goods’ (Maegan Zarley Watson, Ruoh-Nan Yan, 2013). As consumers become more aware of their buying habits, there has become a changing relationship with fast production to produce more effective decision-making, lending towards investment pieces that last to benefit both pocket and pride.

For the majority of slow fashion consumers, the customer views herself as an individual, thus purchasing non-trendy items align with her personal style, ‘’ Slow fashion participants have a non-trendy self-image, thus purchasing slow fashion allows them to align their self-image with their styles through their clothing purchases’’ (Maegan Zarley Watson et Al, (2013). It is recognised that the brand must tap into a few key principles of slow fashion, shifting from quantity to quality with timeless and seasonless pieces that can be worn almost year round (Maegan Zarley Watson, Ruoh-Nan Yan, (2013). This will be the main insight taken from this topic. Fig 22

Sustainability According to WGSN’s responsible prosperity report, a new breed of consumer is demanding brands that are both luxurious and sustainable in order to justify their post-recession spend, ‘For luxury marketers in particular, responsible prosperity is becoming a powerful tool’, (Clark 2011, WGSN). Furthermore, many successful brands aspire to reflect consumer concerns and aspirations for a better world, and this combination represents the tipping point. The recession bought a sense of resourcefulness and creativity to consumers and by default; shoppers are combining environmental benefits with selfinterest rewards as a form of self-actualization (Charbonneau 2008). This inquisitive desire has both spurred brands to green-wash, responding in cautious and attentive consumption. In terms of ethics, a new era of green washing has evolved. Many brands are trying to appear responsible, whilst still continuing with child labour or using unstainable materials.

‘If consumers judge that companies are behaving badly, they can and will bring them to them to their knees…’ (Harrison 2005:22).

This suggests that transparency is key in establishing trust and highlighting value. Consumers are the drivers of change with brands adhering to their needs by linking positive environmental impacts with the desires of affordable fashion, and good value for money. However for many, buying into a brand with ethical implications implies an inconvenience or a ‘product compromise’, e.g. in terms of quality, style, and range of options available etc. Therefore, it equally important to harness the fast-growing provision of genuinely fashionable and stylish ranges that show response to being socially responsible (Mintel 1, 2009 ‘Ethical clothing-UK’). Fast-fashion retailers and brands are incorporating a broader range of sustainable fibres and materials into their collections as sustainability rises up the global agenda (Plank, WGSN 2012). As shoppers become more concerned with the issues surrounding fast fashion, brands are responding by experimenting with a wider range of fibres and materials such as organic cotton, developing ranges from eco eveningwear to men’s suiting (Plank, WGSN 2012). Brands have explored this consumer behaviour and have started to create more affordable sub-brands that feature ranges from well-known designers that appeal to both budgeters and non-budgeters.

fig 23

Transparency A key case study that reflects conscious consumer selectivism and represents brand transparency is the world’s first 100% transparent company, ‘HonestBy’. The brand ‘Honest’ was developed by former art director for the avant-garde line Hugo by Hugo Boss Pieters. His experiences in India and working along side the H&M conscious collection had a big change on his fashion outlook and he began increasingly concerned for the environment, animal welfare, and children’s causes. In January 2012, Pieters returned to the fashion stage with a new concept and brand as an entrepreneur as well as a designer (Honestby.com). His designs are architectural, highlighted by intricate tailoring and construction lines (SCHARWATH, K, 2012). Honest By offers products that completely transparent in price and manufacturing to create a new paradigm in fashion and retail. This works by tracking back the origins of fabrics and trimming used in manufacture as well as presenting the consumer with research into the source of the raw materials. Alongside this, the consumer can also review the profit margin of each garment, including maintenance and labour so the journey of each product is transparent from start to finish, allowing customers the opportunity to shop in a completely conscious way. The website allows customers to click on products and find all the information such as the material Information, the Manufacturing Details, the Price Calculation as well as the carbon footprint of the product (SCHARWATH, K, 2012) To conclude, as the value, trust and realness of products and therefore brands become more important to consumers, these qualities represent a rise of brand transparency through a slower manufacturing pace via environmentally friendly production.

The Future of Tailoring

The increase in the use of technology has begun to affect both mass market and bespoke tailoring (Tarrant, 1994). A significant amount of computerised technology is being introduced at a rapid rate for mass market tailoring, allowing the transferral of design information across seas for manufacture which reduces cost and construction time. Nonetheless, for this study, itâ&#x20AC;&#x2122;s vital to measure up the benefits and costs of using advanced technology in tailoring compared to utilising in house traditional skills to find the best strategic path. In contrast, the mass manufacture tailoring industry has embraced modern technology. An example of this it the well-established company Berwin and Berwin, using computerised production technology to communicate between their small design base in Leeds to large overseas factories in Europe. The brand believes that the only way to remain competitive is to continue updating with more advanced technology (Spink 2010).

Fig 25+26

Body Scanning

Consumers will likely stick with the one or two retailers that they know will fit them (Mintel 2012). Therefore the brand must be reliable and consistent in order to create an unbreakable chain of loyalty with the customer. 3D body scanning has been widely introduced into the corporate tailoring market. This is due to its need to develop garments that fit many different sizes; however it has been slow to infiltrate the bespoke tailoring industry (Tarrant, N. 1994). Grieves & Hawkes declared the denouncement of computerisation, “We will not bring in any heavy duty machinery or computer aided manufacture to the workrooms as our history and selling point is the hand craft of tailoring” (Harris, 1998 p.21). Another is example is Alvanon who have been responsive for the consumers need of good fit whilst combining technological elements. ‘’Alvanon combine research and technology to provide the industry with realistic, accurate, and consistent ﬁt mannequins, made with high quality materials and craftsmanship. Based on thousands of body scans from various populations globally and through collaborative projects, the AlvaForm series represents a vast range of target demographics, the purpose to streamline communication between design studios, sample rooms, sourcing ofﬁces and factories’’ (Alvanon, 2014: online). ‘Your AlvaForm is built according to the shape, posture and measure specifications of your target market.’ These systems could bring bespoke tailoring to the high street. The retailer would be able to hold a database of buyer statistics and offer a service that produces garments to precise body measurements from ranges shown in stores, or displayed on a virtual dummy on the computer. This would present a direct threat to independent tailors in the industry, and it’s suggested that technology is now so advanced that it’s almost possible for mass manufacturers to produce garments that are equivalent to bespoke standards. Consequently, once consumers have the confidence to use these online bespoke services, companies could use this as a harness to promote the concept as a luxury product. Debatably, as new technology takes over, less people have skills in manual pattern cutting and manufacture and so this could enforce surge of traditional and handcrafted skills. It is already clear that consumers are demanding authenticity. ‘New blood is needed to carry on traditions, the one problem is that the younger

generations do not want to put in the time that it takes to train up, which is four years as an apprenticeâ&#x20AC;&#x2122; (Harris (1998), pâ&#x20AC;&#x201C;26). These technological advances will aid the expansion of mass manufacture tailoring (Tarrant, N. 1994), however it is debated that brands canâ&#x20AC;&#x2122;t sew all the authentic, heritage, luxury and hand crafted mystique into the garments the way a bespoke tailor can. This will undoubtable create two types of conflicting of bespoke business, and will hopefully showcase traditional and craft based techniques as a stylus, emotive and even more luxurious. Additionally, it is evident that technological advances are beginning to create more complex and useful fabrics; so in the future one garment could represent the values of three garments using smart fabrics, and the advance of sustainable materials and 3D printing could completely change the fashion industry as we know it. Perhaps synthetic fibres will be developed to mimic the properties of a material such as cotton, and therefore decrease the value of a sustainable suit or a suit made in the UK for that fact, minimising concerns with globalisation and inevitably the quality of the product they are buying. To contextualise, even though Melissa-Jones will combine modern and traditional elements, for this service it is important for the consumer to understand the process so that they can connect with the brand. This will be explained in the Manufacture section of the report.

Advertising to Women

It is assumed that gender has been tied to the production of all marketing, advertising, where gender is an ideological and cultural construction, a complex of cultural ideals and ideas tied to fundamental classifications of the meaning and experience of male and female (Natalie T. Wood, 2012:394). 61

â&#x20AC;&#x153;

It is important to look at feministic issues such as the challenges which females previously faced in the work place and the journey of how brands began marketing to women, in order to get a better understanding of the history of branding to women workers in Britain. This will aid the creation of a suitable marketing strategy

Within the marketing industry, bonding with women is extremely important with females doing the majority of buying in almost every commerce (Natalie T. Wood, 2012:394). The most visible symbol of the women’s movement was the National Organisation for Women in 1966, establishing equal opportunities in the workforce (Natalie T. Wood:395). Over the course of the nineteenth century the balance of power between the sexes shifted, women were given the right to their own wages during marriage and have control over there inherited property. Inevitably, women adopted certain approaches for career management, as they moved out of the home and into the workplace. They also built up women’s authority until even men came to believe: ‘’it takes women to sell to women’’ (Natalie T. Wood: p44). These changes symbolized and welcomed the emergence of female independence as more women engaged in business activity, and the conception of the female as a consumer highlighted the growing power of commercialism and consumerism (Natalie T. Wood:44). ‘Marketing to women should be transparent, not pink. Companies who want to reach women need to demonstrate that they’re sensitive to the needs of this market and that they’re taking it seriously.’ Many brands responded to female shoppers in the wrong way, painting their brand pink. Some automakers for example went to the extremes of gender typing, painting cars pink. Fig 27: Chrysler Corporation introduced the 1954 Le Comte and La comtesse his and hers cars, symbolising their idea of femininity.

Fig 28: Natalie T. Wood, (2010) Ad Women page 22 Funnily, women perceived this as sexist activity and so this type of branding was not successful, and a debate over gender marketing arose as it veered between the poles of stereotyping to self-invention. Today gender-based marketing remains an undertaking for most companies. Lois Geraci Ernst, the founder of the Advertising to Women agency, developed campaigns that drew attention to the underlying drivers that contributed to female shopping behaviours and established emotional ties with consumers. She used advertising that repositioned products as tools that empowered women in every facet of their modern life, rather than something that would make them a ‘better housewife’. Ironically, Ernst and to her advertisers ending up creating a whole new stereotype of women- ‘the superwoman’; an army of suited, briefcase toting women who balanced career and family. Interestingly, research shows that this made a lot of women feel inadequate, and soon led to the activism of 1960’s and 70’s where women question the role of the man in the family, and challenged traditional workplace structures. From this section is it decided that the tailor will be female, to make it easier to engage fully with the female customer and make them feel comfortable. Of course it will also be more comfortable for the women to be fitted and measured. Furthermore it will encourage the client to discuss areas of herself she feels she wants to either hide or accentuate to create the best fitting suit as possible. Melissa Jones however will be feminised in a classic none stereotypically way to demonstrate that its female driven only but with empowerment and success at the forefront of its core principles.

Bridal Wear Another market area to look at which follows similar patterns is the bridal wear industry. Whether it be ready-to-wear or bespoke, a wedding dress as the upmost expectation which mirror high expense, with a womanâ&#x20AC;&#x2122;s wedding dress likely to be the most expensive and important item of clothing she will ever buy in her life. This industry is also similar to tailoring due to the need to establish professionalism, quality and prestige with a life-style focus, however not so much in need of a loyal customer base with this the need to return not necessary, nonetheless reputation is high credible (Bollen A, 2008:online). So what happens if a customer doesnâ&#x20AC;&#x2122;t not like their bespoke wedding dress? It is common for brides to be nervous about designing their wedding dress and trying on the finished design, and so many bespoke companiesâ&#x20AC;&#x2122; take on similar principles. The customer try on samples in store to get a starting idea of what they would like to help them visual their dream dress on themselves. The designers give honest advise and store advisors eliminate nerves to make the customer feel confident, beautiful and at ease. Almost all Fig 28

bespoke wedding dress business are committee to providing excellent service, customer satisfaction and a stress-free service. What they see in the mirror will help this process of elimination and help the customer steer towards the perfect dress. They customer will feel heavily involved in the designing process, have a chance to review the progress at each fitting to and end up with a perfectly tailored dress, that they like. Therefore, being able to sell the benefits of your brand business or store and successfully communicate why a customer should buy from you instead of your competition is a key indicator of success. Therefore Melissa will answer the following questions in 1 sentence each â&#x20AC;&#x201C; 1. Why should a bride by from me? Excellent fitting suits, investment pieces 2. What makes my store/business different? Door to door service, committed to each customer as an individual with additional benefits of in house tailors and stylists to cater to your every need. 3. What system do I have in place to ensure that each every prospect that contacts my store or walks through my door is delivered my unique selling proposition (USP)? Excellent measuring of the client by a professional tailor, a amazing selection of fabric, colours and suit shapes with a in house stylist to advise fully. 65

Banding Strategies

A brand is best defined as an

â&#x20AC;&#x153;Identifiable product, service, person or place, augmented in such a way that the buyer or user perceives relevant, unique added values which match their needs most closelyâ&#x20AC;?

