Concept Development Report by Jessica Harman

JESSICA ROSE HARMAN CONCEPT DEVELOPMENT REPORT

Contents.

Page 04 – 07. Concept Overview. Page 08 – 15. Ethos and Values of the Brand. Ikea Case Study.

Page 10 – 11.

Slow and Steady wins the Race Case Study.

Page 12 – 13.

Page 16 – 29. Consumers.

Consumers 2012.

Page 18 – 19.

Consumers 2013.

Page 20 – 21.

Where is the Consumer already shopping?

Page 22 – 23.

Consumer Demiographics.

Page 24 – 27.

Consumer Shopping Habits.

Page 28-29.

Page 30 – 43. Competitors. Ultra10 Annalysis. Multiples and Units Annalysis. Wardrobe Needs and Competitor Divisions.

Page 32 – 33. Page 34 -35. Page 36 – 43.

Page 44 – 45. Market Positioning. Opportunities.

Page 46 – 53. Retail Positioning.

Page 44-45.

Spending Habits.

Page 46 – 47.

Real Spending.

Page 48 – 49.

Proposed Pricing Arcitecture.

Page 54 – 61. Range Overview.

Key Items.

Page 52 -53.

Page 55.

What are the competitors supplying in their ranges?

Page 56 – 57.

What will Boxed need to Supply?

Page 58 – 59.

Page 63 – 65.

Bibliography.

Page 66 -67.Image Referencing. Page 69.Appendix.

Visual Overview.

Page 60-61.

01.

Moving away from the cult of fast fashion and into an era of longevity and use. Launching for Autumn/Winter 12/13 Boxed seeks to supply for the consumer who is interested in a garments entire life, and not just the moment they have it. Seeking inspiration from the design ethos’ and way of life in Scandinavia, Boxed will be sharing their ideas of creating a balance and ‘give take’ relationship with nature. This idea is something that has heavily influenced much of the modern architecture in the region, and similarly will be interpreted to create a balance between the wearer, the garment and the environments he encouters daily.

Leaving fast fashion behind and moving towards a desire for longevity, Boxed sees no need in creating garments for the sake of trend or fad. Each piece will be designed with a requirement to last and fullfill it’s purpose. The entire collection will be thought out to seamlessly cover every area of the wearers life, and take them through their daily motions. Modular in a sence, as each piece can be added to, or taken away from, depending on the need and purpose.

02.

03.

BOX ED.

04.

A trip to Scandinavia was the initial catalyst for the concept, an insight and understanding of the Scandinavian culture is key to the aesthetic, ethos and business structure of the proposed brand. One of the initial and major inspirations of the project is the structure of the Oslo Opera House, set on the edge of the city at the opening of the Fjord it combines both architectural beauty and the beauty of nature seamlessly.

It is the diplomatic decision making processes,

which involved a vote by the population of the city as to which design should be selected, that is key to the fairness and equality of the region.

With such a picturesque landscape surrounding the region, nature and its beauty are held in high regard in terms of both architecture and design. The final design was chosen as it was said to do well ‘to satisfy both the capitals urbanists and those who feel that Norwegian architecture does best by reflecting nature at every given opportunity. ‘(Almaas, 2002: 1.36-1.37). The walkways sloping continually into the water, appear to be growing seamlessly out of the Fjord, with the sheet metal and glass doing well to reflect the light, the sky and the surrounding water. As transport links and roadways have evolved and the country has been opened up, a nationwide design initiative was started, called ‘National Tourists Routes’ where public areas were created in collaboration with designers and architects. The careful craftsmanship is again taking into account what was there already, as the modern structures weave their way around the old. It is this use of natural materials and intertwining of the natural and man made that is to be explored in the final fabrications of the project.

05.

CONCEPT

06.

In terms of developments in the design world, Scandinavia has always stood slightly apart from the rest of the western world. When the modernist movement began in the early 20th century, the Scandinavians created their own interpretation of this, namely Functionalism. (Sommar, 2003: 7). This has remained a key ethos to many of the countries exports and successes ever since, and also had a knock on effect of the way in which the inhabitants live, and structure their lifestyles, in a very organised and diplomatic style. When objects are designed by many of Scandinavians leading design agencies, they are designed not just for beauty but for function, and combined together into one object. With the majority of the population also living in apartment blocks, despite the vast expanses of land, there is also a need for organisation, storage and discreetness amongst the function and aesthetic. When designing with the above in mind, there is no design for the sake of it, everything must be considered and justified. A large focus of the design that comes out of the region is the everyday object, items like Fiskars scissors, Nokia phones and brands like Ikea. These companies produce items that often go unnoticed, due to their everyday use they become unassuming. When discussing objects of everyday use, Susann Vihma (1998), has disclosed the four dimensions which make up such successful products. She states these as being, structure and function, material, use and practicality and finally product meaning.

07.

08.

09.

