es
brandix core competencies and the
a collaboration between Brandix Lanka and Manchester Metropolitan University
brandix core competencies and the
3. 4.
Minimise Write-os and Wastage Minimise Overheads
Orsola de Castro (2008)
minimise commercial overheads •
of processes
•
Warehousing technology to manage stock control of fabrics and garments that have not been approved but could be resold for another purpose. Reduce Health & Safety overheads with (see Ikea model).
“Only
17% of consumers
are happy with fit.
to the future.”
Ed Gribbin (2015)
The “PERFECT” fit
“At Ikea’s distribution center in Älmhult, pallets are stacked and retrieved through a fully automated process.” (Kowitt, 2015)
trends and key consumer groups music venues as direct customers
“Design is not just
Goers
about how it looks but
Glow in the Dark e.g. Glastonbury, Pacha, Amnesia.
how it Steve Jobs
The childrenswear side of the business could grow especially as modes of “play clothing” for comfort,
Young Families
children’s sleepwear would be a good moisture-rich, temperature controlled. Two-piece nightwear that can connect as one (one-pieces are very popular but hard to source for young children)
sportclubs as strategic partners for
Athleisure
branded kit which could be produced embellishments. E.g. JL and Crewroom do this for cycling, running &rowing etc.
Alexander Lamb (2015)
Quality is the Future
• •
• •
Never compromising on quality but making savings through sustainability models Closing the Loop and upcycling non-approved fabrics for resale.
Look at how other companies communicate their CSR policies visually through infographics and key statements Streamline the website for corporate users with low online
competencies and networks
“Reconnect the broken links of the supply chain.
Build a more transparent and connected industry�
Carry Somers (2015)
New Factory Developments
near manufacturing
factory developments in Europe
the value proportion
these four core values are intrinsic to Brandix processes 1. Supply a great product at the best price.
2. To have the fastest response time. 3. To meet and exceed customer expectations.
4. An intimate service to customers.
“Consumer adoption is accelerating – the internet and digital is the new engine of the economy.” (DuLake, 2015)
community
women and water
sustainability corporate social responsibility
people, planet, proďŹ t
Brandix have a commitment to inspire their employees and make positive contributions to the community winning accolades such as one of the top 4 employer brands 2013/2014
and the leading green manufacturer in Sri Lanka.
global reach
production + supply base
solutions to a declining labour market
Four years ago, in a response to the declining labour market in Sri Lanka, Brandix decided to develop a 100 acre plot of land in India. The vision was to use the available Indian workforce so that the whole supply chain would be on one site. This has benefits for response times, speed solutions and quality control.
“Process and quality can cost a business. Brandix are always looking to be better than the nearest competition.” Niloshan Perera (2015)
apparel industry
what is the real cost of fast fashion?
quality assurance
By 2020, it is thought that the global clothing and apparel industry will be worth a trillion dollars. Currently Sri Lanka, is not even 1% of the global apparel trade but, Brandix want to change this through innovative solutions. The opportunity to grow in this industry is huge and it is not always about the lowest price. Quality is also an important consideration for the customer and this is where Brandix is positioning itself.
“We don’t sell clothes, we sell capacity.”
Shrihan Perera (2015)
emerging markets
capitilising on trends and predicting future sources of revenue
“The future of sport fashion will be geared toward neither sport nor fashion, but instead toward the provision of apparel to facilitate the performance of modern lifestyles.� Stylesniper (Salazar, 2008)
The athletic side of the business started a year ago and the success of the “yoga pant� has seen this market segment grow.
Embellishment is also becoming more popular although the process is still time intensive and requires stringent quality control.
“Once a brand starts with a speed strategy they tend to want to stick with it.�
Tharumal Wijesinghe (2015)
“There are no real secrets in apparel. Just an attitude and a mindset.�
Adeesha Kotuwegoda (2015)
Creating the right partnerships has been pivotal for the growth strategy. The main areas of focus for these partnerships has been: •
Operational Key Performance Indicators (KPIs)
•
Working with industry experts in the USA and Japan on automation strategies
•
Introduction of high-tech systems and automating existing processes
•
Looking at the global reach of the company in terms of “Near Manufacturing”. Brandix have considered moving into Mexico and Brazil to shorter distribution times to the American market. E.g. Shipping and Air Freight would be replaced by cross-border logistics.
Aligning the capabilities of Brandix with the proposed companies, ASOS, IKEA and C&A, as illustrated in the accompanying booklets.
supporting seminars
These seminars, presented by industry experts have contributed and informed the content of the proposed strategic business partnerships.
ASBCI conference: The Fit Factor Ed Gribbin - Alvanon
Rethinking, Redesigning, Reinventing Apparel Sizing and Fit Strategies
Longevity:
At the recent ASBCI Fit Conference, Ed Gribbin presented the 5 steps to longevity within the fashion and apparel industries: 1.
Don’t be greedy – you can’t be all things to all people. Specialise and embrace your strengths
2.
Disrupt and don’t be afraid to fail – try new technologies and systems
3.
Go Virtual with a 3D product development strategy – this will allow you to cut time to market
4.
Rethink sourcing and get closer to home – supply chain proximity but with the greatest innovation available
5.
Reinvent design as “engineering” – treat design as a science to minimise wastage and maximise profitability
“Only 17% of consumers are happy with fit. Innovation is the key to the future.”
- Ed Gribbin (2015)
Engineering:
The concept of design as “engineering” incorporates the need for a body standard and a robust block library that is accurate, transparent and secure. E.g. Nike and Ralph Lauren are market leaders at this.
“Design is not just about how it looks but how it functions.”
- Steve Jobs
ASBCI conference: The Fit Factor Julia Mercer - Marks & Spencer
Keeping Abreast of Regional Bra Sizing Differences
Volumetric
Bra fit is volumetric fit, a similar idea to how we fit shoes.
Regional Sizing:
Regional sizing focuses on the body shapes and style trends of different parts of the world. For instance in Western Europe such as the UK, two out of ten women on average will have a slight concave to the sternum. When compared to Eastern Europe such as the Ukraine eight out of ten women will have a slight concave to the sternum. Similarly in countries where a husband can have multiple wives, the sales of higher end, lacy and silk underwear are much higher than that of Europe. New opportunities are endless, and the key is to combine new technologies with these “ok” problems.
Digital Marketing:
M&S PLC have developed a bra fitting smart phone app which has seen their bra sales rise by 80%.
ASBCI conference: The Fit Factor Philip Parker - Henry Poole & Co., Savile Row
Perfect Fit in an Imperfect World – A practical demonstration of how to measure and fit men and women
Figuration:
After measurements, “figuration” is very important to make corrective adjustments for natural posture. All these (distances) are incorporated into the patterns. The coat or jacket must be “in balance” to look correct and ensure the fabric drapes properly. Fit models are not for technical fit but for: • Comfort • Range of Movement • Drape • Functionality
“Visual observations as well as metrics and data are essential for shape and size fitting. This comes with experience and a trained eye.”
- Philip Parker (2015)
UK Manufacturing Difficulties:
Although manufacture is increasing in costs overseas, it is still not as expensive as producing in the UK. 1. Initial set-up costs are high in the UK 2. Volume of skilled workers available is low The Government has made some promises but business cost are and are likely to remain high.
ASBCI conference: The Fit Factor Graeme Pratt - BMB
The Challenges of Fit for Mass Production – High Street to High End Graeme Pratt is the Technical Designer for BMB and manages a small team of technical designers working closely with buyers. BMB has 47 different brands in both the wholesale and retail sectors. They are the third biggest menswear brand behind M&S PLC and Next PLC with 98% of the business on Ready-to-Wear (RTW). Their biggest customer is Debenhams although other brands include Racing Green, Red Herring and Jasper Conran. BMB is Egyptian owned and manufactures mainly in Egypt, Portugal and China however, they are looking to expand manufacture to Cambodia. Each block for every design goes through “fit”. Every garment is “fit” onto a fit-model not on a mannequin and this is carried out on a weekly basis. The jacket sizes range from a 32” to a 66” chest. Each block starts, as a “concept” i.e. is trend or design driven.
Menswear Trends:
Shoulder lines have become an important factor over the past ten years. Now some jackets have been developed with no shoulder pads at all. Finished patterns have to be adapted to accommodate these new shoulder lines. Interfacing has also increased in importance. E.g. The Jeff Banks brand opts for a soft aesthetic. Menswear has changed dramatically over the last decade and has been heavily influenced by womenswear. Men now prefer slimmer and shorter styles
ASBCI conference: The Fit Factor Graeme Pratt - BMB
The Challenges of Fit for Mass Production – High Street to High End
Sample Types:
A “Red Seal” sample – once a prototype sample has been approved and is constructed in the right fabric. Finish and trim however can be representative. Size Set – the samples in a range of fit sizes. A “Gold Seal” sample – the final sample before bulk production. Two “Gold Seal” samples are produced, one is kept at the factory for reference and one is sent back to the brand for sign-off.
