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Name: Hoor Inam Gandapore Student ID: GAN10306927 Course: BA (Hons) Fashion Design & Development Unit: Concept Development Word Count: 4, 242 words 2
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Content
1 - Executive Summary....................................................................................................................................................8 2 - Overview.........................................................................................................................................................................9 3 - Concept............................................................................................................................................................................10-11 3.1 Concept inspiration 3.2 Brand Ethos 3.3 Unique Selling Point
4 – Market Positioning....................................................................................................................................................12-16 4.1 Domestic Market 4.2 Macro Environment 4.2a) SCCIP Analysis 4.2b) SWOT Analysis
4.3 Macro Environment 4.3a) PEST Analysis
5 - Competitor.....................................................................................................................................................................17-23 5.1 Competitor overview 5.2 Direct Competitor Case Study 5.2a) Rainbow Winters 5.2b) Marc Jacobs
5.3 Competitor Brand Analysis 5.4 Competitor Range Chart
6 - Consumer.......................................................................................................................................................................24-30 6.1 Domestic Primary Consumer 6.2 International Secondary Consumer 6.2a) Middle Eastern Consumer 6.2b) Asian Consumer
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6.3 Future Consumer 6.3a) Menswear 6.3b) Childrenswear
7 - Market Strategies.....................................................................................................................................................31-43 7.1 Product
7.1a) Packaging
7.2 Price 7.2a) Price Architecture
7.3 Place 7.3a) Stockist
7.4 Promotion 7.4a) Print Media 7.4b) E-commerce & online tools
8 Brand Focus...................................................................................................................................................................44-45 8.1 Design Inspiration 8.2 Colour Palette 8.3 Fabrication 8.4 Sourcing
9 Proposed Store Layout..............................................................................................................................................46 10 Supply Chain...............................................................................................................................................................47 11 Conclusion...................................................................................................................................................................48 12 Experimental Line-up..............................................................................................................................................49-51 13 Critical Path................................................................................................................................................................ 52-55 6
14 Appendices Written..................................................................................................................................................56-67 14.1 14.2 14.3 14.4 14.5
Life Cycle of Collection Consumer Survey Consumer Questions Store Interview Analysis Interview Questions for Competitors
14.6 Emails to Suppliers
15 Appendices Visual.....................................................................................................................................................66-71 16 Bibliography.................................................................................................................................................................72-77 17 Personal & Professional Development (PPD)..................................................................................................................78-79
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executive summary
This report introduces the brand ‘Gandapore’ which, aims to fulfill consumer expectations moving into this new era. The report introduces the brand’s ethos, values and objectives while giving a deeper insight into the brand’s concept. An in-depth analysis is then given about the dynamic luxury environment, which the brand operates in. The customers are then looked into. This provides a detailed description of who the customers are and what the brand promises to deliver to them. The brand’s competitors are compared in order to find out their relative positions to each other. Finally, an exposure of Gandapore’s Autumn/Winter 2015 collection is given, describing the design aspects, materials used and other issues of the collection. Primary and secondary research was carried out on all stages in order to justify the courses for action
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overview Fig. 1 The brand Gandapore aims to provide a unique dimension to fashion by offering womenswear to its luxury clientele through the introduction of its Autumn/Winter 2015 collection. The collection would offer a more interactive and personal experience between the wearer and the garment.
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There exists evidence of adoptions of pattern cutting techniques in plastic surgery procedures (Soloman, 2013).
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3.1) Concept inspiration
Concept
“It is a perception of one’s identity and focuses on altering the human form with simple interventions” (Van Der Haak, 2012).
‘Gandapore’ is a unique fusion of exquisite craftsmanship and modern technological involvement. It is inspired by the similarities in cutting techniques between designers/ pattern cutters and plastic surgeons. This idea took birth after visiting a talk held at the V&A museum by the pioneers of the skinShip project. The project is a research project whilst also being a professional network promoting cross-disciplinary collaborations. They explain how the skin is cut, constructed and adjusted by surgeons, the same way a pattern cutter would do it on cloth (SkinShip, 2012) This inspiration also goes hand in hand with Imme Van Der Haak’s ‘beyond the body’ collection. The collection describes how altering the human body can influence one’s appearance. It is like a person having multiple identities, which causes ambiguity of the human form. The photographer Metra Jeanson, who believes that appearance is no longer natural but is socially conditioned, also takes a similar approach. Her work shows that one’s appearance can be easily programmed and transformed in the way one wishes to portray it.
“The act of representation has taken over of what is real. We are portraying identities which are weakened by the popular consent of appearance” (Jeanson, 2012). 10
3.2) Brand ethos ‘Gandapore’ is an exciting, experimental, upcoming brand that undertakes a series of projects in the areas of smart textiles and interactive design. Utmost importance is given to attaining its promise of providing quality garments that can contribute to enhancing and preserving the wearer’s identity. Here, garments are designed by infusing cutting edge technology and through cross-disciplinary ideas that encompass other fields. It focuses on innate, implicit and simple concepts such as reactive dresses that are stimulated just by touch. The resulting garments are interactive by changing color and texture through touch. Central to the brand’s ethos and existence is Britain, British craftsmanship and British quality. Gandapore ensures that from the sourcing of material to the point of sale, pride is taken on being British. This is what sets it apart.
Fig. 2
The brand also does its bit to sustainability as the garments offer different usability options while also offering different looks to the wearer. This would assist in the move away from fast fashion into a more sustainable and timeless one.
3.3) Unique selling Point This is a critical feature that would enable the brand a competitive advantage over its rivals. An emphasis is given to making each and every garment intelligent, which would be in terms of its clever use of technology in order to attain precision, while being smart, multifunctional and responsive. This personal experience between the wearer and the garment would help the brand establish a niche position in the competitive market.