ETHOS AND VALUES

From understanding the Scandinavian way of life, these factors trickle down to help form the ethos and values of Boxed. With a diplomatic decision

making processes and feeling of equality being held with such high regard in the region, this starts to influence many of the key points of the proposed brand. This sense of equality across Scandinavia can in many ways be seen to stem from the oppression the region encountered for many years, Finland is the youngest country of the region and in reference to the manner in which the counrty has started from scratch it is often highlighted and said that; ‘equality is merely the form and the result of a process of modernization..’ (Aav and Stritzler-Levine, 1998: 19) This idea of starting from scratch is key to the way local designers look at the task in hand, and it is a way that Boxed too will tackle the task in hand. Rather than trusting what has come before and building on it, even the basics will be questioned in order to bring forward a solution which has explored all possibilities, discovered all faults and created something fully thought out and justified, as opposed to building on what is know.

Ideas of equality will highlight an emphasis on ‘good design being available to all’ (Lewis, 2005: 73), with a focus on designing to benefit, enhance and add ease to peoples lives. As a new country there are often said to be ; ‘no great cultural differences or hierarchies, and because everyone has the same cultural frame of reference, there is no need to explain themselves to one another’ (Aav and Stritzler-Levine, 1998: 25). By re looking at the basics of a mans wardrobe from scratch and starting from the beginning to rework into a better version of itself, people will hopefully be encouraged to realize the value of good design, and be willing to invest on that promise of affordable function. As such an organised culture, in many cases revolving around ideas of compact living this will also be a key value to Boxed, to create pieces which are multi tasking, able to adapt and cut back on the need for excess. The stereotypical modest nature of Scandinavian will also be apparent in the brand, where the duty will be to create good design for function and to benefit but never just for the sake of design and aesthetic.

There are two existing brands which the structure, ethos and the values of boxed will be greatly influenced by; these being Ikea and Slow and Steady Wins the Race. Both of these brands hold a different outlook and aim, but both step away

from

the

mainstream

and

stay

true

their

mission.

10.

CASE STUDY 1 IKEA

INGVAR KAMPRAD ELMTARYD AGUNNARYD ‘Any designer can design a desk that will cost 5,000 kronor. But only the most highly skilled can design a good, functional desk that will cost 100 kronor.’ (Kamprad, 2007)

11.

Ikea is a company whoâ&#x20AC;&#x2122;s main focus is the idea of democratic design, they encourage people to realise the value of good design by making it available, accessible and affordable to all. This in turn led them to introduce the concept of flat packed furniture to cut down on costs, not only saving themselves but also enabling their customers to save too. They are a brand who have always thought in the long term, compromising and accepting loss early on for a maximum outcome in the future. They rarely ask their consumers what they want, instead their beliefs in what they are doing are so strong that they are able to persuade them with good design. Ikeaâ&#x20AC;&#x2122;s founder Ingvar Kamprad has often declared that no one has made more mistakes than himself and see this as a positive thing, encouraging his team to embrace and learn from any mistake they make.

12.

CASE STUDY 2 SLOW AND STEADY WINS THE RACE

â&#x20AC;&#x153;Slow and Steady wins the Race is a conceptual clothing and accessory line that reinterprets the classical everyday wardrobe. It is built on the belief that high design can be, and should be, accessible to all.â&#x20AC;? (http://www.slowandsteadywinstherace.com, 2011)

Slow& Steady Released as bi-monthly installments the idea behind the collection is to distill classic clothing items. Each issue focuses on one fundamental area of clothing design, for example the iconic white t-shirt, pockets or seams. With an aim to challenge peoples accepted views of fashion culture and history. Their mission is to slowly open the door to a more democratic dissemination, promotion and appreciation of clothing. Doing all of this from the simplest and most inexpensive fabrics and materials. A response to the hyper consumerist pace of fashion the collection is delivered all year round at a regular pace. Modeled as a living archive, each piece from whichever issue is continually available, a testament that good design is always relevant and season less.

13.

14.

As nature has such a prominence across the field of Scandinavian design this will of course also be a prominent feature in the ethos of the brand. There will be a large focus on using natural materials and fabrics where possible, but in terms of performance it will be key to include a number of synthetics. Looking back to the aesthetic of the Oslo Opera House, ideally the combination of the two fabrications will be able to sit together, reflecting and enhancing one another in a similar way. Consumers are also changing to want to cut back on excess, reinforcing this idea of multifunction, adaptability and well thought out design.

15.

16.

17.

CONSUMERS

The collection is aiming to launch for A/W 12/13, it is therefore key to have an understanding of what consumers will be looking for both in 2012, and how their thoughts might be changing as we enter 2013. Currently consumers are moving out of the mindset of the recession, one Mintel report suggests that over 60% of people are now saying their finances are either healthy or ok (Mintel, 2011a). According to the same report consumers are slowly becoming more confidant about their financial future, and although they are becoming less pessimistic the search for security and stability will continue to be key to them.

The are becoming happier to

spend, but they need to have a good and justified reasons to do so (Mintel, 2011b).

18.

CONSUMER2012

Consumers of 2012 are those that will still be recovering from the effects of the recession, they are a conscientious shopper who is concerned with the value that goods can give. Feeling a sense of triumph over adversity this new consumer is no longer looking to surround themselves with items to create feelings of security and protection. They have gained enough confidence and are now prepared to move forward, to break away from these constraints and to full fill a need for escapism.

People are looking to lighten their load, surrounding themselves with only the key items they really need. Constant movement being a predicted influence to the way we will be thinking, in terms of convenience and practicality. Consumers will also be looking for better design as they scale down and refine, creating an environment where only the necessary and functional is included.