Personal Tailoring:
This is both specific to style and brand specific. All blocks start as Ready-to-Wear (RTW). The store then analyses the customer against the block, fills in an order form and sends to the factory. A suit can be delivered to store within four to six weeks. Style options are limited in line with the existing RTW collection, this keeps down costs and speeds up manufacture.
Made to Measure:
The Made to Measure service is supplied to Austin Reed and is also available in store. A traveller tailor can visit stores although this is a very complex service. 90% of orders go through the system automatically, the other 10% will require some intervention by a technical designer i.e. they will manually create a pattern. The Gerber or CAD system then links to the in-house “Oasis” system and then the order comes from the EPOS system.
ASBCI conference: The Fit Factor Graeme Pratt - BMB
The Challenges of Fit for Mass Production – High Street to High End
Bespoke:
Bespoke is a relatively new service which was launched on Saville Row, London under the brand name Jeff Banks.
The Gould Factory:
A team of six people who are factory experienced construct the bespoke range. BMB still have a machines in their Gould factory which allows for: • • •
Quick damage correction Branch alterations The construction of the “Made in England” suits
“Made in England” Suits:
The “Made in England” suits have made BMB question whether the industry has come full circle. Only three to five suits are made per week and they are charged at a premium accordingly. There is increasing interest in this service and people are willing to pay the premium for this type of product.
ASBCI conference: The Fit Factor Alan Wragg - Tesco Stores
How F+F use 3D Virtual Fits to Become More Efficient and Improve Lead Times F+F have a multichannel, multinational strategy. Their business has a global reach including the UK, Central Europe and now expanding franchises in Saudi, Poland and Switzerland etc. They are even thinking of entering the Russian market next year. Although Tesco is big in Asia, the group have not fully maximised the brand of F+F. They are also one of the fastest growing online retailers in the UK. The ethos of the brand is “affordable fashion for all”. So, how can they create a global brand synergy which also allows them to cater for the individual diverse markets?
3D Virtual Fit:
Alan Wragg explained that F+F are now using virtual fit to become more efficient. The latest software allows garment visualisation on an avatar, meaning design styles and amendments can be made before proceeding to sampling. This cuts down lead times and also the costs relating to multiple sample creation. F+F have used Modaris 3D to create this library of core patterns that their world-wide supplier base can access. Modaris 3D allows the regrading of patterns quickly without cutting a single sample so that the blocks are always appropriate for ‘now’. How does this help? When the latest size survey results were released, a fundamental fit change was required. Modaris 3D allowed F+F to regrade all products quickly without ever cutting a single sample. They were the first brand to have the sizing changes ready for the new school year with their “School Shop”
ASBCI conference: The Fit Factor Alan Wragg - Tesco Stores
How F+F use 3D Virtual Fits to Become More Efficient and Improve Lead Times The Benefits: •
FEWER RETURNS – online returns were reduced from 19% to 14%. To put this into perspective, each 1% saving is worth over £750,000.
•
FEWER FITS – F+F’s aim is to move from an average of 1.8 fits per style to 1.2. With the introduction of Modaris 3D, this has already been reduced to 1.5 fits per style. The cost benefit of fewer fits would be a saving of over £100,000 in model/buyer/technologists’ time and courier charges.
•
SHORTER LEAD TIMES – if the lead time on a product is reduced by 1 or 2 weeks, F+F have realised that they can sell much more of the product at full price and make approximately 4%-8% more net margin. If this was done on 30% of styles, the company would make between £20-£40million more profit.
•
MAXIMISING MARKET TRENDS – when a company’s manufacturing is offshore it is important that the operation at the product development stage is slick in order to react to changing trends and behaviours.
Future Vision:
The F+F vision is to: • • • •
Approve the “fit” right first time on all product areas. Provide consistent sizes throughout the product ranges. Have corrected consistent fit for each market that they trade in. Gain customer trust to obtain competitive advantage.
ASBCI conference: The Fit Factor Ian Mitchell - Kantar Worldpanel Fashion
The Bigger Issue – Latest market intelligence on the plus size sector
What is Plus Size?
For the purpose of the presentation, we will take plus size to mean Size 18 and above.
How do women shop?
Kantar Worldwide are experts in measuring and explaining. All assumptions made are based on a panel of 15,000 shoppers with over half of those being women. 7,500 women, based in the UK and how they shop over time.
Shoppers (Who are they?)
In 2013, 24% of women are predetermined obese. This figure has actually decreased over the past five years. The mix of dress sizes has barely changed in the last five years with the majority of women (69%) still falling into the size 10,12,14,16 range.
Money (How much is it worth?)
19% of women are size 18 and above accounting for £3 billion in womenswear sales. Although the plus size market is significant, it is not a growing sector.
Behaviour (What they do?)
Plus size women spend approximately £100 less than the average woman. They shop in fewer stores and buy less often. Women split by social status and age i.e. Young Upmarket, Old Upmarket, Old Down-market, and Young Down-market. Only 10% of women fall into the Young Upmarket category. Older women tend to be more plus size than younger women.
ASBCI conference: The Fit Factor Ian Mitchell - Kantar Worldpanel Fashion
The Bigger Issue – Latest market intelligence on the plus size sector
Behaviour (What they do?) continued...
The womenswear market growth is determined by age and not dress size. Plus size women spend less than average, regardless of their age.
“Age is relevant but is not the only influence on spend.”
- Ian Mitchell (2015)
Plus size women are noticeably more cautious about spending on key “fashion” items. This caution is also extended to the channel they use to browse and purchase. A plus size women is more likely to shop online than the average women.
Product availability is not the issue either.
Attitudes (What they think?)
Plus size women show considerably less interest in following fashion and trends. As a market segment they are less engaged in fashion.
ASBCI conference: The Fit Factor Ian Mitchell - Kantar Worldpanel Fashion
The Bigger Issue – Latest market intelligence on the plus size sector
Attitudes (What they think?) continued.. “Attitude is the key influencer on what and how much women spend.”
- Ian Mitchell (2015)
The preferences for plus size women are: • • • • •
Spend as little time shopping as possible Tend to make impulse purchases rather than planning Prefer to wear casualwear. The appropriateness of the clothing Fit and comfort feature highly
“All shoppers should be defined by behaviour and attitude, not size and gender.”
- Ian Mitchell (2015)
ASBCI conference: The Fit Factor Helen Jack - J D Williams
Realising the Opportunities of the Plus Size Market
Who is N Brown?
N Brown is the leading internet and catelogue home shopping company with over 140 years of experience in the distance shopping market. To the brand, it is not about Plus Size but clothes that fit and are appropriate for the customer.
The Challenges:
The challenges of serving a plus size market are: • • • •
Understanding the plus size consumer, attitudinally (through marker and customer research; research groups / Usage and Attitude – U&A Study/Immersion Sessions/Kantar Market Data). Understanding the plus size consumer, physically (Health Surveys for England / Fit models on Real Customers / Customer Surveys). Changing competitor landscape. Stock keeping for size range needed to cover all the niche product ranges
The Winners:
Calf fitting especially on long boots has been a “Golden Grail” for the company and its customers.
How has the plus size customer changed?
UK women have experienced an increased waistline, slight tummy, stooped posture and a lower bust line. The bust have become fuller and the feet have widened.
“The plus size consumer is also in transition, body confidence is firmly on the agenda and curves are very much, on trend.” - Helen Jack (2015)
ASBCI conference: The Fit Factor Helen Jack - J D Williams
Realising the Opportunities of the Plus Size Market
The Competitor Landscape:
The competitor landscape and the influence of online: • • • •
More competitors are offering larger sizes Online searching and delivery suits the plus size market Plus size is extensively searched for online and continues to be a key driver of traffic to websites Personalisation is a real appeal to the consumer (Customer-focused emails and shopping suggestions are a success)
Showcasing Online:
Many brands are choosing to showcase their ranges online but few are optimising the advantages of digital. • • • • •
Opportunity to highlight fashion credentials Styling and cross-selling the range A focus on fit Personalisation and understanding the consumer’s journey The garments displayed on relevant and appropriate models
The company had a request to show garments on real size models so they launched a campaign, which saw plus size jeans on relevant sized bloggers. This combined product endorsement with the relevant sized model, which inspires trust in the consumer.