McDonald, 1998: 22).

(De Chernatony &

A successful brand will have a high level of brand equity and therefore a lot of power in the marketplace. Brand equity is the “the differential effect that brand knowledge has on consumer response to marketing activity” (Hoeffler & Keller’ 2003: 421). This explains why customers are more likely to pay for a designer suit by Paul Smith or Austin Reed because they feel they are obtaining more value. These brands may also have strong brand associations within society, meaning that there are positive connation’s being established and links with other events, people and products in the market can be enforced. This type of expansion enabled strong engagement, in turn creating more motives to buy (Carnevale et al, 2014). It is vital for the business to ensure the brand identity reflects the business strategy and be willing to invest money to live up to its promise to customers (Ghodeswar, 2008: 4). This concludes that ultimately the brand value is determined by the identity, thus strong visual branding will be at the forefront of creativity in order to visually represent Melissa Jones’s core principles. The whole aspect of the business will be defined by the consumer’s perception of value it brings to their life, taking a stand for something beyond selling a product. Thus the business idea as a whole will be humanised to become a representation of its clientele.

Fig 30

Differentiation

According to Porter, strategies allow organizations to achieve a competitive advantage in two ways: by establishing a position of either cost leadership or differentiation:Figure 31 - Porters Generic Strategies

Porter (1985) states that itâ&#x20AC;&#x2122;s dangerous to be in the area between quality and cost as it leaves the company with no competitive advantage. This position is referred to as â&#x20AC;&#x153;stuck in the middleâ&#x20AC;? (Porter, 1985: 12). Many expanding brands rely on the leverage of the brand identity to establish prominence in the minds of consumers; conversely the business must break into new markets and execute its ventures through a direct marketing approach.

An area of blurred lines is the bespoke tailoring company ‘Dress2Kill’. The company has a flagship store in Waterloo London and is an online platform that allows men and women to design their own suits through selecting certain cuts and fits, entering their own measurements. The brands unique point of sale is escaping the ‘embarrassing ordeal’ of getting measured at the tailors. Their ethos is to create high quality bespoke and made-to-measure suits at low prices, ensuring the customer feels comfortable and happy throughout, ‘removing the fear factor’ from the business of buying a bespoke suit. They also have a service of visiting tailors. However to analyse this business strategy it could be said that they are opting for convenience over quality, and this is reflected through customer reviews on online forums. Dress to kill have responded to this by create a ready-to-wear range using tweed. ‘Tweedies ‘are the short-order collection of tweed jackets and gilets features three styles each for men and women. Wholesale prices range from £199 to £275 (ref). However, they are venturing into are going into wholesale, make in Mumbai but highlighting that they use British fabric. There array of confusing strategies proves a pitfall in the brand. A differentiation strategy allows a brand to distinguish themselves from rivals and make it difficult to imitate. Diversification is an approach that takes the organisation away from both its existing markets and its existing products (Johnson et al, 2006). In this case Melissa Jones is establishing itself in an emerging and un-saturated market of women’s suits. This is perceived as a risk strategy, whereby the business is solely relying on one strategy with a lack of support from other extensions. Thus, to overcome this, Melissa Jones Tailoring for Women will aim to break into new markets through the route of d accessories, as well as paying particular attention to establishing customer loyalty to enforce a solid client base and regulate business. Additionally, it is crucial for the business to penetrate the market using the leverage of exceptional fit and service to form prominence in the mind of the consumer. Although Melissa Jones will show consideration towards existing foundation of the slow fashion movement (Cataldi 2010) to highlight sustainability, focussing high quality fit and service whilst being mindful of any new legislations and environmental impacts, is the attitude Melissa Jones will attain. We are Diverse because we visit to your whenever, whereever!

‘Consumers are moving away from the mainstream and are turning to the authenticity and quality of niche products and brands’ (Scheinman (2001) in Harkin 2011:198).

Niche Branding ‘’The natural, human need to feel difference and be facilitated to has resulted in the rise in popularity of niche markets and brands’’ (Harkin, 2011: 10) Niche brands are able to cater to individual consumer groups and create relevant products and experiences to specific target audiences. This level of engagement and deeper appreciation is what keeps consumer loyalty (Harkin 2011:172). It is important to consider what it means to be ‘niche’ to build an intimate and emotional connection with consumers, and achieve devotion with consumers. This will be established via the consumer journey. All elements of the brand will be based around the customer’s experience of being fitted in a bespoke suit and the journey they take when shopping for suits, to create a positive and memorable experience in which they would recommend and repeat. Consumers are now buying into the lifestyle that surrounds brands in a new ‘selectivisit’ movement, focusing on the morals and core principles they portray. People are reluctant to shop around, paying more attention to specific brands which they feel mirror their own personas and attitudes. This is why is important for brands to transpire transparency, adopting new marketing strategies, with branding that reflects their desires and needs on a personal level that extends beyond product offerings. Consumer distrust with ‘vague’ brands has caused the return of the bespoke culture, which brands are capitalizing.

Fig 33

The paradox is the anti-branding method that requires branding revolved mainly around the consumer or a cause rather than the brand themselves. The paradox allow brands to be built in a new and modern way, but also taking responsibility for their manufacturing policies, sourcing and ethical concerns. The internet has made brands easily dissectible and this can either lead to a brand appealing more transparent and relatable, or simply unethical and greedy. 71

A Subculture of Storytelling The customer experience is based on the interaction between an organization and a customer. ‘It is a blend of an organisation’s physical performance, the senses stimulated and emotions evoked, each intuitively measured against customer expectations across all moments of contact” Shaw (2007: P8). Pine and Gilmore (1999: P25) claim you must learn to stage a rich, compelling experience in order to establish worth in a brand and therefore value in a product. ‘’There is no value until an offering is used - experience and perception are essential to value determination.” (Vargo and Lusch 2006: P.44). This seems to be evident by the amount of organisations that are focusing on creating brand journeys to which the customer can gain an emotional connection. It is important to engineer an experience that will trigger a strong and memorable experience to also reflect the pricing strategy (Carbone 1994). The market is shifting away from product value and towards brand experiences to create the idea of ‘co-creation’ (Prahalad & Ramaswamy, 2004a: P135). It is hard to create a consumer profile for the business as the needs and preferences of the working women is constantly changing, and the dynamic-ness of the market makes it harder to define the target consumer (Lilja, 2010). Therefore co-creation is not staging experiences but creating an experiential environment within which individuals can create their own unique personalised experience (Prahalad & Ramaswamy, 2004b), with novel experiences being of key importance (Tynan and McKechnie, 2009). ’The difference between giving an example and telling a story is the addition of emotional content’’ (Annette Simmons, 2001 The story factor: 43). The brand in context will strive for high quality bespoke goods, where design is fundamental. ‘’Value for quality, not cheap, it’s the key driver in the retail world of tailoring” (Helfgott (2010) in Barrie 2011: online). The off-line tailoring experience humanises the suit shopping experience, is unique through sensory collections; fabrics, suit choices, door to door fittings. From a brand perspective, the aim will be to create a product journey from what is generally a one-way, impersonal experience.

The Age of Now is all about the mastery of emotional communication; not manipulation, but of having relationships. In the Era of New marketing, it was all about your product. In the Age of Now it’s all about the single question consumers have of you: “How will you improve my life?” Answering this is to deliver priceless value (Roberts 2011: online) 73

To summarize, by having positive connotations with the brand through a compelling and outstanding experience being established, the customer will perceive the product as high quality and therefore of high worth and value to justify spend. Fig 24

Relationship Marketing A traditional definition of the term sees relationship marketing as “establishing relationships with customers and other parties at a profit, by mutual exchange and fulfilment of promises” (Grönroos 1991: 7). With the importance of commercial sustainability growing, relationship marketing it is becoming a more important strategy. Ultimately this means that companies must move from short-term to long-term goals with relationship-building strategies (Kotler,1992). This journey of relationship building can be described as the loyalty ladder, whereby a customer begins as a prospect who moves to become the advocate, and once a trusting relationship is enforced it enables the business to negotiate better with the advocate (Moosmayer, 2013). Marketing tools are essential for perceived product quality and for satisfying customer requirements at a profit (Fill, 2010). Katherine Mills says that there should be no reservations when it comes to a bespoke service, ‘ as long as the customer is involved in all processes, feels in control and conformable with the decisions being made’ there should be no issues (Katherine Malin, Appendix 2:178). Source credibility is extremely important for consumers to trust the products, and many brands use the ‘halo effect’ of source credibility from the confidence the market has with the brand to reach out to new clients. It means they don’t have to prove the legitimacy of the product as it’s already well established. This is exactly what Melissa Jones will aim to achieve, by creating strong and lasting relationships with customers through the use of emotive brand strategies, connecting with the customer on a personal level in a niche way via the service provided.

SWO T A brand SWOT was produced to highlight the gaps in the market and current brand techniques; creating opportunities to engage with current and potential consumers of suit tailoring. The multi-factorial issues surrounding the mass marketing and recycling of clothing can be more easily represented by using a SWOT analysis:

Fig 35

Brand Identity A luxury brand always attains exclusivity and attainment, thus often ride on high quality and high price aspects. Start up luxury brands tend to focus on heritage and craftsmanship in order to showcase an element of quality which reflects the price point. ‘Melissa Jones Tailoring for Women’ will not be luxury but a highend variety. It will tap into the foundations of a luxury brand in terms of it being lifestyle focused with a strong connection to the client with emphasis on perfect fit. An example of a brand which focuses mainly on customer experiences is Burberry, who creates an emotive story behind the brand and pairs it with authenticity to appear luxurious. It is important to use age-neutral marketing to not segment or alienate an older customer, which was discovered through the advertising to women section of the report. This will prevent the patronising of certain age groups, and will connect with a wider segmentation of ‘working women’ as a unit, with catering to the mature women’s needs being at the eye of the project.

Visual Identity

Secondary research has concluded that in order to make the brand appear luxury, Melissa Jones will be personified to make the whole experience a reflection of the target audience. Melissa Jones is specifically a lifestyle brand, with the working women at the foot of everything the brand stands

for with a strong but classic brand identity. ‘Melissa Jones, Tailoring for Women’ is a brand name which represents the business as a service. A women’s name is used to reflect the nature of the business, to empower women and relate to them. Melissa embodies everything the brand aims to signify with a personal touch, she is classic, British and speaks bespoke. Name of Brand: Melissa Jones Melissa is a given name for a female child. The name comes from the Greek word μέλισσα (Melissa), “honey bee”

According to folklore, Melissa first found a honeycomb, tasted it, then mixed it with water as a beverage. She taught her companions to make the drink and eat the food, and thus the creature was named for her, and she was made its guardian.[12] From Porphyryâ&#x20AC;&#x2122;s writings, scholars have also learned that Melissa was the name of the moon goddess Artemis and the goddess who took suffering away from mothers giving birth. Souls were symbolized by bees and it was Melissa who drew souls down to be born. She was connected with the idea of a periodic regeneration. http://en.wikipedia.org/wiki/Melissa The visuals of the brand logo are classic and simple and therefore relatable. It was important to use a feminine font, and to choose a simple design and the consumer is minimal with aspirations to be innovative. This logo will make the whole brand coherent, and links all the elements of the brand together into something more than a business. This logo will be printed on the swing tags, labels, business cards, packaging and any other form of promotion.

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Values The off-line tailoring experience humanises the suit shopping practice, itâ&#x20AC;&#x2122;s unique through sensory collections, innovation and through personal experiences. The brand will be built on quality, minimalism and simplicity and fit will be at the fall front of everything. This level of neutrality should allow the assortment identify with a variety of body types, whilst appealing to a range of tastes and professions. The business will also connect with women on a personal level, being mindful of the plus size consumer and will cater for pregnancies with maternity offerings. Research will determine whether it is important create a range of fixed

shapes to make it approachable and less-daunting for a less fashion savvy customer, as is explained throughout the sample range section. In a movement towards more mindful consumption (Havas worldwide, 2013), it was important research a cross section of consumers in order to find the correct positional strategy and creative concept for Melissa Jones Tailoring.

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‘ B r a n d values and attributes are what the customers see and feel during their contact with the c o m p a n y, ‘ t h e customer s e r v i c e experience’ (Core values and brand values: business case studies 2011)

Who are we

A mission statement is a description of what the company and its employees aspire to be (thebusinesscasestudies). An outline of the brands key aims and values have been structural organise and are stated below to other clients to read about its niche attributes on the webpage. The aim of these short and snappy concepts is to create clarity with customers, emphasising transparency highlighting its contemporary image.