During this period companies are going to be taking more chances, theyâ&#x20AC;&#x2122;ll likely to be breaking their moulds to risk failure, and in order to get to their consumer quick enough they will have to start trusting their intuition. Consumers will be dictating what they want today but are unable to say what they will want tomorrow, they are therefore likely to be relying on designers to lead their wants.

Consumers are going to be extremely focused on the home and their personal environments. They will want to explore the world from their own self created environments, and for everything to be accessible for them, from there. As well as location, speed is also key to this generation of consumer, influenced by how fast the internet is able to deliver, they will start to compare this to their other needs and desires. With this commitment to speed, consumers are less likely to require a story, and become content with statements and images, particularly in advertising, that have no meaning or underpinning connection. With the world so accessible through technology, consumers are losing track of the definition of space, this encourages a sense of opportunity but also reinstates the expectance of the immediate.

19.

Key consumer groups of 2012 are highlighted below (WGSN, 2011);

The ‘New Cocooners’. New cocooners are focused on creating their ‘safe space’, by no means hibernating but instead they are able to take this safe space with them, either around their house, their city or travelling internationally, through technology.

The ‘New Conservatives’. They are forward thinking and dealing with the fast changing world, but they retain the need for old fashioned structure in their life. Creating a new hybrid of values from both the left and from the right, these consumers have adapted their conservative views to suit the 21st century, supporting homosexuality and co-habiting couples, as well as feeling the need to fight for the traditional notions of family, love and home comfort.

The ‘Real Life Creatives’. Real life creatives are expecting more from the brands that produce their products, they no longer require as a bare minimum creativity as a pulling point, but they are looking for this to run through the entire process and want products that remain continually innovative. They are focused on pushing creativity, but also with delivering it properly, making the most of the best ideas.

20.

Consumer 2013

At this moment in time the world is going through a period of readjustment, but by the time we reach 2013 the majority of these adjustments will be in place and already be reshaping us. When this occurs old, or generally assumed ideas will begin to be questioned, with many of these being seen as no longer relevant to society. By 2014 people will no longer be exploring and experimenting as they are now, and as they will be in 2012, instead they will be taking what they have learnt and deciding how to evolve from this and to move on. With this knowledge people will be moving away from the recent affection all all things vintage and heritage, instead they will once again be fuelled by all things contemporary. As stated by Ruth Marshall-Johnson for WGSN 'buzz words such as insight, facts, truth, certainty and understanding will be key' (WGSN, 2011). As people relax their search for the new, 2013 will in many ways be a lot more subtle, but with new discoveries that will also make it more complicated.

In 2013 there will be a focus towards refining what we already know, whether this is making technology smaller and more effective, approaching established systems in a new way in a bid to revolutionise them or refining communications and behaviour, becoming a better person and global participant. As appropriately nicknamed by American Express we are identifying a ‘New era of pause and purchase’ (WGSN, 2011), where consumers are giving a lot more thought to their purchasing patterns and decisions. We are currently in an era where creativity, performance, surrealism and an avant garde aesthetic are highly regarded, by 2013 this looks likely to swing back to the benefits of reality. Creativity will still be needed in terms of innovative production methods, and skilled levels of craftsmanship, but stories will continue to become predominantly about real life issues. This idea of coming back to reality is also expected to give people an urge to de-tech their lives, replacing the technology in their lives with human connections, practised skill and nature. In a lot of cases consumers are now tired, confused and over-stimulated by all the technology, and will by 2013 be choosing to turn away from it.

The characteristics of the ‘me’ generation are also looking to shift, they remain as ambition, education and self pride, but it is the way that people look to achieve this that will really be changing. Ideas about appearance are also looking to change by 2013, what will be becoming more appealing is a more elegant and held back appearance.

21.

Key consumer groups of 2013 are highlighted below (WGSN, 2011);

The ‘New Wave Culturists’.

New Wave culturalists will be celebrating the idea of local culture, whether this is their own, or others. They will be developing a fondness of new tastes in all manner of cultural channels, from eating, speaking, dancing, working, exercising to learning. A group created predominantly from the emerging middle classes, this is a consumer who wishes to bring the global local.

They are expecting fundamental changes

globally in terms of leadership, healthcare and education for themselves and for future generations, often expecting these to include the opportunities of technology.

The ‘Reality Worshippers’.

As we are opened up to wider amounts of information and knowledge through the next

The ‘Democratic Hedonists’.

few years, our knowledge of what is real will

At the top of the list of wants from the democratic

be changing.

Reality worshippers are the

hedonists is a pleasurable life, unlike the hedonists

ones that will set out to define and discover

of the early 21st century, those of 2013 are fuelled

what is real. They will do this in terms of self

with a desire to balance this with sustainable

discovery, physical discovery and the discovery

responsibility.

of systems, both biological and governmental.

ownership, with regards to luxury, pleasure and

The question of reality will also cause a

fun, these modern hedonists are prepared to

resurgence in documentaries and real-life

compromise to still achieve the same comforts.

stories becoming as popular as general cinema,

In refining their perception of

22.

WHERE IS THE CONSUMER SHOPPING ALREADY? NORSE PROJECTS Copenhagen based with a passion quality, the classic

menswear brand for functionality, and the modern.

