Concept
Development B AT 0 8 2 4 0 7 1 4
O l i v i a B at e s B A H o n s F a s h i o n C o nt o u r
Fig.1 / The Palm House (Desmond, 1995)
1.0 s u m m a ry This project aims to look at all aspects of what is needed to develop a successful lingerie brand to compete in a luxury market with particular focus on the marketing of the brand. It is impossible through research to accurately predict everything that could possibly go wrong when launching a new range - even the most informed decisions can still go wrong in such a temperamental industry and in order to learn, mistakes must be made. Research will be carried out to inform the design process to fulfil consumer needs and wants. This is essential for reaching maximum productivity (and therefore profit) and minimum waste. In order to find out consumer needs, market research outlining the proposed brands ethos, values, market positioning, current consumer, range of products pricing structures and competitors can be carried out. The following areas will be fully researched in order to reduce the chances of costly and wasteful mistakes:
Using case studies to analyse how and why a brand becomes successful • • • • • • • • • •
Finding own values to back up own ideas as a brand Completely understanding the luxury market Investigating the macro and micro environments Looking at different consumer groups and how attitudes may be changing Seeing what is already in the market place and comparing the companies Planning a range of luxury lingerie Analysing the production chain and costing Being aware of what current trends and predicted trends are Finding inspiration and ideas to inform designs Evaluating what the findings are and how the project will develop after this point.
Fig.2 / Wood Engraving Of Interior Of Palm House (Desmond, 1995)
1.1 Aims The proposed brand ‘Via’ initially aims to produce a fashion forward range of lingerie to compete in the luxury lingerie sector in Britain, later developing into the European and eventually international markets. This project shows the research undertaken to inform a range of luxury lingerie with shaping elements intended for the Spring Summer 2014 season. Initial inspiration will be taken from Kew Gardens in London, with particular reference to the Palm House – a Victorian glasshouse built between1844-1848. This glasshouse or ‘hot house’ as they’re sometimes called is composed from wrought iron and glass to make a wonderfully ornate yet stern structure, which Queen Victoria later referred to as “enchanted” after she had honoured Kew gardens with three visits. More than a gardeners ability to select and culture plants, these gardens represented Britain’s ability to observe the trends in neighbouring countries selecting the best and integrating these features into one garden to create something truly beautiful as early as the 1600’s
Fig.3 / Book Art (Desmond, 1995)
Fig.4 / Iron Works (Desmond, 1995)
As Desmond (1995:p5) explains that “English seventeenth-century gardens had reflected continental fashions: Italian waterworks, grand formal vistas and Dutch intricate flower-beds and topiary. The early eighteenth-century garden was an intermediate stage, a landscape reflecting contemporary philosophical, literary, aesthetic and even political thought”. Exploration into the visual qualities of these magnificent structures will inform an exciting design pathway. A particular aspect of these adorning structures which is of interest is firstly the manner and the social implications of their very existence; why they were built and what this signifies to British culture then and now. Secondly, the fact they house specimens from such extreme places of the earth in an otherwise inhospitable environment (London), with only a sheet of glass to enable their survival is something that has inspired the designer. The fact these structures dictate such vital aspects of the plants’ lives such as growth and fertility is also of paramount importance to the concept. Something natural, organic and magical encased in a body of man made structured work draws parallels to corsetry, very much like encasing the female body within such garments. It is this second concept which will provide the basis for a unique design route.
Qualities from the transparent glass and the structure of the houses along with colour palettes from the fauna within will be translated into textiles for a final collection.
1.2 A B r i e f H i sto ry o f t h e Pa l m H o u s e Although credit for design of the palm house mainly falls with Decimus Burton (1800–1881) an architect and landscaper of the industrial revolution, it was Richard Turner (1798-1881) Irelands leading glasshouse builder at the time, who made the real progress with the Palm House. After Turner met with Sir William Hooker, director of Kew Gardens, Hooker said “He knows more about hothouses & greenhouses & the best principles of heating them than any man I ever met with (Hooker, 1844 in Desmond, 1995:160).
Burton with this puritanical proclivities, initially only invited as a consultant, was disapproving of Turner’s designs with particular reference to his “Ecclesiastical or Gothic style” (Desmond:160), which later prevailed in the forms of the ubiquitous sunflower motifs endowed within the ironwork with vivacity, even frivolity. They disagreed on many aspects of the glasshouse such as roof shapes, in order to disregard central pillars, the use of wrought iron in place of light-weight iron and various changes in heating systems, with Turner winning every argument. It was Turner’s ambition and drive which made this glass house what it is today, as he told one of the Commissioners, “I wish to build my fame upon this structure at Kew, which will be equalled as yet, by very far and not likely to be surpassed”. (Turner, 1844 in Desmond, 1995:163).