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MARKET POSiTiONiNG
4.1) Domestic Market The fashion industry is characterized by intense competition between big and small players alike. Fashion leaders are no longer safe, since new market entrants pose a big threat to capture their clientele. The economic recession has made G.D.P growth slowdown in most countries and has also influenced the consumption habits of people. Counter-intuitively according to a report,
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A strong recovery in the market for luxury goods has continued, with retail expenditure on branded, luxury goods in dollar terms forecast to expand 17.3% year on year” (Verdict, 2012) The luxury segment is also experiencing significant growth due to the rise of G.D.P’s of emerging economies which has in-turn increased disposable incomes of its citizens. Asia is becoming one of the main markets for luxury operators after Europe while mature market growth is increasing due to the increase in traveler flow (PWC, 2012). Gandapore conducts primary market research through questionnaires in order to find gaps in the market and position itself amongst it competitors.
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Fig. 3
Through the market perception axis it is quite clear that a market gap exists for garments that is experimental in terms of design and concept but which are priced at a premium. Rainbow winters is the only brand to have commercialized the concept but at a lower price. Gandapore will be driven towards selling its products at the up market level with better quality and service.
The market position of Gandapore vis-Ă -vis its competitors can be understood through the market position axis, which distinguishes brands on the degree of style elements and price.
Gandapore will offer high quality, pret-a-porter garments to the luxury market that are quintessentially British in terms of design and manufacture. The luxury market segment is typically targeted to affluent and upper middle class consumers (Srivastava, 2011). It is estimated that the global market for luxury goods will continue to rise and will reach 107 billion by the end of 2015, a rise from 37 billion in 2011 (Verdict, 2011). The demand for British brands and products are increasing steadily, with Burberry, Mulberry amongst others, enjoying a rise in popularity and profitability (Verdict, 2011). Latest research from Mintel finds that the market for sustainable garments is also increasing. Shoppers are now reassessing their value for money and are putting a greater emphasis on sustainability, integrity and durability of garments (Mintel, Clothing Retailing – UK- 2010). It is also said that about 61% women feel that it is important that companies act ethically (Mintel, Ethical clothing- UK-2009). Gandapore takes on board the concept of sustainability while designing and manufacturing garments. The garments are reversible and respond to the wearer’s body temperature and the surrounding environment, hence offering different looks while being timeless. Even though design and style are the primary consideration for consumers while purchasing, ethical elements are credentials can help secure the sale (Ethical Fashion Forum, 2011).
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4.2) Micro - Environment: 4.2a) SCCIP Anaylsis:
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Fig. 6
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4.2b) SWOT ANALYSIS:
Strengths:
Weaknesses:
•Luxury sector in the U.K booming in-spite of recession and it is predicted that growth will reach to double its current size in the next five years (Hughes, 2013).
•Since Gandapore is a new brand, people will not realize the full value of it.
•In depth understanding of consumer needs and trends, therefore quicker response to any changes in customer dynamics. •Understand the growing importance of sustainability and ensure that garments produced follow ethical standards and are sustainable.
•Lots of upfront costs such as promotions will be undertaken, thereby reducing profitability. •Since suppliers of thermochromic ink are limited, they can charge high prices for supplies, thus driving up costs. •Starting up a luxury brand through self-financing can be tough and hence multiple sources of financing should be looked at.
•There is a strong demand for British luxury goods both domestically and internationally (Carrick, 2013). Gandapore being quintessentially British will benefit from this. •All the raw materials used are the best of quality, while manufacture is done in-house in order to have greater control over the production process.
Opportunities: •Recession adding new needs to the fashion industry moving forward. •Opportunities to franchise in the future. •Extend the product offering into luxury menswear and childrenswear which are growing at a steady pace. •Move into new, emerging markets such as China and India. Asia is becoming the focus of growth for luxury operators, taking over Europe (PWC, 2012).
Threats: •Costs of the production process can keep varying and hence could have impact on prices charged and profitability. •Competition from incumbent, established brands as well as new entrants. •Supply chain issues such as performance lagging. •Economic cycles such as the recent recession, which could cause change in buying behavior of people. •The rise of e-commerce could make luxury e-businesses such as net-aporter the major threat.
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Fig. 7
4.3) Macro - Environment: 4.3a) PEST Analysis:
Fig. 8
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competitors
5.1) Competitor Overview:
Gandapore’s competitors were chosen based on elements of design, concept, aesthetic and price. In order to eliminate bias, questionnaires were conducted to the brand’s target consumers and asked whether the chosen competitors were suitable to the brand. The chosen brands of Iris Van Herpen, Cute Circuit, Rainbow Winters, Stella McCartney, Marc Jacobs and Victoria Beckham share similar concepts, designs and prices.
5.2) Direct Competitor Case Study: A case study is done on Gandapore’s most direct competitors. The brands of Rainbow winters, which share a brand ethos and concept just as that of Gandapore and Victoria Beckham, a brand similar in aesthetic and price will be analyzed. Such a comparison would show what features is important to compete in the market and would show whether there exists any relative competitive advantage between the brands.
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5.2a) Rainbow winters: The brand is a good example of how technology can be fused with fashion to create a symbiosis. It focuses on one’s five senses and reaction to the external environment. The brand takes a radically different approach to a typical fashion brand by fusing science and fashion, the same approach that Gandapore takes. The collections are typically reactive to the environment and hence change color in response to sound, sunlight, water and stretch (Palma, 2012). The brand’s ready to wear garments are available for sale to educated and fashion conscious consumers (Palma, 2012). On the other end, many of the collections are conceptual and are not commercialized yet. These are very bold concepts, costume like, which require a lot of experimentation and research. One such example is the thunderstorm dress, which is a bold concept that comprises of light panels that illuminate like lightning in response to sound (Palma, 2012). Speaking of the sales channels the brand uses, all sales are made via online retail through the brand website and third party website such as silkfred.com. The brand’s website is simple, minimalistic and colorful. All the information regarding the brand’s history, products sold, prices, press coverage and contact pages are logically placed and easy to navigate through. The brand does most of its promotions through blog write-ups, editorials and newspaper columns. It is well promoted via its website. The ready to wear collection retails between £120 for a silk tee to £1000 for a long dress.