Customer-centric:
J D Williams believe in putting the customer at the heart of the organisation and demonstrate this through a companywide culture of initiatives and training. • •
Employment engagement programmes Customer Charter “2015 – the year of the customer”
ASBCI conference: The Fit Factor Helen Jack - J D Williams
Realising the Opportunities of the Plus Size Market
To Summarise: Make stylish, comfortable clothing - where fashion ďŹ ts Continual market research and consumer insights
Be inclusive and personalise
Continually innovate "delight and excite"
Size appropriate product presentation Online is important and even more so is being truly multichannelled
ASBCI conference: The Fit Factor Jackie Lewis - C&A Buying
The Value Approach
Started in 1841 by brothers Clemens and August Brenninkmeijer to ‘offer good quality for the everyday people’, C&A remains a family-run business.
“The importance of technical fit in a business is key to its success. Technical design should be at the heart of the business for a sustainable future.” - Jackie Lewis (2015)
Values are core to the running of the business, which include communication with the supply base, and ensuring quality product execution. Sustainability is important to C&A, a company rooted in great principles and a long history of charitable enterprises.
Global Reach:
C&A has 1500 stores in 20 European countries with operations also in South America and China. The current population boom in France has encouraged C&A to look to grow the business there as well as the other emerging countries in Europe. Spain and Italy are also of keen interest to the company.
A Customer-Centric Vision:
C&A aim to set the benchmark in the fashion retail business and lead the way in producing ranges of ‘off the peg’ clothing. Their vision can be summarised by four strategic elements: 1. 2. 3. 4.
Sales Growth Speed and Capacity Quality of Product Execution Delivery
ASBCI conference: The Fit Factor Jackie Lewis - C&A Buying
The Value Approach
The Rebirth of C&A
After difficulties with ‘fit’ over the past decade, C&A recruited a new team of specialists to rejuvenate the brand and instill consumer trust. The company have changed from a buying product strategy to a developing product strategy in order to gain more control over their product ranges.
“The aim is to deliver consistent fit in a market that is still dominated by quality and price.” The Problem: •
- Jackie Lewis (2015)
Customers were unhappy with fit and sizing across C&A brands, product types and genders.
The Causes: • • • • • • • •
Flat global TECHNICAL STRUCTURE with a team that was under utilised (e.g. 150 technical team members not doing work of any real substance.) Complications arising from fitting on different live MODELS (e.g. 15 live models were used on womenswear alone) No accurate TOOLS (outdated fit forms based on German data not the pan-European customer did not represent either the customer or the live models.) Manufacturing TOLERANCES were not enforced to the supply base. GRADE RULES varied across the product types and brands (historically this had been used as leverage on margin). The approach to SELLING varied. The use of alpha and numeric sizing was inconsistent and not appropriate for the product types. No BLOCK PATTERNS which lead to poor garment shaping especially on armholes and rises. Inconsistency in PROCESS for “fit approval” which lead to a lack of control and ineffective decision making. Designers were adding sizing to the tech packs and technologists had adopted more of a QA role.
ASBCI conference: The Fit Factor Jackie Lewis - C&A Buying
The Value Approach The Overall Impact: • • •
Poor speed to market due to an elongated fit process. The cost to the business was huge. Affected the market share and profitability.
The costs of poor fit are so high and the market is so competitive that it is imperative that companies make investment here.
“Fit should be a strategic focus as a pillar for success.”
- Jackie Lewis (2015)
The Investment: The level of investment required to turnaround the future of the business was helped by a top-down commitment and support in place to see the changes implemented. Investment in People was a priority and with the introduction of new streamlined processes, job roles and responsibilities were clarified. Furthermore, C&A adopted the approach of “recruiting the best people at the right price” which made them attractive to designers, engineers and technologists from innovative leading brands. C&A listened to their customers and partnered with global fit experts Alvanon and De Montford University to test and scan the customer bodyshape for fit. This allowed them to develop fit forms for all of their customer segments across the brand portfolio ensuring fit integrity across the size range.
ASBCI conference: The Fit Factor Jackie Lewis - C&A Buying
The Value Approach
Other changes included: • • •
Putting manufacturing tolerances in place Building an in-house pattern team from scratch within nine months Streamlining the live models to match customer profiles 86% of consumers go back to a brand because of the way it fits. 57% of consumers complain they can’t find good fit.
“Consumers don’t expect to pay more for good fit. They deserve it.”
- Jackie Lewis (2015)
Key Facts: • C&A employ 34,000 people globally. • 38% of C&A’s cotton products are bio-cotton and the plan is to be 100% bio-cotton by 2020. • World’s biggest retailer of organic cotton garments. ast decade, C&A recruited a new team of specialists to rejuvenate
ASBCI conference: The Fit Factor Fiona Graham – Debenhams
Fit for the Future
“The average adult in the UK spends more time online than asleep. 74% of adults in Britain have bought goods or services online in the past year with nearly 50% purchasing clothing online.” - Fiona Graham (2015)
Problems: • • •
There is a huge inconsistency between retailers and brands in terms of sizing. The size of an item does not help to communicate how it will fit. Multiple purchases leading to increased return rates. E.g. 40% of items are returned of which Debenhams believe 20% could be down to poor fit.
Online Options: • • •
A “How to Measure Yourself” Guide Information and Sizing Charts A video with Jeff Banks and a model with “hints and tips” for buying suits.
Do the customers really want to do this themselves? Is it too much information to process? Is the information confusing?
“Nothing beats trying it on. Or does it?” The Solutions: • • •
Digital tape measures that connect to smart phones. Body scanners Virtual fitting rooms
- Fiona Graham (2015)
ASBCI conference: The Fit Factor Fiona Graham – Debenhams
Fit for the Future
The Solutions:
Individual High-End Market: •
Mobile body scanners
The Mass Market Approach: • •
AlvaKids App Virtual fitting room which provides you with an avatar profile (add measurements, photographs, favourite brands, size worn, etc) and then a visualization of how you may look in the garment.
How can these technologies be moved forward? In the News: • • •
Virtual mannequins promise better fit for online shoppers (Preston, 2014) 8 Startups trying to help you find clothing that fits (Brooke, 2014) The smart measuring tape that means online shopping will always fit perfectly (Zolfagharifard, 2015)
What does the future hold in line with customer demands? • • • •
Consistent sizing within brands Fit solutions for body shape and size Imaginative solutions to solve the fit question The ability to shop online and get it right first time.
What should they do? • • •
Use current technology to improve fit and consistency within brands Offer different fits for body shapes, e.g. Long & Tall, Plus Size, Petite Work with technology experts to offer the best online solutions.
The Big Issue: Apparel International Conference 2015 Neil DuLake - Google The Future is Now
Back to the Future 2 – The Predictions:
We are now in the year that the film “Back to the Future 2” is set. Many of their predictions in the 1980s for the future have now been realised: • • • • •
Hoverboards Self-tying Nike shoelaces 3D printing Food Hydration technology Video glasses
Some of the inventions have been met by mixed response such as the Hoverboards and Google Glass. The internet however, had not been predicted.
The Rise of Digital:
49% of the public made their last purchase online.
“Consumer adoption is accelerating – the internet and digital is the new engine of the economy.”
- Neil DuLake (2015)
Google Trends:
Google Trends allows for an interest over time comparison and is a completely free service to access. What are the most popular searched items? 1. 2. 3. 4.
Facebook Google YouTube BBC
The Big Issue: Apparel International Conference 2015 Neil DuLake - Google The Future is Now
Trend 1 - The Omnichannel Consumer • • • •
400% higher spend than a single channel buyer. Driven by mobile as this is increasingly replacing desktop. 26% of retailers and fashion brands do not have a mobile optimised website. A seamless consumer journey is required in order to capitalise on the market.
“Offering a seamless service on delivery and fulfilment.”
- Neil DuLake (2015)
Promotions and Engagement:
E.g. the Meat Pack promotion “Hijacked”
“Bringing the best of online to offline.”
- Neil DuLake (2015)
The “Endless Aisle” model E.g. Hointer Jeans
“Technology will enable rich, three-dimensional in-store experiences for customers.”
- Dr. Nadia Shouraboura (Spieckerman, 2015)
Consumer Convenience
E.g. The Kate Spade Saturday “Window Shopping” project combined the prominance of a retail store presence with the convenience of online. The promise is that anything can be ordered via the touch glass and delivered by courier anywhere in Manhattan within the hour. In effect, the store never closes.
The Big Issue: Apparel International Conference 2015 Neil DuLake - Google The Future is Now
Trend 2 - Try Before You Buy! The Sharing Generation: • • •
Less interested in ownership. Highly influenced by trends and fast-fashion. Swap-shops and resale.
E.g. Warby Parker are a private company worth over a billion dollars yet they have recently seen success with a “try before you buy” strategy. The seamless brand experience is something that resonates with the consumer.