Fig.5 / Iron Works Minus Plants (Desmond, 1995)
With no seed collectors working abroad when Sir William Hooker came to be Director in 1841, it was not until 1843 that after a failed seed collection mission around the pacific seaboard of America and the sandwich islands that Hooker, at gentle persuasion from the Horticultural society of London decided to recruit Robert Fortune who would be (in 1843) the first in a long line of successful seed collectors to be given the opportunity to travel the world. Within the following few years, such places like China, West Indies, South Africa, India and Hong Kong were explored with great indulgence for the countries botany. Â Now filled with specimens from all over the world and home to the Millennium seed bank, Kew is a leader in plant science and conservation thanks to this aspect of travel so early on in its history. It was also awarded the honourable title of a UNESCO World Heritage Site in 2003.
Fig.6 / Daguerreitype of the iron works nearing completion(Desmond, 1995)
Fig.7 / Iron works restoration project (Desmond, 1995)
Fig.8 / Iconic logo (Calvin Klein, 2013)
2 . 0 B r a n di n g The term ‘brand’ can be interpreted in a number of ways. Previously in fashion it may have been thought of as something specific to designer products, now however a brand is more than just the product being sold – it’s a message, a statement, even a set of rules. A brand is something people can familiarise themselves with, relate to and trust. As Jackson and Shaw (2009) state, the “term can be applied to any company or product which possesses a distinctive identity that communicates meaning and values to its customers”.
Fig.9 / Iconic model Kate Moss poses in campaign (Huffington Post, 2013)
2 . 1 D e v e lo pi n g a b r a n d To be successful in creating a luxury brand that consumers want to engage with and be part of, it is very important to have a clear message to your consumers. It is becoming more important to brands these days to stay true to their ethos and exceed their customers’ expectations in order to keep their customers loyalty so they don’t lose out to competitors.
2 . 2 C a s e St u dy S uc c e s s f u l ly D e v e lo pi n g a B r a n d I d e nt i t y Successful branding can be seen with companies such as Calvin Klein Underwear. Formed in 1982 the logo and underwear designs are globally recognized from advertising campaigns featuring celebrities, top models and rising young stars in the industry. It was the advertising campaigns in this instance, which were important as they communicated a new way to get to the consumer - “New advertising campaigns communicated the message of the updated, sexy designer sensibility that distinguished Calvin Klein Underwear from all others” (Calvin Klein, 2013). With an instantly recognisable logo (see fig. 8) and adverts (fig. 9, 10 and 11) featuring deliberate use of flagrant sex appeal, this could only work in favour of the success of the company which is reflected in their high sales and steady business expansion. Still, according to Mintel (Nov 2005) “Calvin Klein remains well in the lead,[of Designer-wear Retailing] which will be largely due to the enduring popularity of its men’s underwear lines.” Calvin Klein Underwear now posses Twenty-seven free standing shops worldwide at time of writing, and tens more concessions. Calvin Klein is stocked in many of Britain’s main department stores including Selfridges, Debenhams, House of Fraser and John Lewis.
Fig.10 / Lara Stone in new campaign (Huffington Post, 2013)
Fig.11 / Various models and celebrities throughout the ages modeling Calvin Klein underwear(Calvin Klein, 2013)
2.3 Ethos
Coming from a British designer who has always had a love for all things organic, the brand will pay homage to the heritage of British gardens and pride felt by botanists who helped the creation of the gardens. Desmond (1995) also says “…Sir William Thiselton—Dyer [Botanist]…. viewed the gardens they controlled as an instrument of imperial endeavor, as a legitimate means of developing the natural resources of the Empire”. This strong ideology of creating something beautiful but also from an industrious point of view for the country is something which will be reflected in the brand ethos. The brand created will be brilliantly British and positively represent contemporary design within the British Isles. The brand will be able to be instantly recognizable through not only the contemporary designs and attention to details with innovative techniques with immense quality but also by successful branding through logos and labels. It was the leisure classes of Edwardian and Victorian periods who indulged in this luxury flora and fauna therefore the brand aims to compete in the luxury market and reflect this life of leisure and luxury.
2 . 4 B r a n d n a m e s a n d lo g o l a b e l d e sig n .
