Report by Julie Martin

Julie Martin http://juliemartinfflivebrief.tumblr.com/

INDUSTRY REPORT DESIGN ENTERPRISE & INNOVATION 1

CON TENTS 2

4. LIST OF ILLUSTRATIONS 5. INTRODUCTION 6. INDUSTRY FORECAST 8. JOB ROLE FORECAST 10. PERSONAL FORECAST 11. ILLUSTRATIONS 18. PRESENTATION PLAN 20. BIBLIOGRAPHY 22. UPDATED CV

LIST OF ILLUSTRATIONS Illustration 1: Suede Biker Jacket Clothingattesco.com. (2016). F&F Signature | Women’s Lingerie & Formal Clothes | F&F. [online] Available at: http://www. clothingattesco.com/womens-brands/f+f-signature/icat/wm-f-and-f-signature [Accessed 7 May 2016]. Illustration 2: Retailers from which clothes are bought in store and online JULY 2015 Sender, T. (2015). Executive Summary. 1st ed. [ebook] Mintel Group Ltd, p.All. Available at: http://academic.mintel.com [Accessed 9 May 2016]. Illustration 3: F&F Store N/A, (2013), F&F prepare to open the doors of their first ladieswear boutique Read more at http://www.look.co.uk/fashion/ff-launches-its-first-ever-ladieswear-boutique#oIeUf534CjtJlCXT.99 [ONLINE]. Available at: http://www.look.co.uk/sites/default/files/imagecache/scaled_620px_wide/FF012NEW. jpg [Accessed 9 May 2016]. Illustration 4: Davina for the F&F ActivewearBarns, S. (2016) Race you to the checkout! Davina McCall fronts new Tesco gym line [Picture]. Available at: http:// www.dailymail.co.uk/femail/article-3385307/Davina-McCall-new-face-Tesco-s-gymwear-line.html (Accessed: 9 May 2016). Illustration 5: Attitudes towards and usage of selected retail brands, AUGUST 2015 Sender, T. (2015). Executive Summary. 1st ed. [ebook] Mintel Group Ltd, p.All. Available at: http://academic.mintel.com [Accessed 9 May 2016]. Illustration 6: Sender, T. (2015). At A Glance. 1st ed. [ebook] Mintel Group Ltd, p.All. Available at: http://academic.mintel.com [Accessed 9 May 2016]. Illustration 7: First Fit Lectra. (2014). Fast fashion. [online] Available at: http://www.lectra.com/en/fashion-apparel/fast-fashion-solutions [Accessed 7 May 2016]. Illustration 8: 3D Fit Colourways, Martin J (2016) Arts University Bourenmouth [photograph] Author’s Own Illustration 9 : 3D Fit and Drapers Studio, Martin J (2016) Arts University Bourenmouth [photograph] Author’s Own

Illustration 10 : Kaledo Print Screens, Martin J (2016) Arts University Bourenmouth [photograph] Author’s Own

INTRODUCTION

For the unit Design Enterprise and Innovation unit, the Lectra Live brief is with well-known supermarket brand Tesco for their Signature range at F&F, using the Lectra software. The brief required us to design a dress or one piece for Autumn/ Winter 16 and must retail for up to ÂŁ55. As well as this the pattern must be made using the Lectra Modaris software, allowing a certain amount of drape. And for the final design to be made in the final print in 3D fit. I chose to take this pathway as F&F are one of the many well-known brands that use Lectra and this is my chosen university pathway. If I win then I would gain recognition for my design, alongside a paid internship at the company, which will help boost my skills I the software and give me industry experience. I also wanted to widen my knowledge of the 3D and Kaledo software, which is heavily stressed in this unit.