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It has always been, and will always be, about quality. Weâ&#x20AC;&#x2122;re passionate about the working women and our main focus is to create a suit which holds immaculate fit of the finest tailoring, made with great care with the mission of improving the lives of the women who were them. By pulling at the strings of traditional classic tailoring with the ability to personalise, we at Melissa Jones can sew in elements of wholesome British heritage with good design and thoughtful style. The suit is moulded entirely to her lifestyle, to be worn in the real world by real working women. Overall our bespoke tailoring with a touch of class as well as pragmatism forms the hallmark of our design.

We are a Service because we are committed to the working women of today with passion. Together we embrace the diversity of women and showcase a way we can each be ourselves with confidence. We are a womenâ&#x20AC;&#x2122;s guide on suiting, empowering individuals to express themselves through their working wear suit whilst remaining professional. Being fitted by a highly skilled tailor and guided by a top stylist at your convenience, either in your own home, in the workplace or be it on the road, you will get a suit that fits perfectly. Choose from a range of colours, fabrics, patterns and linings to complement you and your lifestyle, utilising and cherishing the art of female tailoring. At Melissa Jones, the combination of a perfect suit and outstanding service, is at the heart of everything we do.

Who is Mellissa Jones? She is a modern day working women to wants to project professionalism but also wants to embrace her femininity in a positive way. When we are fully engaged, we connect with, laugh with, and uplift the lives of our customers. Of course, it starts with the promise of a perfectly made suit, but our work above and beyond that, it’s really about a women to women understanding. A human connection. Aided by a good suit women can being to feel empowered, and we believe it is the start of something revolutionary.

Our showroom based in Covent Garden is a place where our customers can endure a unique experience in an environment they can feel totally comfortable in. This space allows for a sense of belonging and escape. ‘Have a break from the worries outside, and come feel sexy, sassy and powerful in a place where you can meet friends and get a glimpse of authentic craftsmanship’ we say. It’s about enjoyment at the speed of life – sometimes slow and savoured, sometimes faster. Always full of humanity

Our aesthetic ethos is the notion that through a timeless suit which reflects comfort, quality and integrity, every woman at any age can feel confident and content in what she is wearing. We can be a force for positive action â&#x20AC;&#x201C; bringing women together and creating a sense of escapism. Mellissa is a mirror of understand and empowerment from which we can inject positivity and emotion into the lifeâ&#x20AC;&#x2122;s of the career women, pairing authentic traditional-thinking with creativity and refreshing individuality. Always full of humanity

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Creative Concept From this business based research a creative concept has been determined to set a clear brand message in which all communication must follow in order to cement identity.

The essence of our customer promise: Service Vision

Creating the ultimate womenâ&#x20AC;&#x2122;s s u i t i n g experience

Brand Manifesto Melissa Jones Tailoring for Women will harness the macro trend of 2015, ‘transparency’ (KJAER 2013: online) as one of the main marketing tools. These transparent aesthetics alongside brand trust will be pushed to enforce a personal connection from which a loyal consumer base can be built. This is the idea that the brand as able to cater to the modernday quality focused consumer, pairing traditional-thinking with traditional creativity. Emphasis on empathy and empowerment will be subtly obtained as the concept mirrors the wants and needs of the working women of today. It has been debated through primary research how the business will manage expectations when offering this service, with perception of value from consumers being at the focal point of all research and outcomes. By articulating Melissa Jones’s beliefs down to a single list helps create a set of rules in which to follow which all areas of the business show follow and reflect, a valuable resource for those internally at the business and also valuable in establishing brand personality. It also helps to create brand clarity, speaking on behalf of the company. ‘An attractive brand is important, but even more crucial is putting out a cohesive message’ (The Content Strategist, 2012:online)

Brand analysis Melissa Jones Tailoring for Women will be seen as â&#x20AC;&#x2DC;accessible luxuryâ&#x20AC;&#x2122; with service at heart, and high quality clothing at the forefront. The brand is very service orientated with fully trained employees educating and inspiring customers about the products as they walk through the door. Melissa Jones will use the reputation it will create to attract customers due to the fact that they will not focus heavily on e-commerce and media advertise, ensuring that they create a positive and personal experience and appeal to the older clientele. The business will offer discounts for certain companies and alterations at a low cost for returning customers to highlight customer care and value. Staffing will consist of a couple of professional tailorâ&#x20AC;&#x2122;s and stylists with experience and knowledge suits and work wear area in order to best advice and carry the clients, ensuring they educate customers effectively. The business will also be focused on slow fashion in hand with high quality fabrics, therefore all the suits will showcase a caring brand nature, with concerns for sustainability to deliver an experiential aspect. This will result in a distinct relationship with the customer. Melissa Jones Tailoring will pride themselves on their corporate social responsibility from their recyclable packaging and authenticity through traditional tailoring techniques and style. Packaging will be discussed in the marketing strategy section of the report.

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Positioning The perceptual map (Figure 4) shows where Melissa Jones is positioned against its competitors based on the two variables; price and quality. It was found that the target consumer for Melissa Jones would shop at the brands represented on the perceptual map, with primary research states that one client shopped at ‘Whistles / Reiss / Zara – because they are on trend styles which retain a classic look’(Appendix 2:Claire:questionnaires) The perceptual map highlights the main competitors whom are positioned close to the business and identifies potential routes to position the brand. It is clear from the graph that Melissa’s products are high quality, and the USP of ‘exclusivity’ and ‘bespoke’ seems to connect with female consumers as they pay the high price for the privilege. 96

Growth strategy Ansoff’s Matrix (Figure 6) is a long-used and simple framework for structuring approaches to growth strategies and helps business’s focuses on the customer and enables a proactive approach to defining strategies. Further to this, it allows a clear view of the direction that the strategy will take an organisation by implying relevant risk through the grid Adapted from Ansoff (1957) Fig 44 - Ansoff’s Matrix 1957

A Market Penetration strategy was chosen for the following reasons: • The market for women’s suits already exists, but is small and ready to be expanded. • Melissa Jones will only sell products that have clear benefit for women and those that meet-female specific needs. • Bespoke product selection is varied– Leading towards Market Penetration. • Penetration strategies are common in high growth markets (Vandermerwe, 1990) with this area being established with great potential • A penetration strategy is also associated with attempts to increase market share in certain segments Vivienne Westwood said: “I don’t understand this desperate need to always move forward’’ (Almond, 2011)

Product

Empowering a new phase of womenâ&#x20AC;&#x2122;s tailoring dedicated to the modern women

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4 pâ&#x20AC;&#x2122;s

Product It is recognised that the brand must tap into a few key principles of slow fashion, shifting from quantity to quality with timeless and seasonless pieces that can be worn all year round by a wide range of women (Maegan Zarley Watson, Ruoh-Nan Yan, 2013). The business must be able to transpire the notion that no matter what profession youâ&#x20AC;&#x2122;re in (that requires you to wear a suit), one should not feel like this eliminates the opportunity to express ones personality. The product range (which will be later visually interpreted and demonstrated) will appeal to a wide range of body types and tastes whilst meeting any occupational uniform requirements or lifestyle requirements. For example, by changing a suit fit for comfort for those who spend their days at a desk, or specific fabrics for those more active. 100

‘By understanding the clothes that work well for you in a business and personal relationships, you can enhance both your private and professional life’. Clothing can express your serious side, your sense of humour, your creativity, and your sexual nature. What you wear can both create a positive impression and make you feel confident.’ (Toby Fischer-Mirkin, 1995 ‘Dress Code:77)

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Melissa Jones will follow the ethos of ‘form before function’. A few set shapes will be the first point of visualisation for the customer, and these set of classic suit designs will be free from flamboyancy and trend motifs and designed with a classic and neutral understanding. A range of fix shapes will make the service more approachable and less-daunting for a less creative thinking or fashion savvy customer. The sample range is the starting point to enable the customer to visualise its shape and fit, and of course potential, to then use the set shape as a basis towards her personalisation and bespoke altering’s. As Leonard-Barton (1992) explains, valuable resources can become core rigidities if they are not modified, combined with different equipment or extended for new use, such as to produce new product lines. This will be done through a number of ways such as: personalised lining, stitching, buttons, pockets, and little details such as a customer hand picking their buttons, having their initials stitched onto the cuff or having a quirky print inside the suit jacket. Inevitably this transforms the wardrobes of working women, into edible mirrors that reflect one’s personal lifestyle and gives room for self-expression. The brand will be built on quality, minimalism and simplicity, connecting with the working women on a personal level. The emotive service is inevitably the unique point of difference for the Melissa Jones Tailoring for Women Service.

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Older women in particular perceive the â&#x20AC;&#x2DC;brandâ&#x20AC;&#x2122; as the key indicator of the product quality (Auty and Elliott, 1998, p. 109). This validates that value is a vital marketing tool when targeting a maturing demographic. This audience desires fashionable, on-trend clothes as much as the younger consumer, however, good fit and quality appears more desirable to them. Therefore to stimulate brand equity the brand message and of course the final product must match their expectations (Maegan and Ruoh-Nan Yan, 2013). If expectations are not met, customer loyalty will be lost, therefore diminishing brand strength. The present idealisation of slimness and youth has had an influence also on mature womenâ&#x20AC;&#x2122;s clothing choices. They prefer flattering styles that make them look youthful and slimmer and therefore choose specific youthful cuts and shapes. Not only is the maturing market an emerging one, but one with a lot of scope and potential. It is important that the designer/stylish for the brand should see mature women as modern representative of one consumer group without any stereotypical, in order to fulfil their expectations and requirements (emarldinsight). Looking back on the original research done on the history or work wear in working environment, one can establish what is now expectable in the work place. For example are blazers a suitable substitute to a matching suit jacket? The answer Fig 47

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is yes in certain industries. This brings light into future range planning, wear we can progress to removable collars and reversible attire in order to maximise product use and justify spend, making it easy as possible for women to look good in and out of work without needing to change. It would career to a fast-paced working lifestyle for women in London and is a forthcoming proposition for this project. Our clothes do confer status in the professional world, with man-tailored pantsuits and the masculine look making some of us feel stronger and more powerful. The knowledge and confidence of knowing which collar, jackets, pants, and shirts signify specific signals can provide us with certain leverages in the workplace. Consequently from all research combined, it has been decided that the influence and understanding of a specialised stylist will help direct the customer towards, make them guide them to choose an appropriate design and cut. By ensuring they are making good choices it will justify spend and create an overall more enjoyable experience.

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Range Planning and the role of colour ‘The women in black, introverted as she might appear, are also viewed as more sophisticated than her counterpart in a vivid pink suit’(Fischer, 1995:89). Knowing the importance of colour will allow the creation of suitable colour pallet for the sample range that will fit the profile of the target consumer. For example dark colours such as black and navy project superiority and allows one to keep a low profile, however bright colours create an expectation of warmth and gregariousness. Additionally every colour has certain cultural connotations as well. For instance in the Asian culture red is used for the wedding dress which is seen as the colour of royalty, however in British society, red represents danger and rage, and on the opposite scales also represents love and passion. In terms of the consciousness of colour, it goes beyond taste. Wearing a certain colour could be due to emotional attachment to a person that also wears that particular colour, or indeed the opposite. For example one study showed that one women spent half her life rebelling against her mother, whose favourite colours were red and gold. She had no clothes of these colours in her wardrobe until the personal issues were resolved. These psychological and sociological theories must be taken in account when advice customers of colour options for linings and trims. It will be discussed later on if just options will even be available to avoid customers choose colours which are deemed as inappropriate, unfashion-able or which have positive connotations.

‘The rigidity of the fabrics suggests an inflexible temperament, and the dark colour indicates a private nature’(Ficsher, 1995:89). We subconsciously use colour to convey our moods, personality, and insecurities. Colours can lend status, to make a statement or influence others. It can stimulate, inspire or calm; create an image or power, sophistication, openness, or intellectuality. Women must know which tones work well in a given context and which work against her (Fischer, 1995: 89). Therefore knowing how to use colour will be beneficial to the business and the sample range, especially for advising consumers and helping them shop for add-on pieces will be added later to the collection. A stylist with experienc in women’s tailoring would be the best person to advice clients.

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Body Shapes ’Although the ultra-tailored ‘’menswear’’ look remains a strong component of a successful business wardrobe, it is no longer necessary for a women to dress like her male colleagues to prove she is their equal’’ (Fischer,1995: 89) In terms of tailoring for women, hour-glass shapes can be created through hip-padding and bust-padding built into the garment. Ribbons inserted in the lower back of the inside of a jacket can be pulled tight, to accentuate the arch of the back, creating a more curvaceous figure (Almond, 2011), and this again links back to the notion of role playing. Another example is those that want a new suit to signify a new career direction, goal life or personality change. Women often supress their sense of identity and discount thier own tastes and decision making ability by wanting to conform to a particular group. The designer/stylist must recognise these psychological journeys in a women’s life in order to guide her to choose a suit suitable to her current and future needs. However, the key aspect of the Melissa Jones is to convey honestly and project confidence into these women. We are not encouraging a fake persona, but embracing the client’s lifestyle and personality, helping them to projected pride and poise through the suit chosen and created a suit that embodies all aspects of her.