To communicate the brand ethos and integrity, the brand name itself is arguably the most important part of a brand. It has to get straight inside the mind of the consumer and be instantly recognizable. The name itself should never change but possibility of the graphics of the brand name or logo might. Designing the logo is important and important to stay consistent as “…fashion consumers frequently demand a ‘badge that can be worn conspicuously to make a statement about their identity.” (Jackson and Shaw 2009: 246 - 247). This concept of product symbolism through labels and logos, is only reinforced by Evans et al (2009:p343) with “Consumer researchers recognize that some products possess symbolic features, and that consumption of them may depend more on their social and psychological meaning than on their functional utility.”
2 . 5 Way s o f b r a n di n g s uc c e s s f u l ly • • •
Use of Colour – Yellow carrier bags associated with Selfridges House or brand Shape – Marlies Dekkers strapping on bras or Triumph’s full support bra. House or brand logo – Calvin Klein’s ‘CK’ as previously mentioned being internationally recognizable.
2 . 6 Way s b r a n di n g c a n b e a p p l i e d p h y sic a l ly • • • • • •
Fig.12 / Instantly recognisable - The Selfridges yellow carrier bag (Selfridges.com, 2013)
On the garment itself – outside and/or inside Packaging of the garment – carrier bags, printed tissue paper etc Printed communications – general graphics like letterheads and window displays Transport – delivery vans especially if web-based Advertising and PR – product placement has to be recognizable Retail – in store,
Fig.13 / Branding being applied to delivery vans of luxury e-tailer Net-a-Porter (Style.com, 2013)
2 . 7 Lo g o I d e a s
3.0 The Consumer There are many ways in which to find out the needs and wants of consumers. The starting point should be with primary research which can be conducted in a variety of ways depending on the information required - if the information required was going to help define a specific problem, and involved specific details then the most appropriate method of research would be exploratory research in the form of for example, unstructured interviews in which lengthy answers are solicited from a small group of respondents, also known as qualitative data. If the information required was going to help solve a problem that exploratory research has just identified, a more precise structured approach would be undertaken and, for example, formal interviews or short concise questionnaires would be used to produce concise possibly purely numerical data also known as quantitative data. Case studies or Observations are also ways to get to talk and listen to the customer first hand.
With a range aimed at luxury fashion it is difficult to conduct consumer research at your absolute intended consumer as they are not usually found on high streets or in general places where information could be obtained via a questionnaire for instance. As Jackson and Shaw, 2009:48) argue, these consumers are “unlike ordinary fashion consumers, are elusive and have homes all over the world.”
Furthermore, predicting the consumer for luxury is made even harder by the fact that nowadays it is not always just the wealthy who can afford luxury social stratification through democracy and freedom of disposable income allow people to define their place in society however they like. As Kapferer and Bastien (2009:19) point out, “ A luxury item that extraordinary people would consider ordinary, is at the same time an extraordinary item to ordinary people.” They go on to make a statement which is valid to the ‘ ’ brand as the collection is designed to be high end with pieces that ordinary people can aspire to own, “The DNA of luxury, therefore is the symbolic desire to belong to a superior class, which everyone will have chosen according to their dreams, because anything that can be a social signifier can become luxury” (Kapfer and Bastien 2009:19). It is for this reason that research was not only carried out on a typical ‘luxury customer’ but on consumers from all different professions and ages. The research was conducted the other way around as questions were being asked broadly to a variety of different women and as the data needed to be collected is sensitive, an anonymous questionnaire was trialled afterwards. Once the broader questions were completed, the specifics were asked in interviews regarding shape-wear and talks with volunteers from the anonymous questionnaires. Another contributing source of primary research for accumulating this sensitive information was from the use of personal conversation. In unsuspecting environments, such as at a fitting room with a sales associate, consumers gave valuable opinions on products and their needs which is definitely worth noting. All are recorded and referred back to.
3 . 1 Q u e st io n n a i r e r e s u lt s Information was mainly required about which items of shapewear people bought and why. This is to inform design features on the garments and also the range plan for the collection. It is was also to find out if and why young people buy garments with shaping abilities. Questionnaires were sent out to industry contacts, friends and family via Surveymonkey.com
AGE
25 34
55 64
65 74
18 24
If you do not already buy Shapewear, why not? OTHER NONE I LIKE
If you buy shapewear which are is it to mainly improve stomach thighs
UGLY
waist
UNCOMFORTABLE
thighs
NO POINT
back breasts
DON'T NEED IT
0
1
2
3
4
5
6
7
Finding out why consumers don’t buy is as important as why they do buy. Here the graph shows us that most people don’t because they feel they don’t need it. ‘Other’, will be looked at shortly and ‘Uncomfortable’ and ‘Ugly’ were big reasons why people don’t buy. These are aspects which need working on.