FJALLRAVEN Meaning arctic fox in Swedish, the herritage brand was launched 5o years ago and focuses on making the outdoors accessible. They use the tag line ‘we design products for the outdoors that last decades, not years’.

CARHARTT Establisted in 1889 in Detroit, Carhartt originated as a workwear brand creating hard wearing and long lasting garments. Today the brand holds it’s strength in the garments quality and workwear aesthetic but has gathered a large streetwear following.

FOLK London based brand who take their ethos from Charles Eames, the furniture designer who said, “the details are not the details, they are the design”.

WON HUNDRED Danish brand, who’s roots like ACNE’s began with denim. Originally the brand’s designs lay in combining classical menswear, traditional formalwear and risks. They have since launched a number of ready to wear collections for both men and women.

23.

SUPREME Founded seventeen years ago in downtown Manhattan, the shop quilckly became home to skate culture. Today it represents the counter culture of ‘skaters, punks and hip-hop heads’, whilst being know for it’s quality, authenticity and style. ACNE Swedish brand, which made is name through a concept denim line. The brand follows an aesthetic of subtle luxury and understated pieces forming clothing both smart and unique. COS

Part of the Swedish H&M group, though marketed at a higher price point. The label offers conceptual high fashion at an affordable price point.

ALBAM Founded in London in 2006 with the intention of producing Modern Crafted Clothing. They believe in making an honest product, that is well made and using great fabrics.

WHYRED The Swedish brand, founded in 1999, the label describe themselves as being ‘born out of the need for a brand embodying the modernist credo of dress wear for the stylistically conscious’.

SUNSPELL British cult heritage brand with precision at the core. The brand create quality wardrobe staples and have recently launched a womenswear line, with a unisex feel.

24.

25.

24 or under 47%

25-34 34% 35-44 8%

45-54 11%

In terms of understanding the demographic of the boxed consumer, a selection of 36 individuals already shopping at, or at least regularly visiting, the above brands were surveyed. The result, as displayed below, show that the majority are aged from early 20's to their mid-thirties, though a number of these consumers are also aged up to 55.

26.

ADVERTISING RESEARCH

STUDENT CHARITY AGRICULTURE

MANUFACTURING ADMINISTRATION FASHION RETAIL

DESIGN I.T.

ENGINEERING UNEMPLOYED EVENTS ORGANISATION HOSPITALITY PHOTOGRAPHY LAW As already predicted, a large proportion of these consumers are working in the creative industries or in people focused roles. As those surveyed were already shopping at the above brands, as expected they are also city dwellers, the majority are working in major cities and over half are living in them.

LIVE

URB

T O W N

WORK

COUN T R Y

TY I C

CIT

TO W N

B SU

U RB B SU

27.

COU N TR Y

28.

1-2

0 11+

3+ 4

0 1 -

5-6

In a bid to understand how much disposable income these consumers currently have it is also a good idea to understand how

often

consumers

are

actually

buying

clothes,

per

year.

For further information on consumers please see the appedix pages i. to ix. and xxv. to xxvi.

7 -8

Annually, how often are consumers buying clothes?

29.

30.

31.

COMPETITORS

Boxed offers a new concept for the consumer, by creating

a range of garments which summarise the essential items of manâ&#x20AC;&#x2122;s wardrobe, connecting and converting to cover all areas of his life. As a new concept it is impossible to define any existing competitors, instead there is a clear established market which is home to a number of brands

where the consumer is already shopping to piece together the wardrobe they will, in the future, be able to purchase solely from Boxed. The brands chosen to be studied as competitors all share similar ethosâ&#x20AC;&#x2122;, outlooks and price points. All brands that have been looked at are also stocked in similar stores and boutiques as to where Boxed may initially be stocked.

Despite the fact that there are no direct competitors already doing the same thing as Boxed, in terms of aestetic, function and ethos, ,there are however a few brands which have explored similar ideas before. These being the Malay brand Ultra 10 and American brands Units and Multiples.

32.

Ultra 10 is a more recent example of modular dressing, based in Kuala Lumpa, it is a project run by the sustainable design collective We Are Ultra. The line is essentially a capsule wardrobe of 10 garments, made from either recycled or natural yarns. Designed to be modular, the pieces are interchangable, convertible and adaptable. After one year the consumers are able to return their items for up-cycling and in exchange receive discounted rates on the next years collection.

Marketed at an affordable price point, but one that also justifies the amont of wear the consumer would get from each item. The whole 10 piece collection can be purchased for £583, making it an extrealy affordable and wearable set of wardrobe basics for the busy working woman. The majority of items also appeal to a wide age range, perhaps something that would appeal to the older woman due to it's carefully cut silhouetttes and neutral colour pallet.

To prove the project works, the collective have elected the founder of The Wellness Works, a company focused on building sustainable well-being for both individuals and for companies, to wear the wardrobe for an enitre year. Amena Schlakijer, a collaborator on the project, donated her own wardrobe, keeping only a few basics to add to Ultra 10, as has so far recorded how she has styled the items on a weekly basis. Ultra 10 are also encouraging anyone who purchases the collection to do the same, making the project interactive and inspring others.

1. Zip Through Jacket, Waistcoat or Top. £114 Recycled Georgette

2. Backless Top/ Tunic.

3. Cropped Top

4. Shirt/ Dress

5. Crossover Skirt

£63 Recycled Jersey

£46 Recycled Jersey

£57 Recycled Poly/Cotton

£63 Recycled Jersey

33.