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Therefore to create the most appropriate range possible, it was crucial look at the body shapes of the target demographic in a contemporary nature. It was clear that generally they are of size 12+ and prefer classic shapes. Long skirts and fitted jackets are preferred over skinny trousers and quirky styling. To underpin this notion, stores that house suits for a similar age group with a similar quality purpose focusing on suits, work wear and classic pieces were visited. Asking sales advisors in store what the best sellers were helped with primarey reasearch findings. The images gathered have aided range building.

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When visited Hobbs t was discovered that: • • • • • •

Suits colours were basic – Navy/Grey/Black/Charcoal Price Range - £99-£210 for each piece A limited range of fabrics Focussed on additional pieces in order to style up the suit Statement Jackets, Pencil Skirts and Straight Leg Trousers A lot of suit dresses

From this it was taken that Melissa Jones should highlighted their consideration for a variation of fabrics and incorporate statement jackets that could spice up the suit. Suit dresses will also be added into the range.

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Reiss’s however showed less consideration towards fit and more towards style. There were shorter skirts with A-line fit as well a tight skinny leg trousers to be worn with a fitted jacket. A white skirt and black jacket combination was a highlighted for the new season rail, again with fitted suit dress’s for summer. • Classic colours were present but brighter tones were also incorporated through trousers • Prices ranged from £120-£250 for each piece • Youthful designs, with shorter skirts and skinny leg trousers • The accessories were flamboyant and stylish such as leopard print heals and statement scarfs

“As your business look evolves, make sure that it’s flexible enough to allow room for variations; no look, when adhered to rigidly, will be appropriate for every business occasion. Fortunately this doesn’t mean you must have the equivalent of a department store in your closet. Often is it the simple yet telling details of our clothing that carry the most potent messages’’. (Fischer, 1995:77) Overal, when creatingl the sample range should highlight and essence of the brand and be a representation of its clientele, reflecting the needs and wants of the working women as a lifestyle brand. The collection will embed the history and heritage of British working women in order to give a sence of journey.

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Fig 51

Trends Of course it is crucial to follow trends for any fashion based brand, however it is questioned exactly how important is it for this type of business and this customer? From visiting other stores and competitors we could see what shapes, colours and fabrics are being sold. The target customer would be spending 600+ plus on this suit, so we must make the finished product as easy to wear, timeless and contempory as possible so that the suit is an investment piece. Although neighbouring brands such a Hobbs are selling boxy jackets to highlight the androgynous trend of this season, and flannels using bold â&#x20AC;&#x2DC;on trendâ&#x20AC;&#x2122; colours such as pastel pinks and yellows this wouldnâ&#x20AC;&#x2122;t be appropriate for our business. Nonetheless to keep the brand youthful to some extent and bring a sense of excitement, reacting to elements of trending will be incorporated through adventurous linings and added trims. Shapes will gently alter yearly to keep consistency. It has also been decided that the Add-on line will be the crucial part of encompassing the trends of the moments and will include statement pieces to inject fashion, style and vibrancy. The suits will remain classic with the add-ons lines showcasing commercial seasonal pieces.

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Although the target consumer is not fashion conscious, she still wants to stay stylish to an extent, therefore it is still important to conduct trend examination. Key trending points to consider when creating the A/W 2014 are: • ‘Menswear inspiration remains a commercial hit this season with brands pushing key items such as the masculine coat and opting for boxy boyfriend-style silhouettes.’ Storm & Marie at Gallery Autumn/Winter 2014/15 (Jeanette Nkwate, WGSN, 2014) • This season’s (2015) Saville Row theme features boxy masculine shapes, trans seasonal sleeveless styles and extremely tactile textures. Referencing the shift in the 1980s when women took a more powerful office role, work wear is again moving towards an oversized look - this time with a more relaxed fit • For print, classic tartan is key, alongside block checks. But keep an eye out this season for windowpane checks • A signature style of sharp tailoring, natural confidence and sexy femininity is apparent in Stella’s collections. Her autumn/ winter 2013/14 collection is a great source of reference for this collection. 113

Look Book The following images have been sourced and researched, to demonstrate the kind of styling we would aim to pursue.

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Fabrics ‘More environmentally friendly fabrics are being used at high-street level and being applied to an increasing range of apparel products, proving that sustainability does not have to compromise style’ (Melanie park (2012) In WGSN, 2012:Online)

The fabric is probably the greatest cost in the apparel industry; consequently it can determine the cost effectiveness of a product (davo, 2012:online). It is important to show customers set fabrics options which to choose from which have been carefully selected based o durability, quality and price. The business will have a fabric swatch booklet which will hold all 10 samples of fabrics which to show all clients and additional details will be written next to each swatch for added information such as sourcing, durability and price. To analyse, by the customer seeing a fabric sample they can more easily visualise the suit to spur on creative thinking and therefore help justify spend. The stylist will push the correct fabrics choices for each client after getting to know the client as it is out job to educate and guide the customer, but in order to remain transparent, honest and to create that customer journey experience the client must feel totally involved and connected with the creation of their suit. The business shows appreciation to current global movements and appeals to the needs of the modern consumer, and so it also important to have ethical and sustainable consideration to the suit fabrics, will special attention to sourcing raw materials (hugoboss anualreport, 2011:online). Fabric supply will derive from eastern Europe and will be further discussed in the ‘Manufacturing’ section of the disseration, and in the business plan.

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Fig 52

The range will cater to a wide variety of customers for example: • Worsted fabrics for heavy duty work, ideal for lawyers and legal professions who need to look smart everyday but need extra durability • Country Tweed, ideal for outta wear • Lightweight fabric for spring & summer, from mini, sikci and siuper fine woollen material • Heavyweight fabric for autumn an winter wear, such as woollen materials and height weigh tweed • Everyday suit wear will be from a choice of Cotton and Polyester Combinations, such as Cotton with a Satin Finish and Polyester combined viscose and Lycra and Pinstripe Cotton. • Flat Corduroy • Linin

"As the quality of fabrics used to make some mass market suits gets worse the role of the interlining becomes ever more crucial. New on the market is the 'colour-up' visible interlining" (Jones (2011) in Barrie, 2011: online).

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Add Ons "Sure, it's about jackets, blouses, pants, etc., but if there isn't some slight quirk, it doesn't feel special. There's got to be some personal expression." (Sue Kroll ( 2013) In ginsber 2013:online) An Ad-on collection will be key in bridging the gap between a formal work suit and a stylish outfit which can also be worn socially. Bags and Accessories add a twist to a classic suit and gives room for personalisation and self expression, if not already done through the bespoke suit. Work requirements might restrict the addition of quirky linings and unique stitching, and primary research demonstrated a lack of this detailing in the ready to wear market, so this is an alternative option to bring style and fashion to the outfit. The mission statement for the Add-ons’ –

‘Our distinctive selection of luxurious, classic, stylish and sophisticated shirts, scarfs, bags and many more by professional designers aims to reflect one’s personality and unique style.’ Adopting the latest trend in street fashion make us feel vibrant and energetic but might say to others that we’re trying to deny the inevitability of aging (Fischer, 1995:88). Our clothes can confer status in the professional world, with man-tailored pantsuits and the masculine look making some of us feel stronger and more powerful. Knowing which collar, jackets, pants, and shirts signal authority and which denote powerlessness can provide us with certain leverage in the workplace. The business will keep its prestigious character by having a small/medium choice of addons at premium price by select designers who reflect the same quality level and principles. The owner of the business will source appropriate freelance and up and coming designer, 124

and smaller boutique collections to adopt a sale and return offering. Borrowing stock from other niche retailers will also be considered. Working with up and coming designers, shows consideration towards fashion trends by likeminded brands that also aim to empower women and reflect classic hand-made qualities. This will unpin the business’s entire personality, branding and ethos. The range will be a great example of well fitting shirts, great shaped business bags, scarfs, coats and tasteful jewellery for a fresh and youthful look. A select few pieces will be chosen for the customer by hand and be shown to them at the final fitting. This way certain items can be chosen that would fit the profile of the customer and fit their lifestyle, as well as complementing their bespoke suit, showing the client how it can be fashioned. Clients will be told they can either buy through the business or by contacting designs directly, however given the customers working lifestyle and quest for speed it is thought that going through the business would be most convenient. ‘’A bespoke service is only interesting if you have something to offer other then a well fitting suit.’’ (John Llewellyn in Appendix 2: questionnaires) Additionally the service will not begin to steer towards an e-commerce representation but will continue to stay personal and niche. However it with e-commerce booming it help the company gain recognition and is a profitable platform, with 90% of those with internet connections say they have bought something in the last year (Mintel, 2011). Furthermore the rise of e-commerce is still in the early stages of development and it will gain share of all retail spending over the next few years whatever happens to the economy, showing great potential for an online status (King, 2013:online). Consequently it has been decided that customers must use a membership log in to be able to shop for additional pieces on the website. This means that only current customers of the business will be able to buy the ranges through the business which ease and ad convenience, highlighting loyalty.

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Packaging

The packaging is significantly influential to the success of a brand (Dr. Chaneta 1996:19). Repurposed packaging can tick the eco/ethical box by demonstrating â&#x20AC;&#x2DC;waste not, want notâ&#x20AC;&#x2122; culture (Stylus 2013:online). The design will match that of the brand identity and be easily recognisable. The concept of the packaging will delivery a sense of gifting that underpins a slow paced production journey. Clean labelling will be used to suggest product purity and creates instant shelf appeal in crowded retail environments (Stylus 4, 2013). A limited palette is simple approach that creates a striking visual impact, and a classic theme will be visually appealing to trail buyers, and personal touches will highlight consumer touch points. A personal note to each customer will humanise the brand offering and finalise the whole experience as a positive interaction and memorable experience with an emotive response. It enhances the relationship with the customer and adds a small element of surprise and luxury, really showing the customer we care. The suits will be packaged as shown below:

Fig 54

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The element of surprise The element of surprise an effective marketing tool used to generate word of mouth and consumer happiness. The main aim of a surprise aspect is to lead to wider exposure and create strong relationships with the consumer through an emotive experience. Surprise can be achieve from guerrilla marketing for these personal bonds. The personal note given to the customer in the packaging of the suit will be the element of surprise, as well as receive their bespoke suit of course. Although the business is manufacturing-oriented and product-focused, in this new economy business must strive towards a world of services that change customer relationships. In an economy where loyalty is integral to the longevity of a brand, businesses need to rethink their fundamental goal â&#x20AC;&#x201C; from building products and finding buyers to finding customs to a service continuously. Furthermore with consumers being exposed to adverts and a multitude of media 247 consumers are becoming tired of predictable branding, and therefore are embracing companies that capitalise on anticipation and surprise. It is important to stay clear, honest and obtain clarity, with the product upholding a personal touch not just through its bespoke elements but through the company showing they truly care about the consumer. Humanisation is the key, with a solid tone of voice and a connection running through every channel.

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Fig 55

Promotion

Marketing Techniques for the target consumer: The marketing tools are essential to market the product effectively and satisfying customer requirements at a profit (Fill, 2010). The business will use a ‘pull’ promotion strategy to attract these women; however the importance of heritage and British provenance must be further researched. Sales Promotion is a below-the-line, tactical form of promotion and is part of the pull strategy. “The supplementary selling activity co-ordinates personal selling and advertising into an effective persuasive force” (Engel et al, 2011) The theory states that promotions can influence the buyer’s decisions when purchasing products. Taking this into account, sales promotion is important and will be a suitable tool. The brand will use an introductory offer in order to attract impulse buyers and trail buyers. This conative tactic affects the consumer’s behaviour and gives them an extra push in influencing them to purchase a suit.

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The introductory offer will potentially influence in sales short term sales which will lift the brand in the market and help it become established. It will also create a ‘halo effect’ to generate a word of mouth strategy. Also with consumers feeling they are getting a good deal it will increase the usage of trial buyers and hopefully repeat purchasers.

‘Involvement is critical to successful marketing communications. The reason that personal selling and word of mouth are more effective than advertising and publicity is thought to be due to their higher personal involvement level’ (Yeshin (2006) in Dennis A et Al,2006) It is important to keep the brand exclusive, and so it is vital not to devalue the suits with any untasteful promotional offers, such proposals of buy one get one free for example which are inappropriate and would not ensure at loyal consumer base. A common approach used by other competitors such as Paul Smith, Reeses and Thomas Pink is the use of reduced delivery offers ad free returns, as a key incentive to buy. Thomas Pink: Gift Wrap, Free express delivery off peak times and Seasonal Sales. Reiss’s: Sign up Trend News, Reduced Delivery Price and free returns via voucher code. Paul Smith: money off shipping with promotional code, E-vouchers for others. Melissa Jones will use a clear and honest offer which emphasizes class and high quality. 10% off the first suit bought, and for company employees 10% always with pay slip.