0
2
4
6
8
10
With such an intimate subject, it is hard to get people to talk honestly about their insecurities, but here we have shown that the stomach is the main area the people who were asked wanted to improve. This will be reflected in my designs.
While looking at the marketing of brands, it is also important to find out what it is consumers want from their products the most in order to work out the ideal business objective. Here the consumers in question rate quality as the most important aspect of staying loyal to a brand.
sales
Longevity in design is also a key player, indicating that the designs need to be classic as well as contemporary.
innovation
longevity in design
leaders in trends
quality
moral conscience
How Often do you buy lingerie ONCE A YEAR 4 6 MONTHS EVERY 3 MONTHS ONCE A MONTH ONCE A WEEK SEE IT BUY IT
0
1
2
3
4
5
6
7
8
Frequency of shopping is also important to find out when designing garments - it gives an indicator of the quality required by the consumer. This result is also surprising as six people said they just buy lingerie when they see it, which suggests that marketing would have a large part to play in the creation of the range. If the products are in the right place at the right time, sales will be higher.
3.2 Verbal Information The most valuable information was gathered while the writer was working in retail at a high end fashion forward store. The writer managed to gain valuable insight into the needs and wants of the consumer already shopping at a higher market level than most. At this retailer, notes were taken from conversations with customers from a series of Saturday afternoons and also mid-week shoppers (see Appendix 1) There were also notable quotations from the surverymonkey.com questionnaire regarding problematic garments involving the shaping qualities and ways in which these could be improved (see Appendix 2).
“So ugly”
(Anonymous)
“Rolled up around waist, was supposed to be like a skirt” (Anonymous)
“I own tummy hold in pants but I find that round my bottom they are a little too tight and make ugly dents” (Anonymous)
“It always seems really pain and un-sexy, I know it’s shapewear but still...” (Anonymous)
“Most shapewear I’ve seen is the colour of prosthetic limbs” (Anonymous)
3 . 3 S u m m a ry o f P r i m a ry R e s e a rc h Despite findings for luxury markets being notoriously difficult to produce, questionnaire results show that within the proposed range, certain aspects will be taken into account when designing: 1. The range must include garments which improve the shape of the stomach and thighs. 2. This will be in the form of either a whole body or two separates for each problematic area, but they must be comfortable. 3. That the quality of the garments is important, the consumer expects the garment to last for a while in order to return to the brand repeatedly. 4. The shaping elements to the garments must stay in place on the body and not move around 5. The colours of the shapewear should be improved. 6. The garments should mould the body precisely and not leave any ugly dents or bulges. 7. Movement of the garments on the body should be prohibited as much as possible 8. Marketing of the collection/brand – it was found that people bought lingerie as and when they saw it. However WGSN (WGSN:2012) argue on their UK Intimates Market Focus report, this could be because the market is “Worth £2.6 billion in 2011 according to the latest Mintel Underwear UK report, the intimates market is largely driven by replacement purchases and could greatly benefit from retail innovations to stimulate more impulse and gift buying”. If impulse buying is already in place, retailers need to be sharper with marketing strategies to ensure high sales.
3 . 4 S e c o n d a ry R e s e a rc h Secondary research is information gathered by organisations. These can be market research agencies, government agencies or industry and trade publications. The information gathered is usually published in reports, newsletters, trade publications, magazines and newspapers. An article found in lingerie trade magazine Underlines (2012:30-42) shows information gathered by the company from one hundred retailers with in-depth analysis on their top selling ‘Fashionable’ shapewear. Please see appendix 3 for full article and tables of figures. Summed up, the Underlines article provides the following information:
• • • • • • • • • • •
The best sellers in ‘Functional’ Shapewear were MiracleSuit™, Spanx™ and Bodywrap. The most popular recent additions were Chantelle™, Marie-Jo™ and Triumph™. The best sellers in ‘Fashionable’ Shapewear were Marie-Jo™, Chantelle™, Primadonna™ and Aubade™. Overall shapewear sales continued to provide constant sales Price, Comfort and technical innovation are top Medium is the most popular size Colour – 84% stay with nude/black/champagne (appealing primarily to the over thirty fives age range Top rated garment sales are Slimming pants/knickers – 38% Seamless Shapewear – 30% Combo Garments – 10%
Fig.14 / Article providing vital information (Underlines, 2013)
The most important piece of information found in the conclusion to the article (Underlines 2012:42) says “If shapewear suppliers and retailers are to appeal to this generation [under 25’s] then the styles will have to be offered in more attractive and fashionable designs and colours. Certainly young, aspirational celebrities could be used to promote and entice younger consumers to view these garments as something not just for older or overweight women.” Additionally, importance of celebrity endorsement in the marketing of the collections is backed up by a report from global trend forecasting company, WGSN (WGSN:2012), who says “Celebrity endorsement is still an excellent marketing device with press coverage of Rosie at Autograph’s debut collection ensuring target-busting sales at Marks and Spencer” (see figure16 below) This also ties in with questions researched primarily - ‘How often do you buy Lingerie?’, and that the marketing of these products (in this case using celebrity endorsements) will influence this result.