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Fig. 9
5.2b) Marc Jacobs: The brand typifies modern day fashion. Marc Jacobs operates in the luxury segment, similar to that of Gandapore. The collections are inspired by vintage fashion, such as the 60’s and 70’s, redefining it and not merely recreating it. The collections are typically meant for consumers having eclectic and edgy tastes (fashion model directory, 2012). Its bright colours, layered looks, bold lines and stripes and layered looks usually characterize all of the collections. All of the design aspects and aesthetics such as the use of color, humor and irony are inspired my Marc Jacob’s love for art (Godffrey, 2011). The brand started out by selling luxury men and women’s ready to wear. In 2001, the brand introduced its diffusion, affordable luxury ready to wear collections under the name of Marc-by-Marc Jacobs (MarcJacobs.com, 2012). This was done in order to tap into a growing affordable luxury market segment. The designer Marc Jacobs happens to be the most sought after designer in the world today. The brand is extremely popular worldwide and branding here played a very critical role. Branding is the art of aligning what you want people to think about your company with what people actually do think about your company and vice versa (Baer, 2011). Marc Jacobs have successfully created a niche for themselves in people’s minds when it comes to luxury. This is due to the experiences people face when they walk into one of its flagship stores and the quality of the e-retail experience on their website. A customer after visiting the brand’s London store said that it was very beautiful, cool, chic and cheerful. Marc Jacobs typically advertise their ready to wear and haute couture collections through catwalks, lookbooks and magazines. The core line of the brand Marc Jacobs retails between £150 and £5500 while the diffused line Marc by Marc Jacobs retails between £50 and £1500.
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Fig. 10
5.3- Competitor brand analysis:
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These brands are compared on their respective degrees of versatility, pricing, conservativeness through the competitor axis pyramid.
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5.4- Competitor Range Chart:
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consumers
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“Quality in a service or product is not what you put into it. It is what the client or customer gets out of it�. – Peter Drucker (n.d.)
Since the brand will be operating in two competitive levels, intuition would suggest that the brand would have to separate target audiences. The first consumer group is that of the conceptual range and will comprise of critics, journalists, editors, designers and stylists who might not be the end users of the garment but who would provide the ideal launchpad for the brand through their promotion channels.
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“It’s all about attitude. A strong, confident woman is drawn to my collection. She has an innate sense of her own style but is also willing to trust me to try something new.”- Maria Grachvogel (2013). 6.1) Domestic Primary Consumer: The second level, aimed at the luxury market segment will be targeted to a customer that typically fits the following demographic. They will make up the brand’s primary consumer target group. Gandapore’s primary consumer would be a woman aged between 20- 40 with a high disposable income, while being extremely fashion savvy. She stays in a wealthy home in posh areas of London such as Chelsea, Lancaster gate and Westminster. Her job is highly paid and helps her spend freely on her shopping. Her average spend on purchases and spending capability is comparatively much higher than other women of her age (Mintel, 2012:3). She is highly individualistic and believes that her clothes define her personality. She prefers wearing expensive clothes that are bold in terms of design and color, as she loves to stand out in a crowd. She loves trying out clothes that unconventional, technologically driven and interactive. For her, quality and design of a garment are most important while purchasing. She stops to shop at London’s Sloane Street, King’s road and Harrods amongst other boutique and departmental stores. Her free time is spent on shopping, visiting museums, attending fashion shows and catwalks. She also enjoys attending social events and gatherings.
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6.2) International Secondary Consumer: Gandapore’s indirect customer will be one who is not directly targeted by the brand but whose lifestyle fits the aforementioned profile of the brand’s customer except for differences in terms of demographics. The secondary consumers for the brand are international, who originate from countries of the United Arab Emirates and China. 6.2a) Middle Eastern Consumer: The average spends for a tourist from the U.A.E is about £2500 for every visit to London, which is the highest compared to other nationalities (Mercopress, 2013). The contribution of Arab tourism in London caused a 36% rise in sales, translating to a 13.5% rise in employment rates (Mercopress, 2013). These citizens believe that London is safe and friendly and therefore love visiting the country very often (Dailymail, 2010). For Gandapore, the indirect Arab woman consumer would love shopping for luxury goods. She is very brand conscious, as it is an issue of status and prestige for her. While purchasing, she buys those designs that are more classic but which have a hint of playfulness and innovation to it. She is typically a family- oriented woman who loves travelling. She strives to be constantly immaculate, looks for the extravagant and identifiable (Tom Ford, Harrods). She would not be afraid to wear something more bold (Michael Van Der Ham, 2013).
Fig. 18
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6.2b) Asian Consumer: The number of Chinese flocking to Britain is also rising at an alarming rate. Since 2001 the number of Chinese visitors has increased from a mere 12 million to about 64 million, which translates to an 11% rise year on year (Evening Standard, 2012). The rise in the number of Chinese can be attributed to the development of the Chinese economy. Half of the sales are made to emerging economies led by China (PWC, 2012). The Chinese market for luxury goods is rapidly growing and is soon expected to overtake the luxury goods market of the U.S.A (PWC, 2012). Gandapore’s Chinese consumer would take great care in her outward appearance and would pay a lot of attention to detail. She would be unconventional and risk taking. Not necessarily being brand loyal, she would love to try out new innovations and designs. Her shopping habit is typically impulsive and she would love to shop through Fig. 19 different channels. They are really funky and want unique items (Balmain, Harrods).
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6.3) Future Customer: 6.3a) Menswear: The sales of luxury menswear are on the rise. Men’s fashion is no longer considered the poor relation to womenswear (the guardian, 2012). According to the worldwide luxury goods market trend report, within the apparel industry, men’s luxury sales rose by 16% in 2011, thus, outperforming sales to women (PWC, 2012). In the near future, Gandapore will aim to take advantage of the rise in popularity in luxury menswear by introducing men into its client base, by introducing exclusive menswear collections. 6.3b) Childrenswear: On the other end of the spectrum, luxury childrenswear has also enjoyed immense growth and it is understood that it has high growth potential. The global market for luxury childrenswear is estimated to reach U.S $156.8 billion by 2015 (apparelresources.com, n.d.). During the recession, the childrenswear market remained strong against menswear and womenswear segments, thus, attracting other luxury brands to the market (apparelresources.com, n.d). By competing in the growing market for luxury childrenswear Gandapore will aim to provide interactive and innovative garments for the youngest crowds also.