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Another type of pull strategy that will engage the customer and create a situation which clients can be emotionally responsive too is the idea to advertise in high footfall transport places such as train stations. With many working women travelling into London everyday, the opportunistic strategy is to promote the business in the main London train stations such as St Pancreas, Liverpool Street, Charing Cross and London Bridge. Research determines that the working women genuinely travels, and this approach delivers huge potential to not only advertise the business but approach customers directly. More specifically the tactic will be to have a group of 3, professional and approachable older women from ages 25-50 standing in the stations dressed in the suits made by the company. This is almost a self promotion tactic and will display the products in a subtle and professional way. This type of direct marketing is used as a complementary tool for other marketing activities (Shaw and Stone, 1990). They will give out leaflets and business cards and approach females who look like they have time to talk, for example sitting in coffee shops or grabbing lunch. Itâ&#x20AC;&#x2122;s a resourceful tactic that reaches out to the target market with precision to assert the lifestyle aesthetic of the brand. Using only a pull promotion strategy will stop any cluttered brand messages and make the principles of the brand appear stronger to therefore to intensify perceived product value. This has to be translated all the way through from the visual identity to the profileraising tactics used.

Fig 56+57

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In the work place As Melissa Jones aims to appeal to todays working women, it makes sense to make use of all the opportunities and platforms to reach out to them. Promoting within businessâ&#x20AC;&#x2122;s and offices is platform with huge potential to gain a regular and steady client base from the start. The company will reach out to appropriate business environments in which to present a formal presentation to managers and other employers (if possible) to tell them about the service. Business cards and leaflets will be available and contact details given out at every opportunity. Internal emails will also be sent around if one to one access is not an option, telling employees about the service. The introductory offer will be advertised and discounts for business will be an option to consider, similar to brands such as Hawes and Curtis, the business will offer 10% off with the proof of a payslip from the company. However it is important to avoid become a commercial work uniform company and to say refined, otherwise the business could drift away from its core marketing principles of being superior and classic with high quality products, by appearing mainstream and less concerned with value.

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Magazine advertisement The choice of media is essential in all kind of marketing, and mature women have their most-favoured media. Newspapers and brand catalogues reach the mature women better than fashion magazines. The use of older models is a growing trend that has permeated most sectors, except fashion. Fashion houses and magazines as well as high street stores have failed to utilise mature models to any great degree. Marie Claire reaches 2.2 million women via its 11 brand platforms (IPC media, 2012: online) with ethical principles. Marie Claire targets a midmarket demographic of women whose lifestyles, careers, attitudes and priorities have evolved with the faced moving world around them. With added pressure for women to multitask (Daily mail 2011: online) the advertising will showcase the brand as a positive lifestyle addition, re-building a foundation of confidence and self-esteem for a working women (Shelley-Ann Brown (2010) in dove 2011: online). It has been recognised that not all of the primary audience may not be exposed to Maria Claire; therefore other magazines careering to an older marker will also be crucial. Another platform to advertise in would be the Telegraph, published in London and distributed throughout the United Kingdom and internationally. It Its Business supplements. section would perfect for Melissa Jones to advertise the business in a professionaal and mature way. It would give the brand a automatic status in the professional buisness world.

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‘Information collected at company/product websites has become the most influential touch point for purchase decisions’ (Omega Healthcare Investors, 2013). A beneficial tool for all business’s is a website. It has a global presence and a 24/7 opening, and is a key promotional tool which can reach out to an endless array of consumers at a reduced cost. Other benefits of e-commerce include increased sales and profile, choice and comparison and improved customer information. As a result, the website will allow customers to seek additional service information and it will advertise itself as a flexible, coherent and reliable service with excellent products. In general, 25% of garments purchased online are returned, with 75% of those being because the clothes didn’t fit (googleanlytics 2014:online). Due to these statistics as well as other factors such as the personal and experiential aspects of the brand being lost, no suits will be sold online. It is considered that in the future ‘Add on’ lines and accessories will be sold via e-commerce but the business is in no position to make that choice until fully established.

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It has been questioned whether the website will have a â&#x20AC;&#x2DC;product and service reviewâ&#x20AC;&#x2122; section in order to keep the company open and transparent. This is a powerful method which instigates a direct response from customers to modernise and educate the customer and will can also establish connectivity (Fill, 2010). The website will also have a page dedicated to the sourcing of materials and honest information, inspired buy the website of HonestBy to prove legitimacy and morality. Finally videos of the suit being made in-house and women being fitted and measured will be shown on the website for a more interactive experience and to provide visual information to avoid any misconceptions. The video will highlight a personal journey, excellent craftsmanship, professionalism and a sense of innovation and authenticity. Social networking sites attract millions of users every single day (Big Communications, 2012: online), however with the target market being an older demographic, the amount of interactivity they have with social media sites compared to youths is a lot lower. In order to appear high end, classic and niche, Melissa Jones will stay away from generalised promotion strategies and seek a more in-depth and personal relationship with the client, with word of mouth strategies being the most influential. An extensive amount of e-commerce is not suitable as it lacks the interaction needed with a lack of engagement and instant gratification, which is especially important for this brand

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Loyalty scheme With the biggest concern for the target client being their ever changing bodies, it is important to offer an alteration service which by the customer can revisit the company to get the ir suit changed, altered or re-fitted. This add’s everlasting value by adapting to the female lifestyle and catering for weight gain and pregnancy. It also shows that the company is willing to mould to fit the needs of the mature women. The incentive will be ‘cheaper or reduced priced’ alternations to give current customers a reason to stay loyal. It’s also considered that clients on file will have an easy journey when revisiting the company to get a suit altered or have a new suit fitted by offering free re-measurements. Moreover, consumer spending will be monitored through a computer system which will allow the segmentation of the market in order to identify which age group and occupation purchases which type of fabric, colour and shape from the sample range the most frequently. This statistical method means in the future Melissa Jones can target specific products to certain demographics to spped up business growth.

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fig 58

Looking at competition, many brands are choosing to either have a large complex sample range or an over-simplified one. This causes issues around women either not being able to find what they are looking for, not knowing what to buy or not having enough choice. By focussing on customer service and customer experience in a niche way, women get clear advice on which suits and work wear garments to buy and invest in, and through relationship building will be offered products to compliment them. This modern approach to tailoring avoids the need to over-simplify or complicate its range whilst still making it easy for women to get what they need. Hopefully after implementing the loyalty scheme and other online customer profiles the business will be able to get to know their clients, targetting specific items to them and supportting their desires. An issue with this strategy in terms of competitors is the ease of which they could imitate the process and offer a similar service. However, the expertise that Melissa Jones will develop, portray and uphold will develop the companyâ&#x20AC;&#x2122;s reputation. This means they have will be enough to set them apart with regards to current and loyal customers to create a foothold in the market by the time the competitors begin to follow suit.

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As a society we are being suffocated by multi-channel branding and fast passed retail. The recession has caused brands to lower prices and through globalisation, the mass production of apparel has become an ever growing and profitable industry (Mintel, 2010) with fashion becoming one of the most unsustainable industries to date. As a result this caused a number of issues that consumers are emotionally responsive to; the health of our planet, workers welfare, new fashion communities and longer lasting products. The contemporary consumer of today is more connected, engaged, price aware and understanding of market dynamics making them harder to please and difficult to fool. Moreover consumers will likely stick with the one or two retailers that they know will fit them (Mintel 2012, ‘Womens fashion Lifestyle’s:online). In terms of current pricings, a suit produced for a man on Saville row by tailors Grieves & Hawkes costs between £1200 and £1400. There are however many small tailoring businesses throughout the UK who produce bespoke work wear at more affordable prices, such as Raymond Andrews – Gents Bespoke Tailors in Leeds, advertising three piece bespoke suits at £400 in 2010. Referring back to Porters ‘stuck in the middle strategy’ (Porter, 1985: 12), it is important for Melissa Jones to retain value. This value is often shown to customers via price points; therefore it is important the image match the cost and visa versa. The business aims to project a responsible ethos, so it is important not to portray a ‘too good to be true’ notion which is often reflected through the pricing strategies of brands. The company will use high quality fabrics along with excellent fit and service, selling at a high price point. Nonetheless, it is important to show the customers why they should buy from Melissa Jones and not another bespoke tailors or designers. The patron for Melissa Jones does not necessarily care about designer labels; she cares about good fit, good quality with the advantage of style. She wants to feel good in her work attire and is therefore willing to pay for an investment outfit which suits her lifestyle and doesn’t compromise fashion. Price competition is not necessary as the brand aims to attract the client in other ways. From primary research the main price point chosen was ‘£10003000’ (See Apenndix 2). Therefore the samples will range from the cheapest being £600 and most expensive £’3000’. The price is dependant on fabrics and cuts. Service charge will be added to the price but shown as a set fee.The area of meeting target margins are considered in the business plan attached.

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“Experiential retail is ‘a strategy that transforms products and services into a total consumption experience, including aspects that are both utilitarian and hedonic”(KimYK et al 2007:6)

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Showroom In the retail industry the consumersâ&#x20AC;&#x2122; perception of the brand is considered to be closely related to the store image construction (Morschett et al., 2005), and the retail environment can be the main influential factor towards the clients positive brands perceptions. Studies on general brand loyalty show that high involvement is a sign of a strong emotional link to the brand concerned, a key concern for this lifestyle brand (Maegan Zarley Watson et al, 2013:141 â&#x20AC;&#x201C; 159). This is extremely important and it tells us that a retail environment should generate positive memory creation which the client can look back on and use as value perception. Many retailers have sought different advantages of the 4 pâ&#x20AC;&#x2122;s, but store environment has been sited as a competitive edge for market differentiation (Baker et al., 1994). Through researching the importance of experiential retail and store environments it has been decided that a showroom will be a crucial counterpoint for success. By doing this the brand can demonstrate visual consistency and gives the service a base in which to establish itself. The showroom will hang up some of the best suits as a form of advertising and clients can be fitted here by the in house tailor. The showroom will provide a home for the brands key principles, with authentic wall hangings and a traditional craftsmanship aesthetic that focuses on fit, i will establish value in the mind of the consumer. The overall feel of the store will be a welcoming environment from which consumers gage a memorable experience and showcase the brands persona.

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Visual Consistency The physical appearance of the small unit will be a knockon effect to its success as it needs to be an experience that couldn't be replicated at home, visually representing everything the entire brand wishes to encompass. Melissa Jonesâ&#x20AC;&#x2122;s Tailoring for Women will use emotional branding to create a journey and take a stand for something beyond selling product (Richman (2011) in janlgordon, 2012: online). This refers back to the psychology of dress, looking at how women create a biography through their clothing, throwing out clothing that retains â&#x20AC;&#x2DC;bad memoriesâ&#x20AC;&#x2122; and keeping or collecting items that have positive connotations. Giddens (1991:12) suggests that the construction of these personal narratives enables individuals to establish stability in their identities. Regarding this, the business must connect with women on a personal level to found positive feelings towards purchasing work wear. This eliminates any previous negative implications with the act, such as issues with fit and anxiety with knowing what to buy or what is appropriate.

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Similar to the process of clearing out your wardrobe, purchasing a suit of great quality and personal worth involves clear chronological progression with a clearly terminated past, a present and an aspire-to future (Giddens 1991:12). The present will refer to the suit they are purchasing and in the future they may wish to freshen their look with an additional suit and addonâ&#x20AC;&#x2122;s. The whole process is emotive and allows the customer to make sense of their current identity. This type of emotional engagement is an important part of memory creation, with brand authenticity providing general underpinning to effectively highlight trust within the business. Consumer touch points will be the focal point of the business in order to establish connectivity. The store presents new opportunities for visual merchandising to become a translation technique. This sensory branding element and series of interconnections builds a brand signature, and customers will register these sensory elements as types of positive sensory stimuli. The store will go for a clean aesthetic with craftsmanship attributes. Wealth and innovation will be portrayed through clinical interiors however the use of hand stitching will be showcased using natural materials such as wood and stone for the interiors. Full visualisation to where the suits are lined and personalised will highly transparency and show reliability. The showroom will be modern and stylish, yet with a natural, simple and handcrafted feel which reflects the brand attributes.

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By place we are referring to both the positioning of the business and manufacture. Firstly we must decide where to situate the showroom. The positioning of the business overall will be around the London/Kent area. This is clearly due to the high level of employment and rate of pay. After careful consideration 2 areas where researched in depth, Convent Garden and Liverpool Street. The final place of outcome has let me be established due to the high amount of research need for cost and footfall. Liverpoole Street Benefits • Business district therefore high footfall of target customer • Show professionalism, authority and tradition Weaknesses • May be in a rush with no time to talk • Showroom with be slightly out of site Covent Garden Benefits • More of social environment so people there have time to shop, get fitted and browse in the showroom. Weaknesses • Being a social area does detract from the main purpose of the buisness travelling to the customers convience.