Fig.16 / Celebrity endorsement to launch new range (WGSN, 2013)
Fig.15 / Conclusive statement (Underlines, 2013)
3 . 5 Ov e r a l l R e s e a rc h S u m m a ry  It is clear there is a gap in the shapewear market for the younger fashion forward consumer. From the primary and secondary data collected, data will inform a range involving high quality, colourful garments with shaping qualities particularly for the stomach and thighs. Problematic areas mentioned in the verbal communication and on the survey carried out will inform designs which for instance, do not move on the skin when worn. As this will be a luxury range, the consumer will aspire to buy this and
4.0 The Consumer P e n P o rt r a i t o f p o s si b l e c o n s u m e r  As previously discussed in the primary research section, the luxury lingerie market is difficult to predict. When targeting fashion forward shoppers who might be spending a little bit more on a key piece (which will be a social signifier as well as a good quality undergarment), despite the age range and profession being different, there may be certain traits these consumers share. Identifying other social markers these consumers share, will be indicative of what they will be shopping for and how they shop. These pen portraits are based on the women the writer spoke to at the fitting rooms previously mentioned in the primary research section (also see appendix 1).
4 . 1 A s pi r at io n a l C o n s u m e r P e n P o rt r a i t
DRESS TOPSHOP £50
SHIRT A.P.C £120
TOP WHISTLES £85
SKIRT A.P.C £140 TROUSERS WHISTLES £95
SHOES VINTAGE RUSSEL AND BROMLEY £20
SHOES/BAG PROENSA SCHOULER £520/1535
SHOES WHISTLES £125
4 . 1 A s pi r at io n a l C o n s u m e r P e n P o rt r a i t
Consumer A
Consumer B
Consumer C
Age: 18-21 Occupation: Student/Young professional creative industries. Style: Bold, modern, cute. Values: Quite ethically minded, buys organic produce when she can, likes to stay in tune with current trends. Shopping habits: Buys cheap/fast fashion but will invest in certain pieces such as underwear, shoes and bags for quality and longevity. Will also indulge occasionally in an expensive statement pieces. Very trend lead. Loyalty: This person is savvy and shops around for the best bargain. Only loyal to the brand as long as its cool but often chops and changes. A fickle shopper.
Age: 22-25 Occupation: Young Professional Style: Individual, refined, thoughtfully put together.
Age: 26-34 Occupation: Buyer/Mother Style: Simple, sophisticated, refined, direct.
Values: Similar to consumer A but stronger moral conscience. Interested in finding new designers and interested in finding designers who are using recycled materials where they can.
Values: Would really like to spend time researching brands to find out if they’re ethical producers or fashion but doesn’t have time.
Shopping habits: If she wants it, she’ll have it, and will worry about the money later (with a large disposable income). Definitely buys for quality and wants her garment to last a long time. Loyalty: This customer is loyal and when she finds a brand who provides good customer service and high quality products, she usually recommends them to friends.
Shopping habits: Online buying while the children are asleep is a dream, a run around on the lunch hour is her only reckoning. This woman knows what she wants and impulse buys. Loyalty: This customer is loyal and when she finds a brand who provides good customer service and high quality products, she usually recommends them to friends.
These consumers share similar aspirations
5 . 0 C o m p et i to r s With the current situation of the economy, businesses are becoming more and more competitive each day. Shoppers are becoming wiser and retailers are having to go to new and remarkable lengths to compete with one another. Improving the effectiveness of the entire retail experience is no longer an option: it’s a matter of survival. Armed with knowledge of research on why people do what they do when they shop, marketer’s retailers and designers can work together to predict how shoppers will respond to consumer goods and services.Competitor analysis here is carried out in the form of a competitive shop report on the three main competitors considered for the new brand – Marlies Dekkers, Lascivious and Aksudo Kudo. Because the proposed range will be a fashion forward luxury range with shaping elements, it is also worth looking at the shapewear market also for prices and comparison. Observations recorded will monitor the proposed brands’ competitors. Seeing as it is “No longer news that we live in a world of hyper-interconnectivity thanks to the internet and digital platforms that go beyond computer to include Smart Phones…” (Okonkwo 2010:19), research into not only the physical stores but the digital e-commerce stores is also worth noting. This is not to say it is the only important aspect however, as Okonkwo (2013:3) goes on to say that it is “Better to build your offline brand awareness to support your online search-ability and compliment this with online buzz marketing through the social web”.