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The design will start at the conceptual level and it is made sure that all of the elements of the garment will exemplify superior quality. The garments will be made of the finest silk and will have fabric elements that resemble skin texture. The thermochromic stripes will give a new look to the garment and will enable a more personalized experience to the customer. The garment will be designed in a way keeping the commercial aesthetic in mind. Color aspects of the garments will be subtle and simple, signifying ‘skin’ tones while fastenings and zips will be gold, in order to symbolize purity and richness.
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market strategy
7.1) PRODUCT:
7.1a) Packaging: Utmost care is also taken in packaging the garments of Gandapore. With innovative and unique packaging, the brand is able to fulfill the customer experience from the website to the door. It offers brands to make the experience more unique and personalized to the customer (Future of Luxury, 2013).
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Fig. 20
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7.2) PRICE: Pricing a luxury good is completely reverse of pricing a classic product. While pricing the range for Gandapore many factors will be taken into account. The price setting process is as ongoing one since the costs could change depending on the change in suppliers, types of fabrics used, level of innovation taken, difficulty in executing the design which in-turn increases labour time and effort and other unforeseen issues. While setting the price it is kept in mind that the price of a product has an impact on the perceptions of actual delivery of the product. Pricing in the luxury market is supply-led, products are first made and then the price is set and not the reverse (Bastien et.al, 2012). Gandapore will also ensure that the presumed price will be higher than the actual price so that consumers would feel that the value that they get from the brand is higher than what they pay for it. This could help Gandapore attract new customers during the early stages and then gradually increase prices. As time goes on the price of a luxury good must be increased in order to increase demand (Bastien et.al, 2012).
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Fig. 21
7.2a) Price Architecture: Gandapore will charge different prices for different conceptual ranges offered. The entry-level range will comprise of waistcoats, tops, blouses and skirts. Here, the cuts are less complex and designs are simple. The core range will consist of Short dresses, Knee length dresses, Blazers and long dresses. This is Gandapore’s core competency. Maximum sales revenue is expected from this range. The ultra level range is the most expensive range, which will consist of limited edition gowns and coats. The level of innovation and design is at the peak in this range. It is targeted for celebrity endorsements, fashion shows and editorials. The whole Gandapore range is summarized as follows, Fig. 22
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7.3) PLACE: Reflects the ‘convenience factor’ to the brands consumers (University of Maryland, 2012). It deals with issues of how and where will the brand sell to its customers and the selling and distribution channels involved. Therefore, Gandapore will make sure that the location investment decision is well thought out, in order to attain success. Logically, Gandapore will make its retail presence felt through displaying its garments at luxury departmental and retail locations in London. These are typically located in central and northwest London covering areas such as Sloane Street, Knightsbridge and Bond Street. Gandapore will also display its collection in departmental stores such as Harrods, Liberty and Harvey Nichols since they are quintessentially British and offer an opportunity for brand recognition, thus complimenting Gandapore’s brand ethos.
“The location decision is not something which is just made as a oneoff decision-it is one that the organization has to live with and manage to ensure continued profitability.” (Hernandez et.al, 2001).
7.3a) Stockists: The general collection would be handled via normal inventory control mechanism wherein a buffer stock is kept at all times in order to meet the requirement of rise in demand. The buffer stock will be held, both at various department stores where the brand is displayed and also the brand’s flagship store. On the other hand the premium collection will be handled through just-in-time inventory control system.
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7.4) Promotion: Gandapore will use various avenues and channels for promotion of its brand. Gandapore will use a mixture of both traditional ways of promotion such as advertising on various print/electronic media and more modern methods such as e-commerce through setting up online stores for its brand.
Fig. 23
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7.4a) Print Media: Gandapore will advertise itself in print media through fashion magazines such as Vogue, Marie Claire and Drapers. This would introduce the brand to a large number of potential women clients. Promotion would also be undertaken in other forms of premium print media such as advertising on the financial times.. More than 60% of affluent households with an annual income in excess of ÂŁ300,000 said that newspapers are the most effective channels of communication for affluent brands (Mansi media, 2013). They also rely on newspapers to make purchase decisions. More than 80% took action after seeing ads in the newspaper out of which more than half of them translated into a successful purchase (Mansi media, 2013).
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Fig. 25
Gandapore will also promote itself on social networking platforms such as Facebook, Pinterest, Twitter and Instagram which, would facilitate reaching out to bigger audiences. Since the garments made by the brand are very innovative and statement making, these will be endorsed by celebrities,preferably British celebrities so that the Ethos of being British is followed at all levels.
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7.4b) E-Commerce and Online tools: This will form the core of Gandapore’s promotion strategy. Over the next four years the online fashion market will grow by 86% (Mintel, 2012:2).
“The whole industry has been resisting e-commerce for the past fifteen years and now it realizes that it’s inescapable” (Pinault, 2012). Recent statistics claim that 98% of affluent customers are now shopping online and many luxury brands realizing this, have now started to invest massively in taking control of their online brand reputation and ensuring that digital revenue would be central to their luxury retail mix (Holmes, 2013). Due to the above reasons, Gandapore will be launching a website which is simple in design, easy to use and easy to understand and navigate through. Utmost importance will be given to making it personalized. This is due to the fact that affluent customers expect to find the same incredible experience and service online as they do in the flagship store (Holmes, 2013). The more personalized the website is, the more appealing it is to those affluent customers who are cashrich but time-poor as they are provided with suggestions which are only relevant and tailored to their liking. The website will have information about the brand, its ethos, concept and other information in order for consumers to know the reason and direction of its existence. To facilitate the personalized experience for the consumer, the website would recommend products and looks in accordance to preferences of buyers. An interactive click and collect interface will also be established wherein customers can either choose to buy or collect their chosen purchases just by a click of a button.