“Fashion matters no matter where you live, no matter how much money you have.” - Neil DuLake (2015)
Test Drive Your Outfit
E.g. GU an offshoot of Uniqlo has come up with a new concept “GU Fitting”. This service allows the customer to wear an outfit in context before they choose whether to purchase. The customer only needs to leave their name and contact number to take advantage of this service but somewhat unsurprisingly this service is currently only available in Japan.
“It could even put an end to so-called ‘wardrobing’ – buying an item of clothing, wearing it once and then returning it as unworn for a full refund… …which a survey last year revealed is practised by one in six women.” - (Cohen, 2014)
Borrow Someone Else’s Outfit
E.g. The Rentez-Vous approach allows the consumer to become the retailer and make a profit on unwanted garments. The current commision rates are 15% at parties and 20% if you are an independent designer
The Big Issue: Apparel International Conference 2015 Neil DuLake - Google The Future is Now
Borrow Someone Else’s Outfit (continued) “The renting of the garment is simply the beginning! We’re a genuine movement, a community that comes together around real values: collaborative fashion, where the desire for novelty and sustainable consumption go hand in hand.”
- Fiona Disegni, founder of Rentez-Vous (Novel, 2015)
Personal Shopping Comes to You
E.g. Topman recently launched live Google+ chats and “hangouts” so the consumer can engage directly with the brand. DVF have also used this model to some success and linked it with their other social media channels under the hashtag #shopthehangout.
Trend 3 - Borderless Internet “90% of searches for luxury brands come from outside of the UK.” Online Marketplaces
- Neil DuLake (2015)
Marketplaces create new opportunities, globally. E.g. Tmall.com - China FarFetch - Worldwide Boutiques
“Independent retailers are at the heart of what keeps the fashion industry one of the most unique and diverse industries, and supporting independent boutiques and young designers goes hand in hand.”
- José Neves CEO (Ward, 2015)
The Big Issue: Apparel International Conference 2015 Neil DuLake - Google The Future is Now
Trend 4 - Content and Community
Experts and authentic voices engage the consumer and blur the line between editorial and commerce. E.g. Vogue’s clothing store
Meanwhile on Social Media… Topshop were actively listening to Twitter at London Fashion Week (LFW) and re-editing the trends in real time in line with their own instore offerings. Tanya Buerr caused a riot in Covent Garden when she made an appearance due to her huge online following.
“Fashion and beauty are the fastest growing markets on YouTube.”
- Neil DuLake (2015)
The edited choice and the authentic voice are the key drivers to online success. The consumer values quality content delivered in an easily digestible way which is why YouTube bloggers such as Zoe Suggs have proved so popular. Analysing the “analytics” is important in understanding the consumer in order to find the viewing “magic ingredient”.
Trend 5 - The Return of the Store
Bricks + Mortar are still leading the way for sales but the consumer expects much more of the contemporary retail space.
The Big Issue: Apparel International Conference 2015 Neil DuLake - Google The Future is Now
Trend 5 - The Return of the Store (continued...) E.g.
Burberry, Regent Street - A microchip in the clothes turns the changing room mirror into a virtual catwalk. Karl Lagerfeld - iPads in store to take photos of garments as you try on, in a bid to connect with their social media Covent Garden (Bobbi Brown and Clinique Concept Stores) - Concept stores in Covent Garden are less traditional retail space for sales conversion and more a space to inspire and generate hype. Tesco PLC - Linking with Costa Coffee to keep the consumer, in the store for longer.
Retail Theatre
Bringing events and seminars to the consumer and making it much more of an immersive experience. E.g. Selfridges have been creating retail theatre and themed events for quite some time in a bid to generate more footfall and consequently an increase in sales.
Is PurePlay over?
Birchbox which were once just an online retailer have now gained a bricks+mortar high street presence and other online retailers are following suit.
“The retail store is back.”
- Neil DuLake (2015)
The Big Issue: Apparel International Conference 2015 Neil DuLake - Google The Future is Now
Trend 6 - The Disruptors
Brands which have set up innovation zones include Macy’s, Amazon and M&S PLC.
“The disrupted are becoming the disruptors.”
- Neil DuLake (2015)
Wearables
Integrated technology rather than bulky wearable technology will be a future trend with the preference towards usefulness rather than gadgetry. E.g. The Bluetooth talking glove
“What is happening? What is on the street? Innovation and technology are the key to the future.”
- Neil DuLake (2015)
The Big Issue: Apparel International Conference 2015 Armando Chant – Praxis, Australia The Future of Fashion in Process
Praxis is the process by which a theory or skill is enacted, embodied or realised. Praxis is the act of engaging and applying. Fashion designers can transverse across multidisciplinary practices by using cross-disciplinary methods, harnessing film, photography, graphic design and performance art.
Questions or Provocations? 1. 2. 3.
What are the potentials of disruptive and inter-disciplinary practices for the production of fashion? What is the representational potential to develop alternative methods of consuming a transitional fashion experience? The dissemination of the work itself – how is it presented to the world?
“An obsession with process.”
- Armando Chant (2015)
Small scale fashion practitioners need to focus on the 3Ps: Process
"Thinking outside of the box."
Practice
"Skill, Technique, Vision, Craftmanship"
Product
"Creative, Cultural and Social considerations"
The Big Issue: Apparel International Conference 2015 Armando Chant – Praxis, Australia The Future of Fashion in Process
Drawing in Fashion
The role of drawing and the gesture in fashion can be created using both analogue and digital techniques. Sketchbooks and notebooks should have a narrative, a way in which the images are connected. • • • • • •
Question the image making process Abstracting away from the original source Document the process through layering Embody the “fashion process” Extrapolate imagery from imagery and see where that leads. Expand interpretations
Gesture can be viewed as an abstracted image or as a disruption through process.
“Garments are not fashion alone.”
- Armando Chant (2015)
Gesture as ephemeral fragment through image, garment and artefact: • • • • •
Marks and gestures Visual and 3D artefact Oscillation – the garment as image and the image as garment From canvas to body with no wastage Analysis of movement and the movement/image correlation
Gesture / Image as narrative from surface to space. •
Reconfiguring and recontextualising the “fashion process”.
The Big Issue: Apparel International Conference 2015 Armando Chant – Praxis, Australia The Future of Fashion in Process
Contemporary Inter-disciplinary Practioners: • • • • • • • • • • • •
Hussein Chalayan Alexander McQueen Boudicca Ying Gao Aitor Throup Erik Hart Cosmic Wonder Vibskov & Emenius Anrealage Bart Hess Lucy Orta Lucy McRae
The Big Issue: Apparel International Conference 2015 Melanie Reim – F.I.T Fashion in Illustration, Not as Illustration
Illustrations document the styles and times of a particular culture and deliver the context of the environment. Illustration can be seen in emerging markets as well as those more traditionally placed.
“In consideration of what is next, we really need to look at what was and give an educated and sophisticated nod to what has gone before.” - Melanie Reim (2015)
Lifestyle Illustrators: E.g. Kenneth Paul Block David Downton
These were accidental fashion illustrators who designed the pages of magazines and the figures on them. There was a 1950s post war optimism that is apparent and conveys “intimacy, domesticity, family and opportunity.” General illustrators commanded the infusion of fashion into the women’s magazines of the time.
The Force and Influence of Al Parker: • • • • • • •
1930’s Ongoing experimentation in a variety of medium Colour, design, infusion in a triangular focal point Drawings to complement and enhance the stories Used real models and made extensive notes on textures, light & dark in order to “design” the picture Everything was about “space” – the compositions, how fabric and patterns combined and/or worked against and for each other Extremely intentional
Also see: Austin Briggs
The Big Issue: Apparel International Conference 2015 Melanie Reim – F.I.T Fashion in Illustration, Not as Illustration
Cooper Studio:
The Cooper Studio consisted of: Joe Bowler Used devices to draw attention to the story Joe De Mers
-
Well known for pattern and sportswear
Jon Whitcombe -
Romance and elegance The relationship with advertising
Coby Whitmore -
Romaticised Great at details
Robert McGinnis: • • •
Sex Appeal Bond Girls Very reflective of the times
Jack Potter: • • •
An illustrator and an educator Incredible draftsman Responsible for lifestyle advertisements like Coca Cola
Contemporary Lifestyle Illustrators: “Utilise lifestyle in illustration in the form of fashion.”
- Bil Donovan (2015)
The Big Issue: Apparel International Conference 2015 Melanie Reim – F.I.T Fashion in Illustration, Not as Illustration
Contemporary Lifestyle Illustrators (continued...): John Jay
-
Advertising Vogue Novels Artist in Residence – Louis Vuitton (documents events through visual reporting)
Marcos Chin
-
Digital Illustrations Advertising Children’s Books Fashion Lines Novels
Bil Donovan
-
Fluidity and elegance of shapes Greeting Cards Animations Artist in Residence – Christian Dior (documents events through visual reporting)
“Animation is very fashionable.”