6. Dress/ Top

7. Drop Crotch Pants

8. Woven Trouser

9. Blazer/ Vest

£73 Recycled Jersey

£50 Recycled Jersey

£48 Organic Cotton

£108 Recycled Jersey

10. Trench/ Dress and Jacket. £108 Recycled Jersey.

34.

multiples units Units and Multiples have already explored the idea of modular wardrobes and modular

dressing. During the 1980’s and early 1990’s there was a huge growth in the market for

capsule wardrobes, with a focus on a number of key garments, produced in a few colour ways and having the ability to be worn in a number of ways. Throughout this period the focus was on a minimal effort while dressing, with a focus on easy to wear and on trend garments. The modular wardrobes of today are slightly different, with the key idea behind them often being to cut down on the waste of modern dressing, carefully selecting, tailoring and editing the key items.

Sandra Garratt is the founder of two of the original modular clothing brands. Originally setting up Units in 1979, following on from a college project to create a line of clothing which had to be manufactured at high volumes, Garratt quickly saw the benefits of a line like Units. ‘The concept appeared to me complete and the modern efficiency implications were vividly clear to me, as were the creative possibilities in every application imaginable.’(http://starsweare.com, 2011) Stocked in malls nationwide across America, Units was soon taken over and eventually folded. The concept was however brought back by the original designer under the new name Multiples. It was essentially a line of jersey pieces which were sold as separates and could be worn in a number of ways, either separately or with other items from the line. ‘Multiples were more sophisticated shapes than previous forms designed by Garratt; cut out of square pattern pieces, the knit jackets often echoed the Japanese design concepts pervasive in fashion of the late 1980s.’ (Walker, 2011) The display of the items in the stores echoed this idea of modular dressing, stacked up in a grid like arrangement of cube shapes, each piece was individually flat packed in plastic, ready to be taken off the shelf. Nestled amongst the pieces were demonstrations of how to mix and match the pieces, inspiring consumers as they shopped. Multiples was in line with the electronic music, videos and graphics of that time. It was a brand that was clean, simple and smart even down to the presentation. These were items that could appeal to everyone, whether they were looking for fashion or practicality.

35.

36.

Wardrobe Needs Competitor Divisions.

To gain an understanding of the existing competitors it is key to fully understand where the consumer is already shopping to build up their wardrobes.

As show

on page ??, these are the shops which can form the basis of the competitor range. From these it is easy to distinguish further competitors, from brands with similar ethosâ&#x20AC;&#x2122; and aesthetics to those that are stocked in the same boutiques.

The shopping habits and the types of places the consumer is already visiting can easily be divided into five areas; smart, basic, casual, practical and street. These five groups, and the competitor brands that fall into each can be identified on the following pages;

37.

CASUAL YMC

ALBAM EDWIN CARHARTT SOULLAND PAUL SMITH OUR LEGACY FRED PERRY GARBSTORE ONE TRUE SAXON NORSE PROJECTS ENGINEERED GARMENTS

38.

SMART COS

FOLK ACNE WHYRED FRED PERRY OUR LEGACY PAUL SMITH THE KOOPLES J. LINDEBURG HENTSCH MAN WON HUNDRED OLIVER SPENCER

PRACTICAL

39.

CARHARTT PENFIELD BARBOUR NORTH FACE FAJALLRAVEN NORSE PROJECTS

40.

BASIC COS HOWIES SUNSPELL

41.

STREET

PENFIELD SUPREME CARHARTT OUR LEGACY PERKS+MINI

42.

All of the brands on the previous pages can also be divided in a further way into two groups. Those brands that are also starting out and on a small scale, or brands who have been around for a while but are still retailing on a small scale, these will be the direct competition. On the other hand there are those brands which are well established but offering a similar range ethos and aesthetic but on a much larger scale which a new brand, such as Boxed would be unable to compete with.

Competitor Divisions.

For further information on competitors please see the appendix pages xvii. to xxii.

Direct Competitors.

Established Competitors.

43.

44.

MARKET POSITIONING. Opportunity.

In order for there to be a market opportunity for Boxed, it is key to understand what the brands currently called competitors are already supplying to the consumers. For Boxed to launch successfully as a new brand it has to be doing something that the competitors arenâ&#x20AC;&#x2122;t already covering. The idea behind Boxed is to launch a brand which is designed to cover all areas of the modern urbanites lifestyle, whether this be meetings, work, cycling to work or weekend casual wear. For this to work it is key to understand what the competitors are already supplying in terms of functional/ non-functional and casual/ smart items.

As is show below, the majority of already existing brands are supplying garments that are either smart but not functional, or functional but casual. This means the consumer is shopping at a number of places in order to build up a wardrobe which is likely they will be carrying around on a daily basis to change into and out of depending on the situations and tasks they find themselves confronted with. This leaves a clear market opportunity to create a modular wardrobe which works for all aspects of the consumers lifestyle, with the benefits of having function and performance aspects. The results of a survey of 36 selected individuals also shows they are more likely to purchase this type of garment, particularly if it meant they had to purchase fewer of them.