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As soon as the website is open, a page of the logo appears.
Story: This page speaks about the brand’s journey till date. It talk about what inspired the brand and how its collections come to life.
After scrolling down, a new page replaces the page of the brand logo. This page explains the brand’s concept board, inspiration and the range of the present collection with the help of text and visual imagery.
Fig. 26
Collections: This page shows the brand’s previous collections with the support of visual imagery from past lookbooks.
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E- Boutique: This feature helps customers to reserve & collect or buy their favorite Gandapore garments. Presently, this feature is under construction.
Press: This page shows the promotion channels of the brand. Articles, interviews, photo-shoots and advertisements of the brand are showcased here.
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Contact: Since the brand is based in the UK temporarily, details of the brand’s UK headquarters and offices are provided. Question boxes are provided so that customers can also get in touch with the brand via email.
Stockists: Here, details of where the brand’s garments are stocked are given in detail.
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8.1) Design Inspiration:
NO
YES
Brand focus
Fig. 27
All the concepts that are mentioned will be interpreted through pattern cutting and fabrication respectively. Since Gandapore competes at the luxury segment of the industry, the type of fabrics, fastenings and trimmings will all be from the highest quality available. Plastic surgery being the concept and inspiration behind the collection, the color palette and design patterns that will be used, have a close association with that of human skin. The collection is characterized by the use of bold swirls and simple stripes. These were inspired by Marc Jacobs Spring/Summer 2013 collection. The collection was a striped spectacle, with patterns appearing almost as optical illusions (fashion156.com, 2012). The stripes are intelligently placed on the garment in a way that it is figure enhancing, so that it compliments the wearer’s body. Another unique design feature of the collection is the introduction of thermochromic inks on these stripes. The thermochromic ink feature would allow the garment to be more interactive. The thermochromic stripes are sensitive to one’s touch. They display their color changing capability through the heat transferred when in contact with the wearer’s body at 31 °C. This would allow for different colored stripes to appear when stimulated, a collection that would conceal and reveal. The thermochromic ink is applied on the garments through the method of screen-printing. Another crucial design feature of the collection is the addition of golden zips, which run along the length of the back. The introduction of this design feature is inspired by Victoria Beckham’s use of fastenings and long zips in her
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8.2) Color Palette: Since the concept behind the collection is plastic surgery, the colors used throughout are those that can be closely associated with skin. The skin tone colors used are, beige, camel, cream, pale and brown respectively, which constitute the colors of the fabric. On the other hand, the playful stripes of the collection are displayed through essence colours of wine red, rusty brown, chocolate brown, greyish green and charcoal black. NO Fig. 28
YES
8.4) Sourcing: In compliance with Gandapore’s brand ethos, all the aforementioned dyes and fabrics were sourced from within the United Kingdom in order to preserve the British heritage. The following are the fabric suppliers that were involved in sourcing fabric and inks for Gandapore’s collection
8.3) Fabrication:
NO
The fabric used throughout the garment was ensured to be the best of quality. The fabrics used in the collection are silk satin, 100% pure silk, nylon and a blend of viscose/tartan. In order to compliment the fabric to the predetermined color palette, dylon dyes were used to obtain the right shades.
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YES
proposed store layout 46 Fig. 29
Fig. 30
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supply chain
conclusion
Moving forward, Gandapore believes that it will become the sought after luxury brand and will offer a fresh look to the world of fashion. It will continue to indulge in a lot of research in order to provide its users with garments that are interactive and new. All the collections will be based on strong concepts that would add a new dimension to how people view fashion. It will continue to work towards a more sustainable fashion world and will continuously strive to strengthen and build upon the value that is engrained in it, going into the future.
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experimental line-up
Fig. 31
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critical path
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Appendicies
14.1 Life cycle of collections: The two collections of Gandapore namely the woman’s ready to wear core line and the limited edition exclusive line have different life cycles. The core line is expected to have a much longer life cycle than the exclusive line. On one hand the core line will have a life cycle of up to 12 months. Since the concept is extremely bold and risk taking, sales in the introductory stage will be low. Here efforts are put into exposing the concept to the consumer. Once consumers understand and appreciate it, sales will rise drastically during the growth stage. Since the concept is new, has plenty promise and not many competitors offering such garments the growth and maturity stage will be very long. During the latter part of the maturity stage a lot of investment will be done into research in order to make marked improvements so as to delay the stage of decline as much as possible. On the other hand the exclusive collection will be made in short supply, as it is a limited edition. The price is considerably higher than that of the core range and hence has an aura of exclusivity. This would experience a rapid growth stage and no promotion will be done to extend the maturity stage. Hence within a couple of months, it is expected that supply would have met demand and hence no more stock would be left.
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14.2 Concumer survey:
This consumer survey was conducted for a duration of two weeks in areas of London namely, Brompton road, Bond street and Oxford circus. People were kindly approached to and questions were asked to those willing to respond. The total number of responses for this survey were 34 people.
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14.3 Consumer Questionnaire These were conducted in a diverse setup encompassing places like Camden and Stoke Newington to Knightsbridge and Chelsea. These were also sent out through Surveymonkey., wherein the response turnover was not quite as expected.