- Melanie Reim (2015)
• • •
Drawing from fashion Props and accessories Costume design
The Big Issue: Apparel International Conference 2015 Alexander Lamb – Ralph Lauren Masculinity and menswear: its integration with the feminine
References to womenswear and couture are becoming more apparent in a bid to push forward menswear. Shapes and silhouettes are still wearable but seek to create more volume. Menswear is underpinned by tailoring and it is important to build the foundation on this sound knowledge. Military inspired clothing is what men tend to buy and want to wear. Alexander Lamb gains inspiration from original artefacts, the military archive at Sandhurst and special collections at the Imperial War Museum.
“Genders are merging and collaborating to become one.”
- Alexander Lamb (2015)
Often, designers consider the front and back view but not the 360°. What do the sides look like? There is a big trend towards garments being non-gender specific.
“They wear the uniform of the past to conform to the uniformity of the present.”
- Alexander Lamb (2015)
Structured forms can be created through harnesses on feminine, couture shapes. Menswear is predominantly about fine-tuning the details, both internal and external and this is often done by looking back to create the new.
“Personalisation in the form of much loved details and signs of the wearer.”
- Alexander Lamb (2015)
Challenging Boundaries: • • •
Organic camo prints Feminine gestures Draw cord strings to alter silhouette
Detail shots: • Not just silhouettes • Can also do design details
The Big Issue: Apparel International Conference 2015 Alexander Lamb – Ralph Lauren Masculinity and menswear: its integration with the feminine
Building Business Acumen: • • •
Getting garments to the store floor Production and manufacture, construction experience Longevity of a brand
Ralph Lauren: Black Label: • • • •
Vintage archive Design in historic pieces such as button-up hems, storm flaps, bellow pockets etc. Work closely with a wash team to develop finishes Coatings and technical fabrics
Feminine Menswear:
Who were the trendsetters? • •
Jacques Esterel Jean Paul Gaultier
-
Men’s Dress from the “Neglige Snob” Collection 1966 Quilted Skirt from the “Une garde-robe pour deux (wardrobe for two)” Collection, 1985
“Inspired by fluidity and movement.”
- Alexander Lamb (2015)
The Big Issue: Apparel International Conference 2015 Alexander Lamb – Ralph Lauren Masculinity and menswear: its integration with the feminine
Feminine Menswear (continued...):
Current Runways showcasing feminine menswear: • • • • • • • • • • • •
Thom Browne Raf Simons J.W. Anderson Gucci Saint Laurent Paris Commes des Garcons Dolce and Gabbana Acne “Gender Equality” Prada “His and Hers Equality” Kooples Whistles Loewe
Genderless Fashion
Genderless fashion is not just about being unisex, it is about removing boundaries, social stigmas and traditional stereotypes. E.g. The Selfridges “A Gender” campaign sees the company making their Oxford Street store gender-neutral by removing signage and departmental segregations.
“Create an identity. Challenge the norm.”
- Alexander Lamb (2015)
Carry Somers
The Big Issue: Apparel International Conference 2015
Disruptive fashion: from world upside down to fashion revolution ”Disruption” is a term that is frequently heard in the fashion industry at the moment. Carry Somers owns a multi-award winning fairtrade company called “Pachacuti” which literally translates to world upside down. It aims to improve the lives of people through ethical and sustainable fashion. Somers believes that the fashion industry needs to be doing better in this area.
“A positive benefit for all those affected by its creation.”
- Carry Somers (2015)
How is it done? • • • • • • • • • • •
Traditional Skills Short Supply Chain Sustainable Livelihoods - encouraging people to remain in their community Raw Material mapping - tracking back provenance Worker Interviews Sustainable Rural Livelihoods Eco-mapping Composting and Workplace gardens Community Involvement Annual Fairtrade action plans with producers Geo-Fairtrade Project
Do the customers even care?
There has been a seismic interest shift following the 2013 Rana Plaza Disaster in Bangladesh.
Ethical Fashion Industry? “Promoting ethics in fashion is one of the biggest challenges facing the industry.”
- Baroness Lola Young of Hornsey, OBE (Ghadiali, 2011)
Carry Somers
The Big Issue: Apparel International Conference 2015
Disruptive fashion: from world upside down to fashion revolution
Fashion Revolution Day – 24 April 2015 • •
Who made your clothes? Reduce waste and upcycle fashion
Social Media: • •
Hashtag #insideout @fash_rev
“Strong visual message – bringing people together.”
- Carry Somers (2015)
Who made my clothes? • • •
What are the raw materials? Where did they come from? How is it produced?
“Reconnect the broken links of the supply chain. Build a more transparent and connected industry”
- Carry Somers (2015)
We are fashion revolution? • • •
Be curious Find out Do something
“Fast fashion isn’t free, someone, somewhere is paying”
- Lucy Siegle (2015)
The Big Issue: Apparel International Conference 2015 Sass Brown - F.I.T Fashion Revolution – Disrupting the System of Fashion
The Ethical Fashion Space
If fashion is viewed as a system, how can a designer intervene?
Depletes
Underground economy
Pollutes
The fashion system
50%-70% of garment production ends in landďŹ ll
Waste
Water Usage
Child and Sweatshop Labour
The Big Issue: Apparel International Conference 2015 Sass Brown - F.I.T Fashion Revolution – Disrupting the System of Fashion
“Fashion is dead”
- Li Edelkoort (2015)
The Hidden Price Tag: • • •
What is the real cost of fast fashion? Who is suffering in the supply chain? How is the environment affected?
The Traditional Fashion Calendar:
The calendar dictates and therefore locks the designer into the litany of unethical practices. Who and what is driving the calendar? • Media • Trend Prediction • Buying and Retailing • Branding • Design and Development • Production and Supply Chain
Other Models:
E.g. Study NY – The Anti-Fashion calendar.
Cultural Appropriation and Inspiration Misuse: • • •
Design colonialism and cultural Intellectual Property Rights Misuse of cultural codes and symbolism Unequality of heritage ownership
E.g. Louis Vuitton and the Masai
The Big Issue: Apparel International Conference 2015 Sass Brown - F.I.T Fashion Revolution – Disrupting the System of Fashion
The Right Way • • • • •
Slow design and Artisanship Utilising tradition and communicating ethical diversity Preserve traditional skills that are dying Retain and retrain women with traditions and their culture Respect cultural codes
“Be true to your roots and give something back. View fashion as a political statement”
- Sass Brown (2015)
Material Sourcing and Production •
Reducing textile pollution
Examples: John Patrick Organic who have transparency in their material sourcing and production. Paul Dillinger is Head of Global Produce Innovation for Levi Strauss & Co and is leading the way in sustainable material sourcing and production. Edun is supporting manufacture, infrastructure and community building projects in Africa. 95% of Edun’s production is now in Africa. Saitex, a supplier for G-Star Raw is on the way to “cradle to cradle” certification. Denim is one of the dirtiest products in terms of production but Saitex are working towards: • Reducing water usage • The use of “green” chemicals • Using the stonewash “sludge” by-products to make bricks for housing projects
The Big Issue: Apparel International Conference 2015 Sass Brown - F.I.T Fashion Revolution – Disrupting the System of Fashion
Shipping, Showing and Selling • • • •
Direct Sales E.g. Everlane has a transparent pricing strategy and is only available online so doesn’t have the carbon footprint that a bricks+mortar store would have Models - to be representative of society in terms of size, ethnicity and diversity Unrealistic expectations of beauty Inclusive beauty imagery E.g. Winnie Harlow and Tara Lynn
End of Life • •
Italy has a long tradition of recycling wool Denim – cotton recycling is problematic as when you shred it the staple shortens and thus the quality is affected, i.e. rougher but less durable.
“Be true to your roots and give something back. View fashion as a political statement”
- Sass Brown (2015)
Considerations 1. 2. 3. 4. •
How do we quantify success? Why isn’t sustainability simply enough? What about the work / life balance? What is the value of maintaining independent, creative freedom?
The Big Issue: Apparel International Conference 2015 Alison Welsh - MMU The Big Issue - So What is Next?
To summarise, the key points: 1. Origins - The use of the old to inform the new. 2. Back to the Future - Researching the past. 3. A Stiller Life - A philosophical approach. 4. The Antique - Using archives and reusing textiles. 5. Romantic Ideals - Soft, romantic feel – feeling good 6. Back to Traditions - Understanding and respecting other people’s cultures.