SMART

WHYRED COS WON HUNDRED OLIVER SPENCER

Market Opportunity. To create a wardrobe which works for all aspects of the urbanites lifestyle, from office to leisure, and with the benefit of function and performance.

THE KOOPLES FRED PERRY

J. LINDEBURG HENTSH MAN

PAUL SMITH

FOLK

OUR LEGACY

YMC

ONE TRUE SAXON

ALBAM ENGINEERED GARMENTS

PERKS + MINI SUPREME HOWIES

CASUAL

GARBSTORE

FUNCTIONAL

NON-FUNCTIONAL

ACNE

PENFIELD NORSE PROJECTS CARHARTT

FJALLRAVEN

YES.

75%

25%

NO.

WOULD CONSUMERS BE MORE LIKELY TO PURCHASE GARMENTS WHICH FULLFILLED MULTIPLE NEEDS/ SITUATIONS?

45.

46.

RETAIL POSITIONING. By understanding where the consumer is already shopping, and what draws them to these brands it is easy to know how much they are willing to pay for certain items. The results of the opinions of

How much are consumers willing to spend? the selected consumers surveyed can be seen opposite;

47.

COATS

JACKETS

SHIRTS

T-SHIRTS SWEATSHIRTS KNITWEAR

TROUSERS

JEANS

50 75 100 150 200 250 300 300+

Information taken from a survey of 36 individuals.

SHIRTS T-SHIRTS JEANS TROUSERS KNITWEAR SWEATSHIRTS CASUAL JACKETS COATS BLAZERS

800

SHIRTS T-SHIRTS JEANS TROUSERS KNITWEAR SWEATSHIRTS CASUAL JACKETS COATS BLAZERS

48.

By looking at the pricing ranges of the stores they are already

shopping at, or visiting, it is also possible for work out how much the consumers are paying in reality.

700

600

500

400

300

200

100

SHIRTS T-SHIRTS JEANS TROUSERS KNITWEAR SWEATSHIRTS CASUAL JACKETS COATS BLAZERS

49.

Real Spending. Direct Competitors. Newer or smaller brands which will be influencing the pricing structure of Boxed as they are still opperating on a smaller scale unlike the more established competitors who are producing larger quantities.

SHIRTS T-SHIRTS JEANS TROUSERS KNITWEAR SWEATSHIRTS CASUAL JACKETS COATS BLAZERS

50.

800

700

600

500

400

300

200

100

SHIRTS T-SHIRTS JEANS TROUSERS KNITWEAR SWEATSHIRTS CASUAL JACKETS COATS BLAZERS

51.

Established Competitors.

52.

HIGH PRICE ACNE

OLIVER SPENCER PERKS + MINI

PAUL SMITH

HENTSH MAN

GARBSTORE

ALBAM

YMC

WHYRED WON HUNDRED

ONE TRUE SAXON J. LINDEBURG

SUPREME

HOWIES

The market for functional items is still lacking, there are few stores able to provide this in an on trend way.

OUR LEGACY

COS

FRED PERRY

FOLK

This opportunity of low priced and nonfunctional garments is already able to be filled by the high street, brands such as Topman and H&M.

FJALLRAVEN

PENFIELD Functional low priced items are again available on the high street, from sports shops or workwear suppliers.

FUNCTIONAL

NON-FUNCTIONAL

THE KOOPLES

NORSE PROJECTS

CARHARTT

LOW PRICE To further understand the opportunity to produce functional, yet smart, garments it is clear to see from the graph above that these will be positioned at a higher price, i.e. roughly ÂŁ100 for a shirt. The opportunities for low priced pieces are already taken by the high street, whether this be from the high street like H&M, sports shops or workwear suppliers. For further information on the brands strengths, weaknesses, opportunities and threats please see the appendix pages xxiii. to xxiv.

Price in GBP

PROPOSED BOXED PRICING ARCHITECTURE

53.

400 350 300 250 200 150 100 50

T-Shirts. Sweatshirts. Jeans. Shirts. Trousers. Knitwear. Blazers. Coats. Casual Jackets.

54.

Range Overview.

55.

The key items which, in there different forms, make up the modern mans wardrobe.

56.

Albam. Engineered Garments. Folk. Full wardrobe range of casual and

smart/ casual clothing with a practical edge, along with footwear and accessoires. Some pulications and

Full wardrobe including shoes

A range of smart casual wear with

and accessories such as ties

an organic and workwear feel. Compromising of shirts, blazers, jackets,

and hankerchiefs.

trousers and coats.

a fortnightly barber shop selling their products.

Garbstore. Hentsch Howies. Full wardrobe range inclding denim of casual clothing with some smarter items such as blazers, along with accessories.

Man.

Full wardrobe range of quirky smart wear, no jersey in the line and no practicality slant.

Casual everyday wear in a wide range of sustainable fabrics.

57.

What are the competitors supplying in their ranges? True Norse Oliver One Projects. Spencer. Saxon. Full wardrobe of casual yet

Range of casual wear with

Full wardrobe range of

a strong performance slant,

smartwear with a strong tailoring

especially in outerwear.

focus. Also shoes, leather goods

Unique knitwear range and

and accessories.

tailored items. Practical vibe running throughout.

streetwear style graphic print t-shirts.

Our Legacy. Perks + Mini.