What is your gender? - Male - Female
Which of the following best describes your nationality? - British - Korean - Chinese - Indian - Arab - Pakistani - American - Spanish - French - Italian - Russian - German - Swiss - Other
Which category below includes your age? - 18-20 - 21-29 - 30-39 - 40-49 - 50-59 - 60 or older Which of the following best describes your current occupation? - Management occupations - Business and Financial operations - Computer and Mathematical operations - Architecture and Engineering - Life, Physical and Social Sciences - Legal Occupations - Education and Training occupations - Art, Design and Entertainment - Healthcare practitioners and Technicians - Office and Administrative support
What - - - - -
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is your approximate monthly income? £ 1000- £2499 £ 2500- £3999 £ 4000- £5499 £ 5500- £6999 £ 7000 onwards
What - - - -
best describes your shopping habits? Impulsive buying Particular Occasion Shopping during sales Seasonal shopping for new trends
What - - - - -
is your favorite shopping destination? High street Online Department Store Designer Luxury Independent Boutiques
Would you pay a premium for garments infused with technology? - Yes - No - Maybe Do brands that are quintessentially British or have their products made in Britain, appeal more to you? - Yes - No - Not sure How day? - - - - - -
Where do you mostly get information about trends and fashion? - Seasonal collections - Magazines - Retail stores/on street - Advertisements - Blogs and other online spaces
much is your average spends on a shopping Below £ 50 £ 50- £200 £ 200- £500 £ 500- £1000 £ 1000- £2000 Above £ 2000
Do you consider yourself as being brand/store loyal? - Yes - No
Would you like the idea of technology being introduced into the garment? - Yes - No - Maybe
Would you wear a garment that could change color just by touching it? - Yes - No - Maybe
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14.4 Store Interview Analysis: The following questionnaire was conducted at luxury shopping centers due to the relevance of luxury consumers and suppliers alike. They were conducted in Harrods, Selfridges, Harvey Nichols and Liberty. Summaries of responses are described in the following section. Who comprise your target market and who constitute your major customer base? Summary: The three major customer bases comprise of the domestic British clients, internationals mainly being Arabs and Chinese. The British happen to be those aged between 30-50 living in the local borough. The Arab client base are growing in number each year and have a conservative yet elegant sense of fashion. Lastly, the Chinese are very risk taking and perky who don’t mind wearing anything at all. What are they generally interested in buying? Summary: Since these clients are high profile, their social lives demand them to buy a lot of evening dresses and gowns all throughout the year, while during winter month’s sales for outerwear such as jackets and coats also rise. They are all keen in buying a lot of accessories such as belts, scarves and jewelry in order to complete their look. Would you say that their shopping is impulsive or do they come only for a specific purpose? Summary: It happens to be a mixture of both elements. They always have a specific purpose when they go to shop. They are well educated and will do all the research of a particular thing they like before they buy it. After arriving at the store, they usually browse through many other things and hence get more and more impulsive then.
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How often do people reconsider their buying choice and come back for a return? Summary: Since the economic recession, people have started to think twice before committing towards any expenditure. They are more aware now and weigh up the costs and benefits before making a decision. Domestic clients do have the luxury of reconsidering their choices and come back for exchanges but on the other hand international customers cannot enjoy this luxury and therefore are more cautious when making a purchase. What are the best selling pieces for the older client base and the younger ones? Summary: Younger customers are a bit more risky, daring and look for garments that flatter their body shape while the older customer are comparatively conservative but want to look elegant and chic. The younger customers tend to save up in order to buy themselves premium garments whereas the older customers are financially independent and are stable, hence spending on more expensive coats and dresses. What are biggest differences you have seen in the past five years? Summary: The biggest differences were seen in buying habits of customers before and after recession. Before recession people were less cautious while purchasing and never bothered to think twice before and after making their purchase. On the other hand, things completely changed after recession, people were more cautious, more inquisitive, and they would research about want they want to purchase even before arriving at the store and more than 50% even reconsiders their decision after buying the garment. Less middle class consumers are buying luxurious products and hence brands have started with diffusion lines to create a new affordable luxury segment. Another big shift seen in the industry is the emergence of sustainable garments. This has had an impact on the way people operate today, but it has not affected the luxury market segment. It is not a criterion that luxury customers have while buying their garments.
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14.5 Interview questions for Competitors: A specific set of questions was prepared in order to conduct an interview with the brand’s competitors. These were then sent to the company’s PR team via e-mail and post. Responses were received from Stella McCartney and Rainbow Winters whereas contact could not be established with the others. 1 - Stella McCartney 1. Who would you describe as your typical customer? A woman who takes pride in herself and her garments speak of her personality. She is an individual who makes her own decisions and does not settle for anything but beautiful and exquisite. 2. Is there a particular age group you target? Stella McCartney serves all women. Our regular shoppers are aged between 25-45. 3. What is your brand ethos? Stella McCartney is innately bounded and founded by strong ethics and values. It is a brand with a responsibility to the whole of society. It is a sustainable approach to the traditional business model. This translates into the clothes produced. 4. Geographically, where does your brand sell best? The brand is doing well in many different markets especially in Asian regions of China and Japan; the brand also performs well in the U.K.
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5. Who do you see as your biggest competitor? One cannot pin point who the major competitor is, since there are a lot out there. A few of them include Haider Ackermann, Tom Ford and Yves Saint Laurent. 6. What is the average mark up price for the goods you sell? It is very variable measure as it depends on the materials used, depth of research undertaken etc. Investment is vast in raw materials as they are all sustainable. 7. How has the recession affected the way you operate your business? With the recession changing the buying attitudes of people, they are considering on garments that add more value in terms of timelessness and longevity. This has come good for the brand since the approach is sustainability itself. Quality is something that cannot be compromised at any cost. We have also made luxury more affordable through retailing via high street channels such as H&M. 8. Where do you see the ideology of sustainability going into the future? It is definitely kicking up some dust. Soon it will be a norm, but for that other big fashion houses must make an effort towards the cause.
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2 - Rainbow Winters: How would you describe your concept? Summary: To sum up, it is convergence of fashion and technology. It is an experimental process based on the concept of change and response wherein the clothes react to the environment and change color accordingly. Who do you think best describes the brand’s customer? It is meant for the younger crowd, daring and playful people. They are made for performers in order to communicate the aesthetic and technology involved. It is also used in high-octane concerts, worn by celebrities, editorials, magazines and catwalks. Pretty broad and not restricting. To summarize the are statement pieces and anyone who likes to stand out would wear them. What are the challenges faced while combining overpowering elements such as technology and fashion? Each collection is based on a concept and each concept is the result of a lot of research and experimentation. A bigger challenge than this is execution, manufacture. It is not an easy job to integrate the two together. Another problem is the readiness of people and the industry to accept and to adopt the concept now.