The Old • • • • • • •
Analogue Narration Drawing Made to Measure Retail Theatre Storytelling Collaborating and exploring new territory
“Storytelling is the heart of what a designer does. Exposing the process through narration”
- Alison Welsh (2015)
Revolution! • • • • •
The group, the family and the collaborations What can we do together/ Get Personal – who made my clothes? Chains of relationships, i.e. farmer to wearer Giving a voice to the makers
The Big Issue: Apparel International Conference 2015 Alison Welsh - MMU The Big Issue - So What is Next?
So what is next…? • • • • •
Exposing the supply chain Avoiding design colonialism Respecting cultural codes Producing with care Inclusive beauty
“Is fashion dead or is it just a version of anti-fashion. It is our responsibility to engage.”
- Alison Welsh (2015)
Revolution! • • • • •
The group, the family and the collaborations What can we do together/ Get Personal – who made my clothes? Chains of relationships, i.e. farmer to wearer Giving a voice to the makers
Connect | Forum 11 March 2015 Dr. Lynn Boorady – Buffalo State University US Consumption of Textiles: Sustainable Innovation
Facts + Figures: • • • • •
The global apparel market value is 1.7 trillion US dollars. 52% of textiles used by Americans are imported. This is up from nearly 33% in 2000. Only 3% of apparel is produced in the US. Americans spend 4% of their take home pay on apparel based on an average annual salary of $50,000. 33% of the 250 largest retail companies in the world are based in the US. Walmart is the largest global retailer.
E-commerce: • • •
2012 - e-commerce was 5.2% of total retail sales 2013 - e-commerce was 6.5% of total retail sales That’s a 20% increase in two years.
Teenage Clothing Consumption
Teenagers spend 30% of their disposable income on clothing although they prefer shopping instore as they see it as a social activity.
Shoewear: • •
New Balance are the only trainer company still to manufacture in the US 98% of shoes are imported and the majority are made in China.
US Textile Waste: • •
Textile products constitute £3.8 billion of waste each year. There is no formal collection method for collecting used household textiles and clothing.
Connect | Forum 11 March 2015 Dr. Lynn Boorady – Buffalo State University US Consumption of Textiles: Sustainable Innovation
Today’s US Consumers: “Americans purchase 20 billion new items of apparel each year.”
- Dr. Lynn Boorady (2015)
• •
Have an appetite for fast fashion Clothing is seen as a disposable commodity
US Recycling: “Americans only recycle 15% of their used clothing.”
- Dr. Lynn Boorady (2015)
Connect | Forum 11 March 2015 Dr. Lynn Boorady – Buffalo State University US Consumption of Textiles: Sustainable Innovation
“More than 60% of recovered textile waste is sent overseas.”
- Dr. Lynn Boorady (2015)
New York City “Making it Easy”:
Wearable Collections is a company who is trying to make it easier to recycle. They have placed collection bins inside apartment buildings around New York and have a presence at “green” markets.
“Almost half of donations are good for resale. The other half is split nearly evenly between being used for rags for businesses like the automotive industry and being broken down for insulation. Less than 5 percent of the total is unusable and goes to the landfill.”
- Adam Baruchowitz (Moore, 2010)
Not For Profit Organisations:
All earnings from the recycled textiles go towards the mission or good cause: • The Salvation Army • Goodwill Industries International
“A Goodwill Industries survey of 600 adults in the United States and Canada found that more than half of people who donate clothing say they wouldn't go more than 10 minutes out of their way to make a donation.” - (Moore, 2010)
• •
St Vincent De Paul Dress for Success
Connect | Forum 11 March 2015 Dr. Lynn Boorady – Buffalo State University US Consumption of Textiles: Sustainable Innovation
For Profit Organisations:
Chain stores and individual small businesses who are supporting recycled textiles are: • Clothes Mentor • Plato’s Closet • Second Chic • Once Upon A Child
Consignment Shops:
Consignment shops work by giving the donor a small percentage of profit from the sale of the recycled textiles.
Other Ventures: • •
Nike’s ”Reuse a Shoe” programme” recycles shoes by shredding them and using the new product “Nike Grind” in athletic and playground surfaces. Trans-America Trading Co are leading the way in the processing, recycling and sale of “post-consumer” textiles.
“As an innovator and industry leader we operate one of the trade's most automated and efficient processing systems and have earned a reputation for the industry's highest quality graded clothing.” - (Tranclo.com, 2015)
S.M.A.R.T.
S.M.A.R.T. stands for Secondary Materials and Recycled Textiles Association
“Collect, reclaim, and "close the loop" by processing, converting, and distributing recyclables.”
- (Smartasn.org, 2015)
Connect | Forum 11 March 2015 Dr. Lynn Boorady – Buffalo State University US Consumption of Textiles: Sustainable Innovation
The Fashion Industry Doing Good: • • • •
Patagonia – “Don’t Buy This Jacket” campaign Eileen Fisher VF Corporation Alabama Chanin
Mind Set:
There needs to be education and a rethink on clothing purchases.
Connect | Forum 11 March 2015 Nick Hall – Manchester Metropolitan University UK Consumption
Facts + Figures “A broken system – that we will fix.”
- Nick Hall (2015)
• • • •
68% of textiles used by the UK are imported. Since 2000, 52% of fashion and textile jobs have been lost. The UK spends $68 billion (approx £44 billion) on clothing each year. The consumption per capita is similar to that of the USA.
Water Consumption
6,300 million cubic litres of water waste is generated by fabric production.
Textile Waste
1.8 million Tonnes of textile waste is produced per year and 20% of this still goes to landfill.
Social and Personal Institutions “The same old way versus a new way.”
- Nick Hall (2015)
The industry and the companies within it resist change for as long as possible by: • Manufacturing cheap products in big volumes • Designing systems to “lock-in” the consumer • Constructing institutions and educating the consumer in them.
Connect | Forum 11 March 2015 Nick Hall – Manchester Metropolitan University UK Consumption
Stuck in their Ways:
The Institution | Old Things in Old Ways
Fast Fashion | Old Things in New Ways
Sustainability | New Things in New Ways “Keep Shopping – Keep Spending” “A sustainability-based mental model of the world would define truth using assumptions very different from the current ones underlying the mental model that unlimited economic growth on a finite sphere is both possible and desirable.”
- (Stead, Stead and Starik, 2004)
Commodification •
The Conversion
“So many choices, so little time.”
- Nick Hall (2015)
Connect | Forum 11 March 2015 Nick Hall – Manchester Metropolitan University UK Consumption
Materials Intensity: • • •
The industry has become better at making thing so there have been more efficiencies made with the implementation of new technologies and techniques. Global extraction is much larger Economies of scale and the driving down of wages
“Fashion is labour intensive and isn’t very good at automation.”
- Nick Hall (2015)
Our Demands
Temporary Happiness
The Point
+
Throw Away Quality
+
Duplicated Artefacts
+
Conformity
=
If the impact of environmental change does not directly affect society, they will not change.
Leads to "boring" fashion
Connect | Forum 11 March 2015 Nick Hall – Manchester Metropolitan University UK Consumption
What can society really do? Reinvent institutions (Deployment Period)
Reduce the environmental effects of laundry. "Wash Cold" Stop the quantity of textile going to landfill
Extend the useful life of clothing
Create new environmental business systems and models for sustainability
Connect | Forum 11 March 2015 Professor Bing Bing Du – BIFT Fashion Consumption in China
Sustainable Design and B.I.F.T 1. Beijing Institute of Fashion Technology (B.I.F.T) “Cultivating innovation.”
- Professor Bing Bing Du (2015)
The employment rate of B.I.F.T students has always been kept above 92%. BIFT Park cultivates new designers on an open platform, preparing them to enter the fashion world. It has traditional handcraft studios, which are supported by the Beijing Government.
2. Beijing Fashion Consumption Area Beijing has 21 million permanent residents.
3. Major Consumption Trends of China’s Fashion Industry “Beijing is moving from a ‘selling’ economy to an ‘experience’ economy.”
- Professor Bing Bing Du (2015)
Trend 1:
Fashion Brands including the Beijing Fashion Business Circle
Trend 2:
Fashion Channels including the China Fashion Index 2014
“Shopping malls are not just a place for sales but a space in which to narrate a lifestyle.”
- Professor Bing Bing Du (2015)
Connect | Forum 11 March 2015 Professor Bing Bing Du – BIFT Fashion Consumption in China
Trend 3: Fashion Designers and Independent Boutiques E.g. Sankuanz
“Individualised customisation is the leading fashion industry.”
- Professor Bing Bing Du (2015)
The reprocessing of denim fabric is also being experimented with and has seen some success.
Connect | Forum 11 March 2015 Grant Emerson – RMIT Fashion Consumption in Australia: Contemporary Issues
The Changing World:
From manufacturing machinery to Computer Aided Design
Fashion Adopters not Creators:
This changed in Australia in the 1960s when they tried to establish a national identity. Melbourne and Sydney are strong fashion hubs Australia have also suffered from the “Flying Geese” theory and have seen the demise in manufacture.