Conceptually led design

Street wear range consisting of

YMC.

creating a full wardrobe

shirts, tees, shorts, trousers, sweat-

Full wardrobe range of well

of unique items with an

shirts and jackets all with stongly

crafted casual and streetwear,

interesting tailoring slant and

recognisable prints and fabrications. including footwear, accessories

look towards appreciating and understanding basic items.

and underwear.

58.

Tops.

Shirts.

T-Shirts.

smart and casual aspects. For

divided into two sections.

smarter wear the shirts will

There will be the basic type,

sweatshirts and knitwear.

be in a range of oxfords and

which will be focused on

Sweatshirts will be crewneck,

poplins with details being

embrasing the iconic white

predominantly with raglan sleeves

in the cutting and fabric

and gray marl t-shirts and

and appear well constructed with

manipulations, always in the

perfecting these to be the

visable stitching. In order to

shell colour. For more casual

perfect indispensible wardrobe

move away from a sports aesthetic

wear, there will be more of

basics. The second type will

there will be experimentations

a focus on softer flannel like

be the graphic print t-shirts,

into the thickness of the ribs

fabrics though trying to keep

whether all over or with a

to create a more tailored

these more timeless by moving

logo, these will have more of a

appearance. Knitwear will be

away from traditional checks.

streetwear feel and be a way of

made up of both jumpers and

A key aspect that will make

displaying much of the visual

cardigans with jumpers following

the shirting different is the

influences of the brand.

the theme of being a chunky knit

These need to cover both

T-Shirts in the range will be

Tops will be made up of

focus on making it easy to

and crewneck. Cardigans will be a

move in, rather than tradition

thinner knit and ideal for wearing

sleeve seams, the range will

over the shirting.

be introducing raglan sleeve seams , along with centre back pleats and generous vents, enabling more ability for movement.

59.

What will Boxed need to Supply? Trousers. Casual

Trousers can be divided into three

sections, denim, general trousers and smart. Denim will be narrowed down to two fits, a slim tapered cut and a lower crotched style, both enabling movement and a lack of interference. Being in darker washes will also give them an ability to act as smart/ casual wear. General trousers will consist of a basic twill, chino style and cordroy, and with smart being designed to work with the blazers. Throughout all types practicality will be a high priority with easily accessable pockets being key, not just in the regular places but thinking about the need for access from different positions and incorporating a number of concealed pockets.

Jackets.

These will be the most

performance focused item in the range, in terms of both fabrication and design. These will be designed to cater for a number of situations, and with this they will feature a variety of benefits, for example detachable linings, adjustable hood fittings and expansive storage opportunitys. Aesthetically they will be crossing the border of streetwear and smart casual wear.

Blazers. Blazers will be

Coats.

predominantly

Coats will be split into

restricted to smart

two varietys, there will be

wear, with little

lightwear overcoats in a

performance attached.

macintosh style and also

They will however

heavier weight wollen

be designed to be

coats following the theme

practical, whether

of the peacoat. The

this is crease proof

lighetweight option will

fabrication for

feature more practical

folding and packing,

aspects, such as foldaway

linings which help

hoods and venting for

to keep the wearer

added movement and will

cool or innovative

act as a bridge to cross

and discreate storage

over practial wear and

solutions. Visable

smart wear. The heavier

detailing will be

weight wollen coat will be

minimal and the

more of a formal winter

garment will be

coat, providing warmth

designed to function in

though little further

a similar way to a basic

function.

white t-shirt, where it is indispensible and timeless.

60.

61.

PANTONE 17-0535 TCX PANTONE 17-1226 TCX

PANTONE 19-1725 TCX

PANTONE 16-1164 TCX

PANTONE 16-1448 TCX

PANTONE 17-1350 TCX

PANTONE 16-4019 TCX

PANTONE 19-3921 TCX PANTONE 11-1005 TCX

PANTONE 16-0000 TCX

PANTONE 17-1118 TCX

PANTONE 19-0814 TCX

PANTONE 19-4014 TCX

62.

Bibliography.

63.

64.

Books. Aav, M. and Stritzler-Levine, N. (1998) Finnish Modern Design. London: The Bard Graduate Centre for Studies in the Decorative Arts and Yale University Press.

Lectures and Seminars.

Almaas, I. (2002) Norway: A Guide to Recent Architecture. London: Batsford.

‘Sustainability for the High Street’. Esthetica Source Expo. 31.10.2011.

Agkathidis, A. (2009) Modular Structures in Design and Architecture. London: BIS.

‘Working with Co-Operatives and Community Groups’. Esthetica Source Expo. 31.10.2011.

Barley, N. (2000) Breathing Cities: The Architecture of Movement. Berlin: Birkhauser.

‘Pentland Graduate Talk’. London College of Fashion. 14.11.2011.

Bengtsson, S. (2008) Norway Calling: touch-down in a new world of Norwegian design. Hove: Roundhouse.

‘Asos Graduate Talk’. London College of Fashion. 21.11.2011.