Brand A:
Products:
USP
Website
• • • • •
• • • • • •
Couture Latex Designs Glamorous Latex which is not S&M/fetish/bondage Also branches out into couture latex womenswear Offers a made to measure service A small range of accessories
Couture Website with a lot of fashion photography Can buy basic and extensive ranges online Stacked with press and celebrity endorsement Awards and recognition displayed on home page Easy to navigate All appropriate social media tools in force
Stockists/E-commerce: www.atsukokudo.com | Coco-De-Mer – Boutique, Covent Garden, London | Selfridges – Department Store, Oxford Street, London
store
Store in Holloway Road, Islington, London. Out of the way from the hussle and bussle of the city providing privacy. Workshop is above the shop – made to measure service
Celebrity Endorsements
Fig.17 / Only stand alone store on Holloway Road, London (Shopikon.com, 2013)
Fig.18 / Inside the store (Shopikon.com, 2013)
Fig.16 / Lady Gaga meets the Queen in Atsuko Kudo (thelittleflirt.typepad.com, 2012)
Concession Selfridges
Brand A:
Products:
£83
USP
Website
• • • • •
• • • •
High Quality Good fit especially for bigger sizes Signature strapping design on Bras Fashion forward prints and colour ways ‘Underwear as Outerwear’
Not easy to navigate Confusing branding on main website Beautifully styled fashion photography All relevant social media displayed
Stockists/E-commerce: www.atsukokudo.com | www.marliesdekkers.com | Harrods Department Store, London Selfridges Department Store, London | Stocked in 25 boutique stores Nationwide UK
£42
(Flagship stores)
store
Concession Selfridges
Celebrity Endorsements
Fig.19 / Inside the flagship stores (Marlies Dekkers, 2013)
Fig.20 / Outer the Parisian Store (Brisbanetimes.com.au, 2013)
Fig.21 / Dita Von Teese pictured in Marlies Dekkers, (Author, 2013)
Brand A:
Products:
£109
USP
Website
• • •
• • • • • •
Unique risqué designing style Exclusively sold in boutiques and department stores High quality of garments
£79
Clean and fresh Easy to use easy to shop A lot of information about the company, and anything you need to know Easy contacts Branded very well
Stockists/E-commerce: www.lascivious.co.uk | Stocked in 39 Boutiques worldwide | 8 Boutiques | 2 Department Stores
store
(Flagship stores)
Concession Selfridges
Celebrity Endorsements
Fig.22 / All of the boutiques stocking lascivious are located in up market high streets in boutiques selecting only the best lingerie. (Lascivious:2012)
Fig.23 / Rihanna wearing a lascivious bra at the Jean Paul Gaultier Show (lovedbydulcie.com, 2012)
Looking at 3 brands of shapewear, the prices are indicative of where they would sit on a market positioning map. Miraclesuit and Bodywrap were two best sellers from the secondary research carried out and are both around the same price. Spanx sits a bit higher in price point and this is reflected in the quality of the garments. The information from the competitive shop and this shapewear pricing information should provide a decent market positioning map on which to place the proposed brand, ‘Via’.
5.0 Pricing comparison of competitive brands 700 600
LA FILLE D’O
500
STELLA MCCARTNEY
400
ATSUKO KUDO
300
LASCIVIOUS
200
MARLIES DEKKERS
100
DIRTY PRETTY THINGS
0 thong
pants
bra
bodice
most expensive
This Graph shows the differences in price ranges between competitors. The anomaly from Atsuko Kudo is because they go into couture women’s wear which can go up to thousands of pounds. The cheapest is La Fille D’O, and the most expensive is Atsuko Kudo. Lascivious remain cheaper for the smaller items but larger items like a bodice are much more expensive.
Aksudo Kudo
HIGH
5.1 Market Positioning
Stella McCartney Spanx
Wolford Prima Donna
La Perla
Huit
Result Wear
La Fille D’o JPL
MODERN
design New Look
Marlies Dekkers Triumph
Miraclesuit M&S
CLASSIC
Lascivious
price
ASOS
Asda
LOW
Primark
The VIA swirl indicated where in the market VIA would like to sit. This could always fluctuate but this is the aim.