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Fig 59

Launch A low cost technique will be used to launch the business and this type of marketing will allow to for money to go into the business to increase future profit. The brand message must be consistent and word of mouth techiques will be used for a personalised approach. Pop up stalls are a considertation to be located around areas such as Convent Garden, Richmond and Hammersmith because social areas allow people to browse and learn about the company in a relaxed manor. This short term exposure acts as a stimulating advertising technique and it also creates an â&#x20AC;&#x2DC;opportunity gapâ&#x20AC;&#x2122; to branch out to new clientele. Female employees will be actively involved in promoting the suits by wearing them, and the tailor in residence will use the opportunity to showcase her specalised teqhniques. The inâ&#x20AC;&#x201D;house tailor will be female so she is relatable, making the customer feel as conformatable as possible and again relfect womens needs. During promotion, people will be encoraged to sign up to become and member and be added to a mailing list. Business connections can be made with an opportunity to distribute business cards and explain the growth to potentail patrons, with this strategy allowing future contact with consumers in order to develop long term relationships. There will also be a launch event at the showroom. It will be a small venue so spacing must be considered. Here people can get fitted, see the sample range and a few ready to wear lines. There will be a formal presentation about the core principles of the brand and a photographer will take pictures wof women being fitted in the suits to then use as images for the website and other social media platforms. Consent will be attained. The event will be relaxed, classy and not too fashion based so that we can attract the right consumer and make her feel comfortable.

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It is important to embed accountability by showing consideration for slow fashion, whether it’s through the luxury of bespoke elements, perfect fit, more sustainable fabrics or the ‘Made in Britain’ label. For a price conscious consumer these elements help justify spend, with perceived value being crucial. There are 3 options that have been considered in terms of where and how the suits will be manufactured. The cost and benefits have been weighed up accordingly. 1. India/China Benefits: Cheaper Costs: Longer Lead Times, Potentially Lower Quality, Difficult Communication Initially in 2005 moving production to China did have many initial advantages, especially in low cost labour, responding quickly and with high flexibility, but this has begun to change. Whereas China was exporting 75% if its products to the EU, US and Japan. That has now plunged to 30% (Barrie 2011:online). This is because Chinese consumers have become more aspirational with ‘’Combined with domestic production rising to meet their spiralling freight costs needs and driving up-front payments to secure production space. This in and fluctuations in global turn has given rise to quality issues as economies, any company production is outsources to anonymous, still operating off store inferior factories with brands losing would be well advised to control of the process. With technology consider the alternatives’’ and automotive industries rising up the (Calotier in Barrie ‘just style’ 2011: pecking order less people want to work with garment manufacture, causing online) wages to rise. Even countries such as Bangladesh are seeing labour shortages, contributing to an 87% jump in labour costs (Barrie 2011:online). 150

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1. UK Benefits: High level of trust, value and authenticity, Shorted Lead Times, Ability to make quick changes, British prominence, heritage and craftsmanship is infused to build a sense of social responsibility, perceive value is higher. Costs: Much more expensive and suits would have to be double current price to make profit. Manufacturing in the UK where there is better equipment, the allure of shorted leads times, higher quality products, transparent in the supplychain and the kudos of a â&#x20AC;&#x2DC;made in Englandâ&#x20AC;&#x2122; label drive this ambition and is a key aspect which to consider. Especially after the recent horsemeat scandal, the UK the food industry has again influenced the fashion industry to investigate where their products are coming from (Mintel, making fashion more transparent 2013). â&#x20AC;&#x2DC;There has already been growing interest among retailers in producing some of their garments in the UK to deal with issues of short lead times as consumers demand more regularly updated collections. A clothing manufacturer that supplies retailers including George at Asda, Matalan and Primark opened a factory in Leicester in May 2013, which will allow it to make 152

some of their items in the UK.â&#x20AC;&#x2122; However, from secondary research it has been discovered that British shoppers tend to be less concerned about where products are made and tend not to look at the labels of garments. If the business were to manufacture in China, the factory will have the set sample shapes, designs, colours and fabrics on file (which are shown in the sample range section), and so emailing over these details as well as specific measurements will be an easy procedure. In terms of UK manufacture, once the sample suit is created it will be shipped over to the UK where the in-house designer/tailor will make alter the garment. This is where the majority of personalisation will be done, for example linings, pockets, buttons, initials stitched on the cuff etc. This also gives time for the customer to try on the suit before it is finished to make sure itâ&#x20AC;&#x2122;s perfect and create a visualisation opportunity before the suit is finalised. It will appear to the customer that the suit is being UK manufactured which will add perceived value to the business, and helps to sew in elements of craftsmanship and traditional tailoring to project something beyond a product. It also allows for a customer journey and experience, an important part of positive memory creation allowing them to feel positive and minimise concerns of the item not fitting or any other brand prejudice such a green washing or untrustworthy manufacture. Research shows there is scope to highlight in-house production. The business will provide more information than competitors on the origins and ethics of the garment via the website to constructively highlight transparency, and the illustration of technique will continue in the London showroom.

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The overseas company chosen and resourced to make the suits is the Romanian company ‘DAVO’. They are a quality focused family-run enterprise who offer integrated services for the clothing industry to world-wide spread companies. Originally the company centered on the production of ready-made clothes, such as jackets, coats, trousers, skirts, blouses, etc. In 1998 they extended into a large factory and now the production capacity is approximately 60.000 pieces/month. An important percentage of this capacity is dedicated to the CM (cut & make) and CMT (cut, make & trim) production for prestigious European brands activating in this specific field of tailored garments for corporations such as: • Sonia Rykiel, Etam, Camaïeu • Kenzo, Stefanel, French Connection UK • Nicole Farhi, Top Shop, River Island • Louis Civit, Gläser, Miss Selfridge This manufacturing company was chosen due to its quality focused nature and experience in work wear garments such as jackets, shirts and suits, orientating towards small and medium series with highlevel quality standards, samples and prototype, kind of production. The Company Using the latest technology (AutoCAD Gerber System) the company provides accurate patterns, grading, efficient markers and detailed product’s specifications, highly proficient in a wide range of outwear, men’s and women’s ready to wear, children’s, plus sizes and luxury wear. These CAD tools can generate, edit and maintain an inventory of patterns for businesses. The company have a monthly capacity of approximately 500-700 pieces, and can also manufacture small production in their own workshop. The company provide salesman samples with minimum quantity of one piece per model also. In terms of pattern making, the latest versions of software are used (AccuMark Explorer) allow designing patterns for all type of garments according to the brands requirements. Once the pattern is approved for style and fit, necessary additional sizes are created. Melissa Jones can give DAVO the grading specifications and provide them with paper patterns to be digitized. The company also help businesses by assisting them in establishing grade rules suitable for your targeted market, and also offer to grade the pattern that they create themselves for clients. These aspects make the company appealing and helpful for small businesses like Melissa Jones. The company retain a high quality focus and the quality control starts from checking the raw materials for flaws, and ends with the pre-shipment final control. Additional inline checks are also made throughout the production process: from cutting, sewing and trimming to ironing and packaging. Finally the company’s quality control specialists are highly qualified with a lot of 154

experience. Emailing the company was the best way to gain some extra detail about the service. This compy of the email is below: Dear Hannah and Melissa, Thank you for the interest you showed in our company.

Fig 62

As you sow on our web site, we can offer services like pattern making, grading, prototyping. We can produce a sample starting on a sketch or a picture with measurements details. After your approval we do the grading for additional sizes and if you need we can send the size samples. We work with fabrics send by clients but we can provide trimmings from Romanian or foreign suppliers. In our factory we are producing the small quantities, that starts from 50 pieces / style. We produce about 500-700 pieces / month. If we recive bigger orders or articles that needs technologies that we don`t have, we work with diffrent factory of our subcontractors network. This orders are manage and supervise by us. The lead time is about 6-8 weeks, depending on the quantity and the complexity of the styles. In order to sent you an offer , please send to us a sketch or a photo, quantity/ style, colors/ orders and any details you consider necessary. Best regards Mihaela Grintescu DAVO CLOTHING EU

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Conclusion Throughout this project, the mission from the start, both from a personal perspective and business investment perspective, was to create something niche that felt human in a world of fast fashion and digital. The purpose of this research was to formulate a full functioning and realistic business idea that could be implemented after University. The business aim was to create the ultimate suiting experience for women, focussing heavily on a high quality consumer experience. In reviewing the whole project, before answering the research question, the major premise was to understand the wants and needs of the working women. For determining this the current lifestyle habits of these people were identified, and they are as follows: 1. They regard shopping for suits as an unenjoyable pastime. 2. They don’t feel they can inject individuality or a creative fashion style into a classic work suit. 3. No confidence in shopping for suit, and don’t know what to buy. 4. They are fed up badly fitting suits and feel there is a lack of options for an older women. 5. They feel there is a lack of choice in almost every aspect of suiting (fabrics, fit, shape, colour and brand) 6. Quest for speed, don’t have time to get fitted by a tailor. 4. They are significantly influenced by youthful looks, 5. They tend to be attracted by a brand name, with good quality playing an important role in the communication with them. 6. They still have a good relationship with traditional methods and media, with word of mouth tactics, face to face interaction and customer care being the most important brand aspects. The brand is passionate about the working women and strives to embrace the diversity of women. Melissa Jones is essentially a women’s guide to suiting with a service that aims to equip her with everything she needs, from a highly skilled tailor to a stylist that projects confidence and excitement into the client. It starts with the promise of a perfectly made suit, but the brand goes beyond that and focusses on a female to female understanding. Aided by a good suit women can begin to feel empowered. By pulling at the strings of Fig 63

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traditional classic tailoring with the ability to personalise, the business sews in elements of wholesome British authenticity with good design and thoughtful style. Essentially, bespoke tailoring with a touch of class as well as pragmatism forms the hallmark of all design in the company. It is felt that Melissa jones successfully blends traditional and humanised elements to create a brand that connects with consumers at every touch point, pairing authentic traditional-thinking with innovation and individuality. Is it a market penetration technique, aiming to show consideration for a new economy, a new way of shopping and modern interpretation of female tailoring. Taking the core trends of the future retail market, whilst keeping in touch with traditional British elements and authentic tailoring, the concept is built with the future in mind; looking at the evolution of commodities and changing behaviour of the working women for a timely interpretation (Issu 2014, ‘implementation report’:online). The aesthetic ethos is the notion that through a timeless suit which reflects comfort, quality and integrity, every woman at any age can feel confident and content in what she is wearing to work. This translates as a force for positive action – bringing women together and creating a sense of escapism. Melissa Jones is a mirror of understand and enablement from which we have the power to inject positivity into the modern day career women. It’s about enjoyment at the speed of life – sometimes slow and savoured, sometimes faster. and always full of humanity. Understandingly the service may not have a worldwide and mass market appeal, however what it lacks in scale it makes up by being a brand with passion, dedication and integrity which will be driven by a loyal client base through niche market penetration. It will appeal to women searching for suits of immaculate fit, that struggle to find time to shop for work wear around their busy schedulel; moreover the add on lines will bridge the gap between smart and casual in the office. In a saturated market, Melissa Jones will make an impact and a difference in each customer’s life.