INDUSTRY FORECAST The Signature range from F&F gives the customer’s wardrobe a ‘premium touch’ (F&F Signature Range, http://clothingattesco.com) . ‘Dresses are fitted and lightly embellished for occasion- ready looks, while jackets and tops are given a tailored touch.’ (F&F Signature Range, http://clothingattesco.com) The suede jacket costs £75 (Illustration 1)and the long leather jacket costs £175, which is a lot more than their usual range. They use genuine leather for the leather jackets, thus the material reflects the price. The dresses sell at £45, which again is more than double in comparison to their usual range. Finally, their wedding dress costs only £80 which is incredibly cheap. The range is entirely online which follows consumer’s demands. (Clothing Retailing, Tesco, Mintel) (Illustration 2) It also makes it more accessible, as if it was in certain Tesco stores, there would be reduced stock because it isn’t the main aspect of the store and not all towns have a big Tesco. (Illustration 3) F&F’s website is more fashion-focused than George at ASDA, which is more price obsessed. For example it has style books and fashion themes running throughout. (Illustration 4) Thus making them aimed more at the Primark customer as Primark lacks a useful website, so customers are more likely to shop at F&F – especially as they would see F&F as more value for money. (Clothing Retailing, Tesco, Mintel)(Illustration 5) Tesco’s target market seems to be the average woman(Illustraion 6): working while supporting a family, and providing clothes in their supermarkets makes it easier for them to work clothes shopping into their hectic lives.

Those living in London have the greatest trust towards F&F at Tesco, reflecting a stronger presence in the capital and that way of life. (Clothing Retailing, Tesco, Mintel) Lectra is an industry-leading technology company that specialises in CAD and CAM systems for soft material industries (“Lectra Fashion PLM streamlines product development from planning to sourcing”. March 21, 2015.)( Legg, John (May 1, 2015). “Industry leaders jwwoin Lectra for an exclusive furniture industry event”. Gearing Media Group.), based in France. It was founded in 1973 by engineers Jean and Bernard Etcheparre, where the first machine enabled a piece of clothing to be cut in all sizes from a cardboard pattern. This was revolutionary in terms of pattern cutting as patterns were mainly manual beforehand. Using a machine enables the process to be quicker and more precise. Lectra initially launched its Modaris software in 1984 and by 1986, it was the world’s leading CAD and CAM systems provider. Its onscreen pattern modification and design systems are widely used in the textile industry, including fashion schools and colleges. (M. Stott (October 30, 2012). Pattern Cutting for Clothing Using CAD: How to Use Lectra Modaris Pattern Cutting Software) Vector, Lectra’s fabric-cutting technology, was introduced in 1993. It now has over 23,000 clients in over a hundred countries including companies such as Louis Vuitton, Hermès and H&M. (“Lectra launches South Korean subsidiary”. Fashion Magazine. July 9, 2014.)

In terms of Lectra for F&F, it is very beneficial for the company. Consumers today do not have the time to try on clothes, so it is up to the company to ensure that the clothes fit perfectly. By using the 3D software (Illustration 7), it allows F&F to cut down on the number of physical samples, as they can easily adjust the pattern on the software, instead of physical material, ensuring less mistakes regarding the initial sample. This in turn lessens the time to market, and enables the clothes to be in store in 4 weeks. Thus following consumerâ&#x20AC;&#x2122;s needs. (Customer Story, Lectra.com) Using Modaris puts the company in charge of grading and the patterns, which is useful as they sell globally and someone in Vietnam may not fit into clothes the same way someone in the UK would. (Customer Story, Lectra.com) The software allows them to be fully flexible in terms of sampling and prototyping and thus boosts international communication and collaboration (Fast Fashion, Lectra.com) . It also helps aid the design process as designers can visualise what their initial concept and design will look like before it goes out to suppliers. For example on 3D fit you can place the print on the design; if the print is too big or small the designer can easily make adjustments there and then, rather than having to wait for the print to be made, thus making it cost and time effective. (Customer Story, Lectra.com)

JOB ROLE FORECAST During this live brief I feel that my job role has been varied and has allowed me to develop my skills in pattern cutting, print work as well as design work. In terms of designing I had to heavily research into trends, colour schemes and themes for my own personal response to the brief, alongside the moodboard that was provided.