Dachs, S. (2010) Arne Jacobson. Barcelona: Ediciones Poligrafa. Engblom, S. (2002) Art in Sweden: Leaving the Empty Cube. Stockholm: Swedish Institute. Fletcher, K. (2008) Sustainable Fashion and Textiles. London: Earthscan. Glusberg, J. (2000) Truth, Radicality, and Beyond in Comtemporary Architecture. London : Andreas Papadakis. Helgeson, S. (2002) Swedish Design: the Best in Swedish Design Today. London: Mitchell Beazley. Hibbert, R. (2001) Textile Innovation: traditional, modern and smart textiles. London: Line. Kamprad, I. (2007) The Testament of a Furniture Dealer. Almhult: Inter Ikea Systems. Koumis, M. (2004) Art Textiles of the World: Scandinavia. Bristol: Telos Art Publishing. Lewis, E. (2005) Great Ikea. London: Cyan Communications Limited. Meadows, T. (2009) How to Set up and Run a Fashion Label. London: Lawrence King Publishing Ltd.

‘Creative Entrepreneurship and Networking with Stefan Sieger of Not Just a Label’. London College of Fashion. 14.11.2011

Museums and Exhibitions.

‘Postmodernism: Style and Subversion 1970-1990.’ (2011-12) Victoria and Albert Museum, London. 24 September – 15 January. ‘Power of Making.’ (2011-12) Victoria and Albert Museum, London. 06 September – 02 January. ‘Static Exhibits’. (2011) The Geffrye Museum of the Home, London. ‘Hidden Heroes: The Genius of Everyday Things’. (2011-12) The Science Museum, London. 09 November – 05 June. ‘Terence Conran: The Way we Live Now’. (2011-12) The Design Musuem, London. 16 November – 04 March.

Articles.

‘What do we really know about the Shipment of Clothing?’ (2011) Textiles, Issue 2, 2011.

Sommar, I. (2003) Scandinavian Style. London: Carlton Books.

Mowbray, J. (2011) ‘Naturally Synthetic’. EcoTextileNews: 23-25.

Stevenson, G. (2003) Palaces for the People: Prefabs in Postwar Britain. London: Batsford.

Santamaria, L. (2011) ‘Sanne Schepers’. Sublime, Issue 29: 60-61.

65.

Websites. http://shop.acnestudios.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011) http://www.albamclothing.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.barbour.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.carhartt.com (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.cosstores.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.couvertureandthegarbstore.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.edwin-europe.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://engineeredgarments.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.fashionencyclopedia.com/Fr-Gu/Garratt-Sandra.html (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.fjallraven.se/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.fredperry.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.folkclothing.com/men (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.hentschman.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.howies.co.uk/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.ikea.com/gb/en/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://jlindeberg.com (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.mintel.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.norseprojects.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://oliverspencer.co.uk/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.onetruesaxon.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011

http://www.ourlegacy.se/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.paulsmith.co.uk (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.penfieldusa.com/uk (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.perksandmini.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.slowandsteadywinstherace.com (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.soulland.eu/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http:// starsweare.com/2011/01/19/its-a-modular-world-interview-with-sandra-garratt-3 (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.sunspel.com (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.supremenewyork.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.surveymonkey.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.thekooples.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://uk.thenorthface.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://weareultra.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.wgsn.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.whyred.se (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.wonhundred.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011 http://www.youmustcreate.com/ (2011). (Accessed: throughout Oct, Nov, Dec 2011

66.

Page 01. Photograph taken by Jessica Harman. Page 02-03. Logo design by Jessica Harman. Page 04-05. Photograph taken by Jessica Harman. Page 06-07. Images taken from www.fiskars.com and ‘Finnish Modern Design’. Page 08-09. Drawing by Jessica Harman.

Page 34-35. Images taken from fashionencyclopedia.com.

Page 10-11. Images taken from www.ikea.com, http://directdaily. blogspot.com/2008/12/ikea-best-cube.html. Collage by Jessica Harman

Page 36-37. Image taken from FashionBeams.

Page 12-13. Images taken from http://www.slowandsteadywinstherace.com. Page 14-15. Image taken from “Norway Calling: touch down in a new world of Norweigen Design.’ Page 16-17. Collage of images taken by Jessica Harman and collected from streetstyle blogs, The Satoralist, Men in this Town, The Locals and FashionBeams. Page 18-19. Images taken from design blog Dezeen..

Page 38-39. Images collected from The Satoralist and Men in this Town. Page 40-41. Images taken from FashionBeams and The Locals. Page 42-43. Images collected from the relevant brands websites. Page 44-45. Diagrams created by Jessica Harman. Page 46-47. Diagrams created by Jessica Harman. Page 48-49. Graph created by Jessica Harman.

Page 20-21. Images taken from tate.org.uk, ecospacestudios.com and constructedperceptions.com.

Page 50-51. Graph created by Jessica Harman.

Page 22-23. Images collected from the relevant websites.

Page 52-53. Diagrams created by Jessica Harman.

Page 24-25. Diagram by Jessica Harman.

Page 54-55. Collage by Jessica Harman created from Images taken from LookBooks.

Page 26-27. Diagrams by Jessica Harman. Page 28-29. Diagrams by Jessica Harman.

Page 56-57. Photographs by Jessica Harman. Images collected from the relevant websites.

Page 30-31. Image collected from trekearh.com.

Page 58-59. Collage by Jessica Harman created from Images taken from LookBooks.

Page 32-33. Images taken from weareultra.com.

Page 60-61. Portfolio work by Jessica Harman.

Image Referencing. 67.