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(Tatzel, (1982) in Watson 2013) (emarldinsight) (Mintel 2000) (Jones, 1999) (Jones, 1999:online) (Author Stream, 2011) (Mintel 1, 2009) (KimYK et al 2007:6) (Richman (2011) in janlgordon, 2012: Online) Giddens (1991:12) (Mintel 2009) (KJAER.A 2013: online) (Mintel, 2010) (Parsons 2012: Online) (Chandaria 2012, Kantar Word Panel) (Mintel, 2009. ‘Value Clothing Retailing’ :online) (Clark, WGSN: 2012) (Maegan Zarley Watson, 2013) (Maegan Zarley Watson, 2013) (Maegan Zarley Watson, 2013) (Maegan Zarley Watson, 2013) (Clark 2011, WGSN) (Charbonneau 2008) (Harrison 2005:22) (Mintel 1, 2009 ‘Ethical clothing-UK’) (Plank, WGSN 2012) (SCHARWATH, K, 2012) (SCHARWATH, K, 2012) (Tarrant, N. 1994) (Spink 2010) (Tarrant, N. 1994) (Grieves & Hawkes) (Harris, 1998 p.21) (Alvanon, 2014: online) (Harris (1998), p–26) (Tarrant, N. 1994) (Natalie T. Wood, 2012:394) (Natalie T. Wood, 2012:394) (Natalie T. Wood:395) (Natalie T. Wood:44) (Bollen,.A, Emes,.C 2008) (De Chernatony & McDonald, 1998: 22) (Hoeffler & Keller’ 2003: 421) (Carnevale et al, 2014) (Ghodeswar, 2008: 4) (Brandt and Johnson, 1997) (Porter, 1985: 12) (Johnson et al, 2006) (Cataldi 2010)

(Harkin, 2011: 10) (Scheinman (2001) in Harkin 2011:198) (Harkin 2011:172) (Shaw 2007: P8) (Pine and Gilmore 1999: P25) (Vargo and Lusch 2006: 44) (Carbone 1994) (Prahalad & Ramaswamy, 2004: 135) (Lilja, 2010) (Prahalad & Ramaswamy, 2004b) (Tynan and McKechnie, 2009) (Annette Simmons, 2001 The story factor: 43) (Helfgott (2010) in Barrie 2011: online). (Roberts 2011: online) (Grönroos 1991: 7) (Kotler,1992) (Moosmayer, 2013) (Fill, 2010) (Havas worldwide, 2013) (Core values and brand values: business case studies 2011) (thebusinesscasestudies, 2011) (KJAER 2013: online) (The Content Strategist, 2012:online) Appendix 1, 2014, ‘Claire questionnaire’) (Maegan Zarley Watson Ruoh-Nan Yan, 2013) (Toby Fischer-Mirkin, 1995:77) ( Leonard-Barton 1992) (Auty and Elliott, 1998, p. 109) Maegan and Ruoh-Nan Yan, 2013) (emarldinsight) (Fischer, 1995:89) (Fischer, 1995:89) (Fischer, 1995:89) (Almond, 2011) (Fischer, 1995:77) (Jeanette Nkwate, WGSN, 2014) (Melanie park (2012) In WGSN, 2012:Online) (Melanie park (2012) In WGSN, 2012:Online) (Davo.com) (Hugoboss annual report, 2011:online) (Jones (2011) in Barrie, 2011: online) (Sue Kroll ( 2013) In ginsber 2013:online) (Fischer, 1995:88) (John Llewellyn in Appendix 2: questionnaires) (Dr. Chaneta 1996:19)

(Stylus 2013) (Stylus 2013) (Fill, 2010) (Engel et al) (Yeshin, 2006) (Shaw and Stone, 1990) (IPC media, 2012: online) (Daily mail 2011: online) (Shelley-Ann Brown (2010) in dove 2011: online) (Omega Healthcare Investors, 2013) (googleanlytics) (Fill 2010) (Big Communications, 2012: online) (Mintel, 2010) (Mintel 2012) (Porter, 1985: 12) (KimYK et al 2007:6) (Morschett et al., 2005) (Maegan Zarley Watson, Ruoh-Nan 2013, Vol. 17 Iss: 2, pp.141 – 159) (Baker et al., 1994) (Richman (2011) in janlgordon, 2012: online) Giddens (1991:12) (Giddens 1991:12) (Barrie 2011:online) (Calotier in Barrie ‘just style’ 2011: online) (Mintel, making fashion more transparent 2013)

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Figure referencing Fig 1 Tumblr (2013) Anon. Available online at: http://www.tumblr.com/tagged/women-in-suits Fig 2: White shirts implementation report [online] Available at: http://issuu.com/tale-m/docs/ implementation_single_pages FIg3: Newton’s (1960) Yves Saint Laurent’s classic ‘Le Smoking’ look [photograph] Fig 4: Dior (1947) Vogue February 12th, New Look collection [photograph] by Serge Balkin Fig 5: Chanel (1959) This year’s Suit [photograph] Fig 6: Saville Row London Collections Men AW13/ (2013) [photograph] Fig 7: Henry Rose, ‘’Madonna Marlene’’ (2002) photo seven daily. Vanity Fair, USA/ no 506, October Fig 8: Angelina Jolie in Elle (2012)Saint Laurent, ‘Girls in Suits’ [photograph] by Hedi Slimane] Fig 9: Return of the suit (1997) US Vogue Fig 10: Tailleur By Gucci Vogue Italia (1997) a/w november issue Fig 11 : Luft Hunn Book cover (1983) ‘we are still the weaker sex’ Fig 12 Kurt Gieger S/S 2010 [photograph] Fig 13: Andre Courreges (1969) In Vogue [photograph] by Bert Stern Fig 14+15: Yves saint Lauren (1960) The women’s tuxedo Fig 15: YSL’s F/W 2011 collection (1966) Vogue. Available online at: http://www.vogue.com/ voguepedia/Yves_Saint_Laurent_(Brand) Fig 16: Giorgio Armani trouser suit (1980) Model by Katherine Hepburn. Available online at: http:// www.glamamor.com/2012/08/cinema-connection-katharine-hepburn.html Fig 17: The Handsome Butch (2013) by Leland [online blog] Available at: http://thehandsomebutch. tumblr.com/page/2 Fig 18: Calvin Klein (2001) Kate Moss model [photograph] Available online at: http://blog.samuel-windsor.co.uk/sexy-women-mens-suits Fig 19: Steve Madden com/?id=61719&np=613_624

Website

[online]

Available

at:

http://www.stevemadden.

Fig 20: Elle Magazine Sweden Editorial (2013) Photo Karl Bengtsson [photgraph] Availble at: http:// 162

dirtylittlestylewhoree.tumblr.com/post/12948800400 Fig 21: Malgosia Bela (1991) By Peter Lindbergh Fig 22: Needle and thread [photography] Available at: https://www.flickr.com/ photos/43230100@N03/5294311055/?rb=1 Fig 23: HonestBy [online] available at: http://www.honestby.com/ Fig 24:Berwin and Berwin website image [online] Available at: www.berwinberwin.co.uk/ Fig 25+26: Alvanon (2014) Available online at: http://www.alvanon.com/ Fig 27: Chrysler Corporation (1954) Le Comte and La comtesse Fig 28: Natalie T. Wood, (2010) Ad Women page 22 Fig 29: Claudia Chase (2008), Model Laura. Glasgow Shoot. Available online at: http://www. mariee.co.uk/portfolio/glasgow-shoot/ Fig 30: Calvin Klein (2013) Nicolle Keogh Available at: http://www.justluxe.com/fine-living/ fashion/feature-1881264.php Fig 31: Porters Generic Strategies(1985) Fig 32: Dress 2 kill logo, available online at: http://www.dress2kill.com/ Fig 33: Vogue Paris September (2005) Black and White editorial by Julia Stegner [photograph] Fig 34: Stella Mccartney (2011) ‘Simple Stella’ in The new York times [photograph] Fig 35: Naty Chabanenk (2014) Editorial for Elle UK Jan. [online Available at: http:// fabfashionfix.com/naty-chabanenko-for-elle-uk-january-2014/ Fig 36: Own Image (2014) Visual mood board by Hannah Hussain Fig 37: Own Image (2014), Mock Logo Photoshop by Hannah Hussain Fig 39: Own Image (2014) Mock up swing tags by Hannah Hussain Fig 40: Own Image brand value model mood board by Hannah Hussain Fig 41: Anna Jarema (2013) ‘New stylish work clothes for every budget’ available online at: http://www.refinery29.com/stylish-work-outfits#slide-13 Fig 42: Daniel Jackson (2014), Vogue UK A/W Women’s Fashion, ‘Loverly Things!’, Model Sasha Pivovarova. [online] Available at: http://de-smitten.com/2014/05/30/editorial-eclipseclassics-continue/

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171

Women’s suits questionnaire

Thank you for taking time to complete this survey for an MA student, for the fashion business course of Nottingham Trent University. It will take up to 5 minutes to complete, and your answers are anonymous and confidential. All results will be used to aid the progress of the student’s research project on launching a women’s suit business. If you have any other concerns regarding this service contact: Hannah_hussain1@hotmail.co.uk John Llewellyn 1. What is your occupation? Tailor

2. What is your annual income? x 20-35k

50-65k

35-50k

80k+ 65-80k

3. Where do you currently buy/shop for suits and why? I make all my own suits but If I were to buy a suit off the peg it would be at an independent retailer. 4. How much do you currently spend per suit? £50-£200

X £500-£1,000

£5,000 +

£1,000-£5,000

£200-£500 5. What are you major frustrations when suit shopping? The Fabric selection available 6. What colours do you tend to buy? x Navy

Light Grey

Black

Pin Striped

Bright Coloured Charcoal

Tweed

172

Other (please specify) 7. The business I am proposing to you will be a bespoke tailoring women’s suit service. The client would be visited from home to be accurately measured by a professional tailor in order to create a customer made suit with a range of fabrics, colours, shapes and additionally lining and stitching’s to choose from with advice from a stylist. After reading the description above, how interested are you in this service? Very interested

Slightly interested

x Moderately interested

Not at all interested

8. What do you like most about this service? As someone with a design background it would depend on the design service and fabric choice you offered. A bespoke service is only interesting if you have something to offer other then a well fitting suit.

9. What would be your reservations about this service i.e. fit, not liking the product once completed, timescale etc. The small attention to detail not being what I want.

10. About how much would you be willing to pay for this service and the end product? £500-£1,000

£3,000 - £5,000

x £1,000-£3,000

£10,000+

£5,000-£10,000

11. How quickly would you expect to receive the suit? 4-6 weeks x 6-8 weeks 8-10 weeks 10-12 weeks Other (please specify)

12. If we offered a fuller service such as offering tailored work shirts, scarves, bags, and other work wear accessories, would you be interested? X No

Yes Thank You!

173

Women’s suits questionnaire Thank you for taking time to complete this survey for an MA student, for the fashion business course of Nottingham Trent University. It will take up to 5 minutes to complete, and your answers are anonymous and confidential. All results will be used to aid the progress of the student’s research project on launching a women’s suit business. If you have any other concerns regarding this service contact: Hannah_hussain1@hotmail.co.uk Claire 1. What is your occupation? Managing Director of a design company

2. What is your annual income? 20-35k

50-65k 35-50k

80k+ 65-80k

3. Where do you currently buy/shop for suits and why? Whistles / Reiss / Zara – they are on trend styles but still retaining a classic look Good quality cut and fabrics Value for money from Zara and more ‘fast-fashion’

4. How much do you currently spend per suit? £500-£1,000

£50-£200 £200-£500

£5,000 +

£1,000-£5,000

5. What are you major frustrations when suit shopping? Well cut trousers / choice of styles

6. What colours do you tend to buy? Navy

Light Grey Black

Pin Striped

Bright Coloured Charcoal

Tweed

Other (please specify)

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7. The business I am proposing to you will be a bespoke tailoring women’s suit service. The client would be visited from home to be accurately measured by a professional tailor in order to create a customer made suit with a range of fabrics, colours, shapes and additionally lining and stitching’s to choose from with advice from a stylist. After reading the description above, how interested are you in this service? Very interested

Slightly interested

Moderately interested

Not at all interested

8. What do you like most about this service? Im not really, I prefer ready to wear due to my busy schedule and lack of interest in wearing suits

9. What would be your reservations about this service i.e. fit, not liking the product once completed, timescale etc. Expense and becoming bored of it too quickly

10. About how much would you be willing to pay for this service and the end product? £3,000 - £5,000

£500-£1,000 £1,000-£3,000

£10,000+

£5,000-£10,000

11. How quickly would you expect to receive the suit? 4-6 weeks 6-8 weeks 8-10 weeks 10-12 weeks Other (please specify)

12. If we offered a fuller service such as offering tailored work shirts, scarves, bags, and other work wear accessoThank You! ries, would you be interested? Yes

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Women’s suits questionnaire Thank you for taking time to complete this survey for an MA student, for the fashion business course of Nottingham Trent University. It will take up to 5 minutes to complete, and your answers are anonymous and confidential. All results will be used to aid the progress of the student’s research project on launching a women’s suit business. If you have any other concerns regarding this service contact: Hannah_hussain1@hotmail.co.uk Sue Everitt 1. What is your occupation? Marketing Manager 2. What is your annual income? 20-35k

50-65k 35-50k

80k+ 65-80k

3. Where do you currently buy/shop for suits and why? Working environment dictates tailoring is worn for customer meetings especially.

4. How much do you currently spend per suit? £500-£1,000

£50-£200 £200-£500

£5,000 +

£1,000-£5,000

5. What are you major frustrations when suit shopping? Fit / sizes not in stock when I’m in store.

6. What colours do you tend to buy? Navy

Light Grey Black

Pin Striped

Bright Coloured Charcoal

Tweed

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After reading the description above, how interested are you in this service? Very interested

Slightly interested

Moderately interested

Not at all interested

8. What do you like most about this service? Fit would be perfect, fabric selection, uniquness.

9. What would be your reservations about this service i.e. fit, not liking the product once completed, timescale etc. Not having had any tailoring made bespoke previously.