Designer There are three types of fashion designers: high street, ready to wear and haute couture. In terms of this brief the designer would be defined as a high street designer. “This is where the majority of designers work and where garments are mass manufactured (often in Europe or East Asia). Buying patterns, seasonal trends and celebrity catwalk influences play a key role in this design process. It is a commercial area and heavily media led” (Fashion Designer, Prospects.ac.uk) Roles of a fashion designer vary depending on the company; if it’s a small and niche company then the designer may have to make the pattern and toiles, whereas in bigger companies there are pattern cutters and dress makers that can take on these various roles. In terms of this competition we have had to create the pattern as well, but this aided the design process as it means that one can have gained a better understanding of how the garment can actually be made, which in turn can change the design as some drawings aren’t possible.

Print Designer

Lectra Pattern Cutter

Print design can be considered the role of a textile designer. Prints can be made by hand or digitally. Sometimes they can be made by hand and then manipulated further digitally. Textile designers can work within a team, however for this brief, we had to take on this job role ourselves. It helped develop the design as some designs would work well and some wouldn’t with the print. (Textile Designer Job Profile, Prospects.co.uk)

A Lectra Patter Cutter would then take these designs and make a pattern using the blocks from the system. F&F actually provided their most popular blocks, so the patterns were developed from this. Pattern cutting is slowly developing from manual to computer based, with a higher demand of companies seeking out Pattern Cutters who can use the Modaris software as it saves a lot of time – patterns can be edited in a matter of minutes, whereas with manual pattern cutting, the pattern piece would have to be traced over and edited. Also, the 3D fit software saves time and money as a virtual toile doesn’t have to be made, adjusted and then re-made – the pattern cutter can easily draw on the toile and then make adjustments to the pattern there and then in a matter of minutes and without any material waste. This of course doesn’t take away from a real sample, but it definitely reduces the amount of issues and amount of time it would take to make several material toiles until it was right.

PERSONAL FORECAST I have developed my skills on Kaledo Print and Style, which I had barely knowledge of before. For example, now I know how to turn a print I made on Photoshop, into a print that can easily be replicated by companies like F&F how have to work to a certain budget, and thus can only use a certain amount of screens. I think this has given me vital skills that I could go out and use in industry, seeing as this is something that is used. My skills on Modaris have improved as well, as now I can easily check how my pattern fits and looks on the 3D fit software, through using modes such as transparency, that show how tight or loose a garment is. From this, if I’m not happy I can then draw and cut into the pattern to adjust it. Additionally I can place the print I made onto the garment, (Illustration 8) which in turn aided my design process as I could see what worked well and what did not, therefore allowing me to make adjustments from this. I also know how to make detailed spec sheets, which is needed in the industry – especially in companies like F&F who send their garments to be made abroad where the workers were not included in the design or pattern making process and therefore do not know how the garment is constructed. This opportunity has enhanced my practise as it has encouraged me to think more in detail about the design practise as a whole. For example in terms of fabrics, and how this can affect the design in terms of drape, the seams that can be used, the trims etc. Using the 3D software and Drapers Studio (Illustration 9) aids the design process as I can test colour pallets and prints without having to waste any materials.

Due to the fact that the pattern had to be made on the software and a 3D fit toile had to be used, the live brief has enhanced my knowledge with the Modaris software. The fact that the brief was so restrictive meant that I couldn’t print certain pattern pieces of my design and make them to see how they would fit – instead it pushed my skills of the Modaris and 3D software. My skills in Kaledo Print and Style have been enhanced as I do not tend to use print, so I wasn’t as skilled in the software as I could have been, but as this brief stresses it I really had to focus on using prints. (Illustration 10) I think from this live project I have gained an understanding as to how industry works – especially high-street brands, who have really tight briefs due to costings. Whereas before I designed without money or time ever being an issue; I have made some patterns and garments that have taken a while to produce, but this wouldn’t be wanted in this sort of industry as they have a tight time frame to work towards, as well as budget, and they can’t afford to lose time and money on a garment that will take too long to make. I also have a better understanding of what sort of fabrics and finishes that would be used and needed in high-street fashion. For example, brands like F&F wouldn’t necessarily want to buy fabric that is 100% silk due to the cost, or use seems like French seams, due to the amount of care and time that would be needed to go into this. Instead they would probably chose a cheaper alternative that they could buy in bulk and overlock a lot of the garments seams.