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Who would you consider as your competitors? It is safe to say that there are not many direct competitors existing right now who have commercialized the concept under the affordable luxury segment, but in terms of concept and direction, Hussein Chalayan and Cute Circuit. They both are very innovative and embrace a lot of technology. They are meant for stage shows, catwalks and runways majorly. In terms of design it would be Lanvin for the beautiful cuts and girly style. Where does your brand sell the best? The selling and distribution channels are presently limited to online via the company website and online shopping websites such as silkfred.com and shipping is done to all countries. Due to wider media coverage in the U.K and Australia, the garments are sold there the most. How do you see the brand develop, going into the future? A demand for such clothing is growing as people are appreciating the concept and are showing readiness to embrace technology in what they wear. Demand is increasing in Asia, as consumers there are very inquisitive, playful and bold. Stockists for the brand are being increased in Asia such as Tokyo while the brand would expand into accessories and multisensory enviroenments in the near future. What is the position of British brands in the global landscape? It is a place where creativity is harnessed. It is considered as being a very broad minded and free environment hence many designers come to London to experiment and to breed new ideas.
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14.6 Emails to the suppliers:
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Appendicies (visual)
Futurotextiles: textile innovation & technology By Geraldine Wharry, WGSN, 12 July 2013 The Cité des Sciences in Paris is currently hosting Futurotextiles,examining scientific innovation in the textile industry and its influence on design, art, architecture and technology. SHORTCUTS
Textile revolution: Haute couture and ready-to-wear designers as well as contemporary artists work hand in hand with innovative textile designers and researchers to imagine and question the future Technological breakthroughs: The textile industry seeks to provide new solutions for the medical, civil and military sectors and continues to play a crucial role in the field of sports Beyond decoration: The use of textiles now extends to structural engineering in architecture and interiors. Designers and engineers combine the practical and the playful to create a sensory experience as well as a new home aesthetic
Catalytic dress, marabou stork-feather coat, cloud dress, organza dress
In line with our Wonderlab macro trend, the exhibition highlights the latest innovations in the field of textile-enabling designers, scientists and manufacturers to bridge art and science.
Fashion experiments
Wooden textile dress by Léa Peckre and Elisa Strozyk, 2012
Playtime 1 by Ying Gao, 2011. Composition: nano organza by Amaike Textile Industry
©WGSN 2013
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Marabou stork-feather coat by Janaina Milheiro, 2012
Thermochromic neons: emerging sport trend By Clare Varga & Emma Crowther, WGSN, 25 June 2013 Thermochromic technology takes sport neons to a new level as the next generation of colour-changing fabrics are re-purposed as thermal imaging sportswear: allowing athletes to 'see' their performance and train more effectively. WGSN ANALYSIS
Thermochromatic fabrics: undergo a reversible colour change in response to heat Thermal vision: building on the trend for personal performance monitoring, colourchange apparel allows athletes to visualise their workout and target muscle groups Chromic neons: neons remain hugely important and chromic neons are the next step. Changing between two pre-selected colours the neons are intensely bright with an artificial, digitised feel Heat and moisture management : new
Nike sneakers
Radiate thermochromic technology
Hypercolour T-shirt
Thermal hand print
ŠWGSN 2013
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Survey Monkey Results:
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bibliography
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• Market Vision Luxury Challenges and opportunities in the new luxury world: winners and strategic drivers ??. 2013. PWC, (PWC, 2012), [Accessed: 22 Nov 2013]. • Mintel (March, 2012) Fashion Online- UK. [Online] Available at:http://http://academic.mintel.com [Accessed 20th October, 2013] • Mintel (May, 2009) Ethical Clothing- UK. [Online] Available at:http://http://academic.mintel.com [Accessed 08th November, 2013] • Mintel (May, 2010) Clothing Retailing- UK. [Online] Available at:http://http://academic.mintel.com [Accessed 25th October, 2013] • Mintel (May, 2012) Women’s Fashion Lifestyle- UK. [Online] Available at:http://http://academic.mintel.com [Accessed 20th October, 2013] • Mintel (November, 2011) Consumer Attitudes Towards Luxury Brands- UK. [Online] Available at:http://http://academic. mintel.com [Accessed 20th October, 2013] • Palma, B. 2012. Rainbow Winters. The Genteel, Iss. October, 2012. • Rawstorne, T. 2012. Ramadan gold rush: It’s that time of year when the Arab plutocracy descends on austerity London to party and spend. And their shopping sprees are more blingtastic than ever. Daily Mail, 29 June. • The Market for Ethical and Sustainable Fashion Products. 2011. Ethical Fashion Forum, (Ethical Fashion Forum, 2011), [Accessed: 09 Nov 2013]. • Trendletter, J. 2009. Work in Progress: The Recession and Its Impact on Luxury. WARC Event Reports, (WARC, May 2009), [Accessed: 11 Nov 2013]. • Truong, Y. 2013. Personal aspirations and the consumption of luxury goods. WARC Event Reports, 10 (5, 2010), [Accessed: 06 Nov 2013].
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EXHIBITIONS • Design Festival, SkinShip talk in materials and Innovations, Victoria and Albert museum, Visited on 17th September, 2013 • Fashion Festival, Victoria and Albert museum, Visited on 19 Oct, 2013 • Inside Design with Pearson Lloyd, Great Western studios, Visited on 22 September 2013 • The future is here, Design museum, Visited on 22 September, 2013
BOOKS • Bessant, J. R. (2007) Innovation and Entrepreneurship. Hoboken, N.J.: John Wiley & Sons. • Chevalier, M. and Mazzalovo, G. 2012. Luxury brand management. Singapore: Wiley. • Frings, G. S. (2005) Fashion: from concept to consumer. Upper Saddle River, N.J.: Pierson/Prentice Hall. • Kapferer, J. and Bastien, V. 2012. The luxury strategy. London: Kogan Page. • Manlow, V. (2007) Designing Clothes: culture and organization of the fashion industry. New Brunswick, [N.J.]: Transaction Pub. • Okonkwo, U. 2007. Luxury fashion branding. Basingstoke: Palgrave Macmillan.