Today: • • • •
Open market with minimal barrier protection Small manufacturing base with orientation towards “Tech Textiles” Networked to Asian supply chains Transitioned from manufacturing orientation to design orientation
Australian High Street: • • • •
Volume Success Stories E.g. Cotton On Dominant Department Stores E.g. Myers and David Jones Niche and Dynamic Innovative retail
“85% of the industry representation is in niche markets.”
- Grant Emerson (2015)
The luxury market is similar to the USA and UK.
Connect | Forum 11 March 2015 Grant Emerson – RMIT Fashion Consumption in Australia: Contemporary Issues
Australian Fashion Industry:
Australians are very tech savvy which is represented by 11% of total online retail sales.
Today’s Issues in Creating Sustainability: “An apathetic consumer is something which we need to overcome.”
- Grant Emerson (2015)
• • • • • • •
Awareness of sustainability principles or theory Brundlandt Declaration & Associated Literature Cost Reduction was a main strategic issue 65% of those interviewed indicated raw material input costs were their main sustainability response 56% indicated sustainability strategy was driven by consumer demand Competition and margin impacts on developing a sustainability strategy Reducing inputs (raw materials) is normal business practice
What does this all mean? • • •
“Paucity of knowledge” Sustainable issues are not reaching the consumer A change of business culture is needed
Digital Trends in Fashion Retail: • • •
Real-time analytics Customers driving behavioural change Multi-channel Retailing
Connect | Forum 11 March 2015 Orsola De Castro “The next generation have not just been landed with a huge problem. They have the opportunity to be a part of the solution.”
- Orsola de Castro (2015)
83 billion garments leave the factories each year but what happens to the things that don’t leave or aren’t approved? Generally, they are slashed or destroyed under the guise of brand protection.
“The industry needs to marry innovation and technology. Designers have been concerned with aesthetic but really their role is to find solutions. There is no ‘one’ solution.”
- Orsola de Castro (2015)
Upcycling:
Upcycling is different as part of a design technique as the designer doesn’t always get the first choice of fabrics and they are limited to the colours available. Upcycling can be seen as a design solution to an environmental challenge. E.g. The Topshop collection / collaboration “Reclaim to Wear”. No brands own their manufacturing factories anymore. The brands have passed responsibility down the supply chain except when it comes to financial impacts.
“Zero waste factories don’t exist.”
- Orsola de Castro (2015)
• •
Who owns the fabric? Who is responsible for the wastage?
Connect | Forum 11 March 2015 Orsola De Castro “This generation has been taught not to expect and inspect but to accept. We need to challenge the current industry norms.” No Harm Done Approach:
- Orsola de Castro (2015)
The designers of the future: • Christoper Raeburn • Katy Jones (Central St Martins Graduate)
“Sustainability is embedded in your ethos as a young designer. You are always trying to make the fabric go further by altering patterns slightly or adjusting the lay plan. This is somehow lost in industry.” - Orsola de Castro (2015)
The new generation needs to look at business growth in a different way. There is merit in looking backwards to go forwards.
“Return on Investment should be measured on the quality of life of the people making the clothes.”
- Orsola de Castro (2015)
The designers who have been doing it: • Odie Green • Sophie Kokosolaki • Eley Kishimoto
“Taking something unloved and unwanted and through the creative process, making it something different and new.” - Orsola de Castro (2015)
Connect | Forum 11 March 2015 Orsola De Castro Taking vintage and abandoned objects and rediscovering their worth. The industry lost touch with its origins and went into hyper-drive in the 90s. It was then that Orsola de Castro began sweeping factory floors for off-cuts to originate a new practice. When de Castro’s brand launched it wasn’t meant to be a sustainability model or a statement, she was just looking to be original by using all sorts of bits and pieces together, creatively.
“We’ve lost the pride in clothes making. We’ve imported clothes but not the ethics.”
- Orsola de Castro (2015)
•
Margiela – “Artisanal Collection” rebranded upcycling for a luxury market. Keeping alive traditional artisanal skills
“Borrowing all the time for solutions for the future. We’ve been trained to forget.”
- Orsola de Castro (2015)
“Looks” were made by people, now “looks” are sold by brands.
“We are wearing people’s pain, discomfort and exploitation if we don’t ask the questions about where the piece came from. The ethics behind it.”
- Orsola de Castro (2015)
New Job Roles Needed:
“Creative Waste Engineer” In the factory looking at ways to utilise the rolls of wasted fabrics that have not been approved for colour etc. These fabrics will already have been washed and tested but remain in warehouses for years unused.
Connect | Forum 11 March 2015 Orsola De Castro “It just needs that one person with innovation and vision to report back to the brands, to create something new.”
- Orsola de Castro (2015)
A Change of Mindset:
Owing one beautiful item rather than ten badly made artefacts.
“Pay someone more to make something of value. In nature, nothing is created or destroyed but everything is transformed.” - Orsola de Castro (2015)
Sass Brown
Connect | Forum 11 March 2015
Emerging and Sustainable Space:
The Flavellas are self-built communities that are collaborating with designers to create beautiful handcrafted pieces. E.g. Coopa-Roca
“It wasn’t about design, it was all about ethics, initially.”
- Sass Brown (2015)
“Often things are happening in emerging design, but it isn’t always communicated effectively.”
- Sass Brown (2015)
Recontextualising Textiles and Materials:
There is some cutting-edge clothing being made from upcycled materials and it is making designers challenge what luxury design really is.
Emerging Designers in a Global Space: “Bringing contemporary design to traditional craftmanship.”
- Sass Brown (2015)
Production Impacts:
Considering the challenges along the value chain.
Connect | Forum 11 March 2015 Jennifer Steinhorst – Buffalo State University Style in my City: Buffalo, NY
Buffalo is in Western New York but is actually closer to the Canadian border than it is to New York City.
Nicknames for Buffalo: • • • •
The City of Lights Nickel City Queen City City of Good Neighbours
Retail Areas:
Buffalo believes in the support of small local businesses. •
•
• •
Elmwood Village - Shoe Fly - Pasteurized Tees - Anna Grace Hertel Avenue - Modern Nostalgia - Blue Collar - Second Chic East Aurora - Dress Shop - Ooh La La Boutique Shopping Malls are quite distinctive as they have to service the two markets, USA Consumer and the Canadian Consumer.
Connect | Forum 11 March 2015 Anna Smolovyk – Manchester Metropolitan University Style in my City: Manchester
Manchester is in an undetermined state of old versus the modern. This is best represented in the “brutalist” architecture of the city. The abandoned cotton warehouses once provided cheap rent to young creatives but the rise of the property developer in the 90s saw them transformed into expensive, luxury apartments. This gentrification and displacement of poorer communities has meant that the face of the city has drastically changed over the past decade.
Industrial Heritage "Cottonopolis" Music, Art and Fashion
Youth Cultures This is Manchester Gritty and Utilitarian
"Madchester"
Honest and Effortless
Connect | Forum 11 March 2015 Anna Smolovyk – Manchester Metropolitan University Style in my City: Manchester
The two most contrasting style camps visible in the city are the “hipsters” and the “high design” followers.
“Manchester style thrives on contradiction, it is bold, brash and unapologetic.”
- Anna Smolovyk (2015)
“MADchester”:
The key influencers in the MADchester era were: • Tony Wilson • Peter Saville • Linder Sterling • Hacienda • Factory Records • Joy Division • Stone Roses
Music, Art and Fashion: • • • • • • • •
The Northern Quarter Rock and Roll nonchalance Vintage inspired meets rugged Underground music scenes Café, Restaurant and Bar culture Eccentric styles of dress which is both brash and conceptual Street art and graffiti Guest DJs and club nights
Connect | Forum 11 March 2015 Yuqi Wang – BIFT Style in my City: Beijing
There are seven internationally recognized heritages in Beijing making it a mixture of modernity and antiquity.
Lifestyle: • • • •
Integration of materials and ideas Demonstration of personalities Forward looking Fashion is already integrated into the lifestyle of Beijing
Retail Areas:
Beijing is the art and fashion capital of China and has several “art” districts. • The Central Square - Old factory buildings and Bauhaus structures repurposed • District 798 - A “melting pot” of diversity • ‘751’ D Park - Primary artistic place • Fashion Streets and Shopping Malls • Fashionable Young People and Street Trends - Uninhibited - “Un-fashion” - Strong pursuit of fashion - Tolerance and support of independent designers • Sophisticated oriental culture
“Vision Beijing”:
Antiquity. Modernity. Romanticism. There is often a misunderstanding and misinterpretation of Chinese culture and a misuse of Chinese Style. China is the second largest country in the consumption of luxury goods.