10. About how much would you be willing to pay for this service and the end product? £3,000 - £5,000

£500-£1,000 £1,000-£3,000

£10,000+

£5,000-£10,000

11. How quickly would you expect to receive the suit? 4-6 weeks 6-8 weeks 8-10 weeks 10-12 weeks Other (please specify)

12. If we offered a fuller service such as offering tailored work shirts, scarves, bags, and other work wear accessoThank You! ries, would you be interested? Yes

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Women’s suits questionnaire Thank you for taking time to complete this survey for an MA student, for the fashion business course of Nottingham Trent University. It will take up to 5 minutes to complete, and your answers are anonymous and confidential. All results will be used to aid the progress of the student’s research project on launching a women’s suit business. If you have any other concerns regarding this service contact: Hannah_hussain1@hotmail.co.uk Nadie S 1. What is your occupation? Head of E-commerce at Thomas Pink UK

2. What is your annual income? 20-35k

50-65k 35-50k

80k+ 65-80k

3. Where do you currently buy/shop for suits and why? Some from Armani and Paul Smith, and some fitted from Thomas Pink of course. I have a lot of accessories pieces made in Saville Row and bespoke jackets that I can combine with other suits. I have to wear a well fitted suit to promote the business and also look professional.

4. How much do you currently spend per suit? £500-£1,000

£50-£200 £200-£500

£5,000 +

£1,000-£5,000

5. What are you major frustrations when suit shopping? Finding unique styles and shapes. I often dislike the detailing such as the linings, stitch or buttons. I preferr bespoke tailored suits but not everyone has time on their hands of the money to do it

6. What colours do you tend to buy? Navy

Light Grey Black

Pin Striped

Bright Coloured Charcoal

Tweed

Other (please specify)

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Slightly interested

Moderately interested

Not at all interested

8. What do you like most about this service? Visiting clients from home shows you’re flexible and that you care about your customers. That is exactly what we aim to achieve at Thomas Pink. I think it’s great that you are considering having set shapes from which to work on to give the customer a visual understanding for a suit that will fit their needs. 9. What would be your reservations about this service i.e. fit, not liking the product once completed, timescale etc. Working within a company that specialises in bespoke services, I know all the things that can go wrong and there is always a way around them. The main worry is always, ‘will they like the end product’, but with the right amount of direction, reassurance and complex understand you can design a suit that is exactly what they want. Paying full attention to your client is the key.

10. About how much would you be willing to pay for this service and the end product? £3,000 - £5,000

£500-£1,000 £1,000-£3,000

£10,000+

£5,000-£10,000

Me personally, £1,000-3,000, however for the type of client I think you will attract, a £3,000-£5,000 is reasonable. 11. How quickly would you expect to receive the suit? 4-6 weeks 6-8 weeks 8-10 weeks 10-12 weeks Other (please specify)

12. If we offered a fuller service such as offering tailored work shirts, scarves, bags, and other work wear accessoThank You! ries, would you be interested? Yes

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Women’s suits questionnaire Thank you for taking time to complete this survey for an MA student, for the fashion business course of Nottingham Trent University. It will take up to 5 minutes to complete, and your answers are anonymous and confidential. All results will be used to aid the progress of the student’s research project on launching a women’s suit business. If you have any other concerns regarding this service contact: Hannah_hussain1@hotmail.co.uk Katherine Malin 1. What is your occupation? Tailor 2. What is your annual income? 20-35k

50-65k 35-50k

80k+ 65-80k

3. Where do you currently buy/shop for suits and why? I make all my own suits.

4. How much do you currently spend per suit? £500-£1,000

£50-£200 £200-£500

£5,000 +

£1,000-£5,000

(Because I make them all myself) 5. What are you major frustrations when suit shopping? The fit and lack of uniqueness. If I was going to by a ready to wear suit, I would go vintage as they have more personality and quirky detailing. I hate boring suits.

6. What colours do you tend to buy? Navy

Light Grey Black

Pin Striped

Bright Coloured Charcoal

Tweed

Other (please specify) Dark maroon and Burgandy

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Slightly interested

Moderately interested

Not at all interested

8. What do you like most about this service? Appealing to an older client is a market ready for penetration

9. What would be your reservations about this service i.e. fit, not liking the product once completed, timescale etc. No worries, as long as the customer is involved in all processes, feels in control and conformable with the decisions being made. If they remember the experience has a happy one, they will return and tell their friends.

10. About how much would you be willing to pay for this service and the end product? £3,000 - £5,000

£500-£1,000 £1,000-£3,000

£10,000+

£5,000-£10,000

11. How quickly would you expect to receive the suit? 4-6 weeks 6-8 weeks 8-10 weeks 10-12 weeks Other (please specify)

12. If we offered a fuller service such as offering tailored work shirts, scarves, bags, and other work wear accessories, would Thank You! you be interested? Yes

This is a great profit margin an a great way to jazz up your old tailored suits to add individuality.

Thank you!

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2 Analysis of methods All primary research was conducted ethically according to the University ethical code, and consent forms will be used appropriately.

Validity and Reliability Due to the nature of the project it was significant to conduct a vast amount of primary research to discover shopping behaviours of the working women and to examine ‘her’ needs. Therefore, both open and closed questionnaires were used online and by hand to increase validity and create a true representation of working women in the UK. It is considered that some participants may be subjected to social desirability, thus research was piloted and reliable participants found that matched the target consumer of gthe project. 2 particapints were recommened by Liz Bolt, tutor and supervisior at nottingham trent, as the other particpaints were found through the online platform LinkedIn. Secondary research analyse the market globally. Biased could be questioned as much of the research will be conducted in Nottingham which isn’t representative of the demographic, however the city is a fashion capital. Random sampling techniques in store also helped to diffuse bias and increase sample accuracy. Online research and emails will help to achieve data from a wider audiences as to greaten research dependability.

Limitations Although the research was conducted thoroughly, a number of unavoidable limitations were acknowledged. Time and experience was the largest limitations of this research project, with partial time to assess progress and change direction if needed. This also contributed to a a relatively small sample size being obtained, however participants were specific to study. It is suggested for future research that a variety of focus groups with working women of similar nature to the ones chosen to complete the questionniares, would undertaken to create a free flowing disscussion. Face to face interviews with industry professionals in the suiting or tailoring industry would have also been beneficial. Nonetheless competitive stores and stores of a similar nature were visited and shop attendants spoken to, in order to gain general knowledge of the industry, the consumer and the choices available. Although I obtain experience within the fashion industry, previous studies revolved around street style and teen fashion as oppose to high fashion, luxury and tailoring. In one respect it poses a disadvantage to the project, though in another, it allows for fresh and non-bias insight with opportunity to learn. My lack of knowledge on the topic of women’s suits gives rise to extensive research from the basics of work wear. This in turn

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encouraged exploratory discussions throughout the report which are developed on the grounds of research regardless of personal taste. My method to discovering the industries’ progression of women’s suits was be via the literature review and the questionnaires.

I was honest and transparent in my data collation with carfully selected secondary sources to avoid academic fraud, and this is conclusive through my references.

Resource Implications Library: The library was of key importance to gaining knowledge and specific data through the use of sites such as Mintel, WGSN and Emerald, where they can be accessed fully. Here I also found specfic books on the provided reading list to kick start research, and additional books of different variety assisted me specific areas, branding prefered. I also had access to the full adobe suit, scanners, printers and photocopiers. MA studio: Meeting with my supervisor every two weeks for a tutorial helped to discuss weak points in the project and tackle areas of concern. It also helped to direct the project and stay on track with specific aims and objectives at hand. Class discussions allowed communication between classmates to bounce ideas of each other, with past reports being available to look through as well. Lectures: Every week lectures are attended to help guide students through the MA. Personally they help me with essay structure, brand models and gathering quotes. They help structure the MA. There are also guest lecturers present on topics of wider context, they help to broaden knowledge and spur creativity. Student support centre: Attending dyslexia help sessions in Newton allow me to discuss parts of the brief, module guide or grading scheme which are harder for me to break down and understand fully. It helped me keep on track with my learning outcomes, and reminded me to proof read me work. Social Networking: Creating Facebook groups helps me communicate with classmates through group work, as well as for query’s. Julian wing (lecturer) is also available through Facebook and Linkedn which is a helpful contact. Trips and exhibitions: Some of which were provided via the university such as the Birmingham clothes show live study trip, a London trip to visit exhibitions and a upcoming Paris Trip. These also helped to broaden insight, get experience of the industry and gave potential to conduct spontaneous primary research.

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Personal Devlopment My learning outcomes are a reflection of the skills I have improved and skills which I have gained throughout the duration of the MA. Project Learning Outcomes 1.

The knowledge and understanding of the market in depth.

This has been achieved as I have been able to recognise how to make the experience of buying suits more enjoyable and exciting. 2.

To adopt a niche and new approach to the industry as a whole.

This has been achieved through market penetration and focusing on specific aspects such as consumer experiences paired with a product of immaculate fit and quality. The brand is unique in terms of its service and this has been achieved and expressed thoroughly. 3.

To unpick, identify and establish specific consumer needs to market to a concentrated demographic.

This has been mildly achieve through specific primary research and an extensive amount of second research, allowing me t; to mould the suit range to fit the needs of the target audience, channel specific marketing techniques and adopt a clear brand message in which all communication will follow to cement identity. In the future I would have conducted more primary research to future reveal the thoughts of the working women when it comes to suit buying to discover interesting patterns and correlations. By doing this I could have created data charts to visually express the validation and reliability of the business idea for a more advanced approach. Personal Knowledge aims and understanding 1. To gain knowledge of the work-wear clothing market, something which I have not before studied. This will in turn lead me to gain knowledge of suiting trends and styles. This has been achieved, learning about a wide range of brands and learning in depth about the survival and revival of tailoring. I have also become very interested in the journey of the career women. I have also been able to understand differences within the market in terms of shopping for fashionable work attire and shopping for basic work wear. This has allowed me to link consumer shopping behaviour with buyer needs in the project for sophisticated outcome.

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3. To write a 5,000 word, professional buisness plan In a wider consideration, this project as a whole has enhanced my understanding about running a business, and has provided a perfect knowledge system to dealing with a variety of problems in my future career after the MA. It has allowed to me gain starting knowledge of manufacture and supply which can later be applied to my chosen career choice for a job in buying

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Key Journals

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Case Studies

Although fast fashion still dominates the market for the younger shopper, for an oldermid market, investment purchasing is a booming movement as we become more ethically conscious, quality driven, and as the UK revives the recession. Instead the future of buying is moving towards investment pieces that last. Essential to this are brands that offer bespoke and contextual concepts, that convey genuine and trustworthy qualities but also allows for personality reflection. Despite the greater access to variety that niche-sized consumers now have from online retailers, the issue of size is likely preventing these consumers from trying new ranges and products because they are unfamiliar with how these sizes will fit them (Mintel, 2012). ‘Developing multichannel customer solutions will be vital in bridging the gap between the virtual and physical retailing concepts, since size and fit are major barriers to purchase amongst those who already take issue with sizing in clothing’ (Mintel 2012). One case study that has struck interest is the launch of the Selfridges bespoke service in 2013. This tailor-made craze has been clarified via Selfridges, who launched a bespoke service to allow customers to buy unique and customised pieces, implemented from February 2013 (fashion united, 2013: online). Saville Row tailor Henry Rose and designer Emilia Wickstead took part in Selfridges Bespoke service by becoming Selfridges ‘tailor in residence’. Rose creates madeto-measure women’s suits, while Wickstead features a 14-piece collection that can be personalised by colour, fabric and fit. This shows the overlap and moreover demand for fashion and fit in terms of suiting.

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Selfridges Bespoke manager, Jack Tobin, says:

“We are offering something that is steeped in tradition and craft in one of the most contemporary, fashion-forward shopping environments in the world. Clients can look at the latest collections from new emerging designers and at the same time have the most immaculately TAILORED SUIT fitted by a Savile row master tailor. It is old meets new, bought to life in the most beautiful atelier on the second floor’’.

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Raymond to offer bespoke womenswear

________________________________________ By WGSN Newsteam, 19 February 2013 Made-to-measure service will be offered in its stores outside India Indian textile brand Raymond, best known for its menswear, is planning a women’s collection. The company’s made-to-measure business will soon make bespoke garments for women from its factories based in Bangalore, Business Line reports. “Volumes are still small in the made-to-measure business today, but we are thinking about offering the same service for women,” Rakesh Pandey, president, retail and corporate marketing, told the paper. The made-to-measure service will be offered in the company’s stores outside India, added Pandey. Raymond entered the made-to-measure market nearly five years ago and has 45 retail units. Prices range from INR1,600 for a shirt to INR15,000 for a two-piece suit. Raymond offers womenswear under its flagship ready-made brand of Park Avenue in the Western formalwear category.

A inspirational brand is Zara. Why has does zara profits continue to rise and miss the hit of the recession? 1.The designs work in normal life 2. Fast response to city-specific trends 3. It's mass, but class 4. A signifier of a stylish city 5. Intrigue 6. A brilliant brand name 7. Sustainable offerings 8. Seductive, sustainable store design STORE DESIGN 10. Ethics appeal

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