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WEBSITES: Baer, J. 2013. Jay Baer. [online] Available at: http://www.convinceandconvert.com/author/jay-baer/ [Accessed: 10 Oct 2013]. Bapras.org.uk. 2013. BAPRAS - How fashion design is helping to inform developments in surgical expertise. [online] Available at: http://www.bapras.org.uk/baprasvoice/opinions/columns/how_fashion_design_is_helping_to_inform_developmen [Accessed: 10 Nov 2013]. CuteCircuit. 2013. CuteCircuit. [online] Available at: http://cutecircuit.com [Accessed: 17Nov 2013]. Fashion156.com. 2013. FASHION156 - The London Fashion Week SS14 Review Issue. [online] Available at: http://www.fashion156.com [Accessed: 17 Nov 2013]. Holmes, J. 2013. Luxury Brands, Retailers & The Evolution of E-Commerce. [online] Available at: http://luxurysociety.com/ articles/2013/01/luxury-brands-retailers-the-evolution-of-e-commerce [Accessed: 09 Nov 2013]. Immevanderhaak.nl. 2013. Beyond the Body : Imme van der Haak. [online] Available at: http://www.immevanderhaak.nl/ index.php?/product/beyond-the-body/ [Accessed: 19 Oct 2013]. Jacobs, M. 2013. Marc Jacobs - Fashion Brand and Label - Profile with designers, editorials and more on FMD. [online] Available at: http://www.fashionmodeldirectory.com/brands/marc-jacobs/ [Accessed: 02 Nov 2013]. Londonfashionweek.co.uk. 2013. London Fashion Week - Home. [online] Available at: http://www.londonfashionweek.co.uk [Accessed: 11 Nov 2013].
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Mansimedia.com. 2013. Newspaper Advertising Agency | Marketing Agency - MANSI Media. [online] Available at: http:// www.mansimedia.com [Accessed: 07 Oct, 2013]. Marcjacobs.com. 2013. Marc Jacobs. [online] Available at: http://www.marcjacobs.com [Accessed: 15 Oct 2013]. Metra-jeanson.com. 2013. ID concept ‚ metra-jeanson.com. [online] Available at: http://www.metra-jeanson.com/?page_ id=107 [Accessed: 30 Nov 2013]. Rainbowwinters.com. 2013. Rainbow Winters - homepage. [online] Available at: http://www.rainbowwinters.com [Accessed: 20 Nov 2013]. Sky News. 2013. Business News - The Latest Market Reports And Financial News from Sky News. [online] Available at: http:// news.sky.com/business [Accessed: 12 Nov 2013]. Statistics.gov.uk. 2013. Population Estimates: UK National Statistics Publication Hub. [online] Available at: http://www.statistics.gov.uk/hub/population/population-change/population-estimates/index.html [Accessed: 01 Nov 2013]. Theguardian.com. 2013. Latest financial, market & economic news and analysis | Business | The Guardian. [online] Available at: http://www.theguardian.com/uk/business [Accessed: 30 Oct 2013]. Victoriabeckham.com. 2013. Victoria Beckham. [online] Available at: http://www.victoriabeckham.com [Accessed: 24 Oct 2013]. Www.Mediamogul.Nl, W. 2013. Haute Couture | Iris van Herpen. [online] Available at: http://www.irisvanherpen.com [Accessed: 28 Oct 2013].
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Personal and professional development 78
Going into the third year, I was really anxious as to how my year would unfold since it is by far the most crucial experience of my life. So far, I can proudly say that I never knew that the process would be so enjoyable, something that I would look back and say that it changed my life. My experience started off during the summer when I got an opportunity to intern at a perky brand ‘kissing in traffic’. This was the first time I could put the skills and knowledge that I had harnessed over the past two years, into use. Over the period I focused on strengthening my weaknesses in stitching and pattern cutting while also improving my strengths by adding my personal touches. On a personal level, my confidence increased and I started to believe in my work and myself before stepping into my final project. During this phase I also devoted time to act on what I wanted to achieve after my graduation from LCF. I began applying to various universities in the U.S and U.K alike for an M.A in textiles and womenswear. I had to balance the time between sending applications and working on my project. This experience taught me vital time management skills and always kept me on my toes. Going into it I realized that I had to put in a lot of effort and devote all my energy to it. It was a concept that I not only required my skills in fashion but also needed some understanding of surgical procedures. I set out to make some goals and targets that I had to achieve at any cost. I would typically keep deadlines until the last minute, but this time around I decided to make it a point that I finish much before time in order for my quality of work to be of a higher standard. While working for the project, I got to learn a few skills, which are very important for me going into the future. I got the opportunity to learn the art of screen-printing. This was an invaluable experience and helped me to learn it, instead of outsourcing it to others. My time management skills were the biggest improvement as I managed to achieve my time goals. The experience of writing the concept development was the one I cherished the most. It taught me that even setting up a small brand is no easy job. The process involves many logical, incremental steps that have to be taken seriously in order to avoid failure. During the development stage of my project I also got the opportunity to get in contact with a lot of suppliers and other members of the supply chain. The interactions with them helped me gain insight into supply chain issues and also how to overcome them. It also helped be improve my negotiation skills, which would be very important in the coming future. During the process of working on my project, I was also simultaneously running a Facebook page called London Trendinista that I had just started. The page is meant for educative purposes. It exposes people to the current fashion trends in the fashion capital, London. Overall, I feel that things worked out very well for me than what I expected earlier in the year. In hindsight maybe the decision of not doing a placement year might have been the best for me as I would not have got an opportunity to learn and experience what I did during these few months.
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