Connect | Forum 11 March 2015 Yuqi Wang – BIFT Style in my City: Beijing
Brand New China (BNC):
Sharing original design concepts. • • •
Test popularity of work An opportunity to create a dialogue between the designer and the consumer The designer as “artist” – learning both business and enterprise skills.
The Chinese market is less mature than the US and European markets.
“Tradition + Fashion + Innovation. Typical + Contradictory + Mixed.”
- Yuqi Wang (2015)
Connect | Forum 11 March 2015 Rebecca Shotton – RMIT Style in my City: Melbourne
Melbourne has been voted the most live-able city for the past four years in a row. It is the cultural capital of Australia although Sydney may like to disagree.
Cultural Capital: • • • • • • • •
Street Style Art Museums Contemporary architecture and heritage Secret Streets Festivals Food & Wine A melting pot of diversity and cultures Open Spaces including parks and gardens and beaches.
Fashion Events: • • • •
VAMFF - Virgin Australia Melbourne Fashion Festival Melbourne Spring Fashion Week Melbourne Spring Racing Carnival The National Gallery Victoria has a permanent fashion exhibition
Connect | Forum 11 March 2015 Rebecca Shotton – RMIT Style in my City: Melbourne
Melbourne Fashion:
Eccletic styles and tastes Black is a prominent colour
Like to dress up during the evenings of Summer in silks etc
Monochrome in Winter
What is the Melbourne Style?
Summer Extreme Heat denim shorts and tank tops
Sunshine with intermittent rain and cold winds means lots of layering up
Connect | Forum 11 March 2015 Rebecca Shotton – RMIT Style in my City: Melbourne
Retail Areas in Melbourne: • • • • • • • • • •
Bourke Street Mall The Royal Arcade The Block Arcade The Emporium (an indoor mall) The Paris End of Collins Street Queen Victoria Market Fitzroy (Quirky, vintage clothing and ‘hipster’ fashion) The Rose Street Artists’ Market The Prahran End of Chapel Street (vintage-style boutiques) Chadstone Shopping Centre is the largest in the Southern Hemisphere with over 20 million visitors per year.
Popular Brands: • • •
Sportsgirl Cotton on Group Forever New
Department Stores:
Department stores such as Myers and David Jones are struggling.
Sustainability:
The key sustainability issues in Australia are water and energy. Drought
- Water efficiency measures - Water conservation - Cutting-edge water treatment facilities
Clean Energy Future
- A switch to solar - Energy efficiency measures
Connect | Forum 11 March 2015 Rebecca Shotton – RMIT Style in my City: Melbourne
However:
Fast fashion is flourishing because • • •
Australian fashion is expensive Consumers are ‘shut off’ from ethical issues An economy-savvy generations demands cheaper products
bibliography About.tmall.com, (2015). About Tmall.com - Learn about Tmall.com here. [online] Available at: http://about.tmall.com/ [Accessed 9 Apr. 2015]. Arthur, R. (2013). Literal window shopping with Kate Spade Saturday’s digital, touchscreen storefronts. [online] Fashion & Mash. Available at: http://fashionandmash.com/2013/06/12/literal-window-shopping-with-kate-spade-saturdays-digital-touchscreenstorefronts/ [Accessed 9 Apr. 2015]. ASBCI. (2015) ASBCI Conference: The Fit Factor. [Peterborough Marriott Hotel]. 5 March. [Online] Available at: http://www.asbci.co.uk/event/asbci-events-and-conferences/asbci-conference-the-fit-factor [Accessed 12 Mar. 2015]]. Ashcraft, B. (2015). You Can Almost Steal Clothes from This Japanese Store. [online] Kotaku. Available at: http://kotaku.com/you-can-almost-steal-clothes-from-this-japanese-store-1592497929 [Accessed 9 Apr. 2015]. Brooke, E. (2014). 8 Startups Trying To Help You Find Clothing That Fits. [online] Fashionista.com. Available at: http://fashionista.com/#!/2014/07/8-tech-startups-tackling-clothing-fit [Accessed 9 Apr. 2015]. Cohen, C. (2014). Brilliant or naive: the clothes store that allows you to shoplift for a day. [online] Telegraph.co.uk. Available at: http://www.telegraph.co.uk/women/womens-life/10911242/At-last-the-clothes-store-that-lets-you-shoplift-for-a-day.html [Accessed 9 Apr. 2015]. Farfetch.com, (2015). Farfetch UK - Designer Luxury Fashion for Men & Women. [online] Available at: http://www.farfetch.com/uk/ [Accessed 9 Apr. 2015]. Ghadiali, A. (2011). Ethical Fashion in The House of Lords. [online] Amisha.co.uk. Available at: http://www.amisha.co.uk/2011/03/04/ethical-fashion-comes-to-the-house-of-lords/ [Accessed 9 Apr. 2015]. MMU, (2015). Apparel International Conference: The Big Issue 3: What’s Next. [The Benzie Building, MMU]. 10 March. [Online] Available at: http://www.hollings.mmu.ac.uk/the-big-issue/ [Accessed 12 Mar. 2015]. Moore, S. (2010). New York To Make Donating Clothing "Almost As Easy As Throwing It Away". [online] The Huffington Post. Available at: http://www.huffingtonpost.com/2010/07/03/wearable-collections-may_n_634282.html? [Accessed 9 Apr. 2015]. National Retail Federation, (2013). Kate Spade & eBay: The Future of Window Shopping. [online] YouTube. Available at: https://www.youtube.com/watch?v=CdotI0wax4Y [Accessed 9 Apr. 2015]. nike.com, (2015). Nike Reuse-A-Shoe FAQs. [online] Available at: http://help-en-eu.nike.com/app/answers/detail/a_id/39600/p/3897 [Accessed 9 Apr. 2015].
Novel, A. (2015). Rentez-Vous. [online] Wave-innovation.com. Available at: http://www.wave-innovation.com/en/rentez-vous.html [Accessed 9 Apr. 2015]. Preston, R. (2014). 'Virtual mannequin' for a better fit. [online] BBC News. Available at: http://www.bbc.co.uk/news/technology-25812130 [Accessed 14 Mar. 2015]. Smartasn.org, (2015). SMART: Donate, Recycle, Don't Throw Away - Recycle Clothing, Shoes, & More. [online] Available at: http://www.smartasn.org/ [Accessed 9 Apr. 2015]. Spieckerman, C. (2015). RetailWire Discussion: Hointer's New Tricks for Bricks. [online] Retailwire.com. Available at: http://www.retailwire.com/discussion/16991/hointers-new-tricks-for-bricks [Accessed 9 Apr. 2015]. Stead, W., Stead, J. and Starik, M. (2004). Sustainable strategic management. Armonk, N.Y.: M.E. Sharpe. The Connect Project, (2015). Apparel Connect 2015. [Geoffrey Manton Building, MMU]. 11 March. [Online] Available at: http://connect.hollings.mmu.ac.uk/ [Accessed 12 Mar. 2015]. Thinkwithgoogle.com, (2015). Hijack – Think with Google. [online] Available at: https://www.thinkwithgoogle.com/campaigns/meat-pack-hijack.html [Accessed 9 Apr. 2015]. Tmall.com, (2015). Tmall China – Retail Marketplace. [online] Available at: http://www.tmall.com/ [Accessed 9 Apr. 2015]. Tranclo.com, (2015). Trans-Americas Trading Co. - World Leader in Recycled Clothing Solutions. [online] Available at: http://www.tranclo.com/ [Accessed 9 Apr. 2015]. War On Want, (2015). War on Want Homepage. [online] Available at: http://www.waronwant.org/ [Accessed 9 Apr. 2015]. Wearable Collections, (2015). Wearable Collections | Recycle Clothes, Shoes & Textiles. [online] Available at: http://wearablecollections.com/ [Accessed 9 Apr. 2015]. Ward, G. (2015). Farfetch CEO on taking the boutique global | WIRED Retail preview (Wired UK). [online] Wired UK. Available at: http://www.wired.co.uk/news/archive/2014-11/18/wired-retail-300-boutiques [Accessed 9 Apr. 2015]. Wohlsen, M. (2015). Is Warby Parker Too Good to Last? | WIRED. [online] WIRED. Available at: http://www.wired.com/2014/06/warby-parkers-quest-to-prove-not-sucking-is-the-ultimate-innovation/ [Accessed 9 Apr. 2015]. Zolfagharifard, E. (2015). Smart measuring tape could mean CLOTHES will ALWAYS fit perfectly. [online] Mail Online. Available at: http://www.dailymail.co.uk/sciencetech/article-2959316/Smart-measuring-tape-mean-online-shopping-fit-perfectly.html [Accessed 14 Mar. 2015].