5 . 2 M ac r o E nv i r o n m e nt s To start up a luxury brand, looking at the bigger picture and including research to look at factors that may have an impact on the brand are crucial. With analysis of these factors, information can inform appropriate actions to make sure the brand remains successful. Political - “The government announced in March that the minimum wage would rise by 11p. This 1.8% rise is slightly lower than the typical rise in earnings and the current rate of inflation, which represents the rising cost of living” (BBC 2012). This could affect the performance of the range being launched, as people will not have as much disposable income to spend on luxury items, as their money will be channelled into paying for essential things such as food, accommodation and bills. Economic - “Recessionary state of mind” was how Mintel negatively described consumers in a report in 2010. Thinking more carefully about their spending habits, this could still be having a negative impact on the luxury market and therefore the proposed range, as people will be more inclined to buy cheaper products as they feel they can’t afford to invest in more expensive items any longer. Social - Jackson and Shaw (2009:301) explain that changes in social structures like the UK becoming more diverse, means some ethnic communities are demanding solutions from retailers. Jackson and Shaw (2009:301) demonstrate this by saying “In some areas with a large Asian population, clothes need to be made available in smaller sizes; if there is a predominance of Carribbeans, the opposite is true.” A reaction to this would be to cater for a wide range of cup sizes. Technological - As previously mentioned, the digital luxury market is growing rapidly, “During 2009, luxury Internet shopping grew by 20%. According to some of the biggest web retailers, luxury sales will one day be bigger online than in real stores - and in some cases already are.” According to Harper’s Bazaar (2010). It is imperative that brands keep up with this so shoppers are able to access a website and are also able to shop online. Legal - Changes in law have to be watched by fashion companies as for example, Jackson and Shaw (2009:300) emphasise that because designers and luxury brands have become more successful in challenging infringements of copyright on their designs, “Chloe and Jimmy Choo designer brands against a selection of mass-market fashion retailers have resulted in some high-profile fines for retailers.” This is good news for a luxury range as ideas won’t be cheaply available. This may lead to more sales and exclusivity for the brand.
5 . 3 M ic r o E nv i r o n m e nt s Strengths • • • •
Strong identity and values, creates interest in brand Fulfilling gap in market for luxury lingerie with shaping elements for younger people Range will offer versatility and wear-ability Quality and Longevity in design – investment pieces
Weakness • • •
High manufacturing costs VAT increase affecting product prices Construction of shapewear maybe difficult and expensive
Opportunities • • •
Under 25’s remain immune to shapewear yet concerned with weight and shape. Youthful designs will prosper Increasing consumer interest in technology as Smart Phones become available to more – Accessing online tools like Facebook, Twitter, Pinterest and Tumblr may aid with promotion and marketing. International expansion
Threats • • • •
Company may not make any profit for several years as start-up costs are so high Exchange rates may fluctuate more and the pound could get weaker Competition in the current shapewear market could grow by the time the collection is released Not having international relations firmly established and little industry experience could be damaging
6.0 Range Planning Using trend forecasting websites is a good way to make sure there are no lost opportunities when planning a range. Many companies are accessing the same data, so a lack of research in this area could reflect negatively in sales. Â A range template at this stage can be drawn up from the research. Here is what it might include. The best selling items from the secondary research report, and the competitive shop report are taken into account here and also provide the customer with a good choice of garments to match and/or compliment each other. This will therefore result in multiple buys and increase the average transaction value (or ATV). Â
6.1 Range T e m p l at e From the research, proposed basic shapes for the range have been decided. All styles will come in 2 colours ways to give buyers and consumers a choice and therefore this will maximize sales.
6 . 2 P r ici n g A rc h i t e ct u r e
Suspender Belt 30 60
Thong
Bikini Brief
Big Pant
Bra
Body
Body Legs
45 60
65 80
80 120
100 150
150 250
250 350
7 . 0 S u p p ly C h a i n s
Garment Design Research Analysis
Garment Production
Conceptualisation Synthesiss
Design Development
Merchindising Costing
Garment Order/Specification Techincal Development
Pattern Sample
Garment Manufacturing Purchasing
Fabric Design Development
Fabric
Production
Sales Fabric Production
Fabric Specification Fabric (Customised) Design Development
Mid September
Yarn Mill
Fabric Manufacturing
Beginning of December
Textile Manufacture
Beginning of Feb
Fashion ProductMaker
Distribution
Beginning of March
Wholesaler Agent
Retailer Brand
Consumer
8 . 0 S S 1 4 T r e n d A n a ly si s
Fig 26: 1930’s geometry being demonstrated. (WGSN, 2012).