What Iâ&#x20AC;&#x2122;ve learnt from this live brief will positively target my work as I think that it has made my skills in print making better as Kaledo print allows me to make and design a wider variety of work. I think I can also target my future work cleverly so that it can still have some form of creativity while also having some constraints, which would allow it to be sold in high-street stores.

ILLUSTRATIONS

Illustration 1: Suede Biker Jacket Clothingattesco.com. (2016). F&F Signature | Women's Lingerie & Formal Clothes | F&F. [online] Available at: http://www.clothingattesco. com/womens-brands/f+f-signature/icat/wm-f-and-f-signature [Accessed 7 May 2016].

Illustration 2: Retailers from which clothes are bought in store and online JULY 2015 Sender, T. (2015). Executive Summary. 1st ed. [ebook] Mintel Group Ltd, p.All. Available at: http://academic.mintel.com [Accessed 9 May 12

Illustration 3: F&F Store N/A, (2013), F&F prepare to open the doors of their first ladieswear boutique Read more at http://www.look.co.uk/fashion/ff-launches-its-first-ever-ladieswear-boutique#oIeUf534CjtJlCXT.99 [ONLINE]. Available at: http://www.look.co.uk/sites/default/files/imagecache/scaled_620px_wide/FF012NEW.jpg [Accessed 9 May 2016].

Illustration 4 : Davina for the F&F ActivewearBarns, S. (2016) Race you to the checkout! Davina McCall fronts new Tesco gym line [Picture]. Available at: http://www. dailymail.co.uk/femail/article-3385307/Davina-McCall-newface-Tesco-s-gym-wear-line. html (Accessed: 9 May 2016).

ILLUSTRATIONS

Illustration 5: Attitudes towards and usage of selected retail brands, AUGUST 2015 Sender, T. (2015). Executive Summary. 1st ed. [ebook] Mintel Group Ltd, p.All. Available at: http://academic.mintel.com [Accessed 9 May 2016].

Illustration 6: Sender, T. (2015). At A Glance. 1st ed. [ebook] Mintel Group Ltd, p.All. Available at: http://academic.mintel. com [Accessed 9 May 2016].

Illustration 7: Fist Fit Lectra. (2014). Fast fashion. [online] Available at: http://www.lectra.com/en/fashion-apparel/fast-fashion-solutions [Accessed 7 May 2016].

Illustration 8: 3D Fit Colourways, Martin J (2016) Arts University Bourenmouth [photograph] Authorâ&#x20AC;&#x2122;s Own

Illustration 9 : 3D Fit and Drapers Studio, Martin J (2016) Arts University Bourenmouth [photograph] Authorâ&#x20AC;&#x2122;s Own

Illustration 10: Kaledo Print Screens, Martin J (2016) Arts University Bourenmouth [photograph] Authorâ&#x20AC;&#x2122;s Own

PRESENTATION PLAN

F&F INTRODUCTION - 3mins When it started General knowlege Their beliefs and ethics USE OF LECTRA - 3 mins Various software - Kaledo, Modaris, 3D Fit How itâ&#x20AC;&#x2122;s used in industry MY EXPERIENCE AND WHAT I DID - 3 mins How I responded to the brief How I came up with my patterns How I used 3D Fit and Drapers Studio CONCLUSION AND SELF EVALUTATION - 3 mins What went How can i What have Will this

well and what didnt? improve? I learnt? be useful when I gointo industry?

Q&A - 3mins

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BIBLIOGRAPHY 20

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Tuclothing.sainsburys.co.uk. (2016). Tu Clothing at Sainsburyâ&#x20AC;&#x2122;s | Tu clothing. [online] Available at: https://tuclothing.sainsburys.co.uk/ [Accessed 9 May 2016].

UPDATED CV