Fig 25: 3D Laser effects are a key trend, however the geometry in these images is of more (WGSN, 2012).
Fig 27: Digital Stitches again showing geometry (WGSN, 2012).
Fig 28: Geometric Contours (WGSN, 2012).
Fig 29: Materials Inspiration (WGSN, 2012).
Fig 30: Key Colour Matrix for S.S 14. Particular focus is on the greens (WGSN, 2012).
Bi b l io g r a p h y Bibliography • • • • •
Desmond, R (1995) Kew – the History of the Royal Botanic Gardens. London: The Harvill Press Evans, M, Jamal, A and Foxall, G (2009) Consumer Behaviour, Second Edition. West Sussex: John Wiley & Sons Ltd Jackson, T / Shaw, D (2009) Mastering Fashion Marketing. Chippenham and Eastbourne: Palgrave MacMillan. Kapferer, J, Bastien, V (2009) The Luxury Strategy. London/Philadelphia: Kogan Page Okonkwo, U (2010) Luxury Online, Hampshire: Palgrave Macmillan
Magazines • •
Underlines (2012) ‘Shapewear: Where Next?’. Underlines. May/June 2012:30-42 Wasem, F (2010) Introducing The New Shopping Experience. Harper’s Bazaar. [Issue/Date Unknown]
Websites • • • • •
Calvin Klein About Calvin Klein (2013) Available at: http://www.cku.com/helpdesk/index.jsp?display=corp&subdisplay=about [Accessed: 5 February 2013] WGSN UK Initmates: Market focus (2012) Available at: www.wgsn.com/content/report/business_strategy/business_insight/2012/september/ uk_intimates.html. [Accessed: 17 Janurary 2013] BBC 2012 Minimum wage and VAT changes take effect (2012) Available at: http://www.bbc.co.uk/news/business-19731923 [Accessed 10 February 2013]
Reports • •
Mintel 2005, Designer-wear Retailing [web] London: Mintel. Available at: http://academic.mintel.com/display/188805/?highlight=true#hit1 [Accessed Dec 2012] Mintel 2010, Focusing on the essentials [web] London: Mintel Available at http://academic.mintel.com/essen/188805/?highlight=true#hit1 [Accessed June2010]
L i st o f f ig u r e s All images with logo
are writers own.
Fig 1: The Palm House Desmond1995 Kew – the History of the Royal Botanic Gardens. London: The Harvill Press Fig 2: Wood engraving of interior of palm house Desmond1995. Kew – the History of the Royal Botanic Gardens. London: The Harvill Press Fig 3: Book art Desmond,1995. Kew – the History of the Royal Botanic Gardens. London: The Harvill Press Fig 4: Ironworks Desmond, 1995. Kew – the History of the Royal Botanic Gardens. London: The Harvill Press Fig 5: Ironworks minus the plants Desmond:1995. Kew – the History of the Royal Botanic Gardens. London: The Harvill Press Fig 6: Daguerreotype of the Ironworks nearing completion Desmond:1995. Kew – the History of the Royal Botanic Gardens. London: The Harvill Press Fig 7: Ironworks restoration project Desmond, 1995. Kew – the History of the Royal Botanic Gardens. London: The Harvill Press Fig 8 Calvin Klein logo 2012 [online image] Available from: www.yourlogoresources.com[Accessed 3rd February 2013] Fig 9 (katemoss ad) 2012 [online image] Available from: www.yourlogoresources.com [Accessed 3rd February 2013] http://i.huffpost.com/gadgets/slideshows/244929/slide_244929_1382196_free.jpg?1345052452000 Fig 10 (larastone) 2013[online image] Available from: http://i.huffpost.com/gadgets/slideshows/244929/slide_244929_1382451_free. jpg?1345052452000 [Accessed 3rd February 2013] Fig 11CK montage 2012 [online image] Available from: www.huffingtonpost.ca/2012/11/09/calvin-klein-ads_n_2102535.html#slide=1382451 [Accessed 3rd February 2013] Fig 12 selfridges carrier bag 2012 [online image] Available from: www.selfridges.com [Accessed 3rd February 2013] Fig 13 net a porter van 2011[online image] Available from: http://www.style.com/blogs/stylefile/wp-content/uploads/nap2.jpg, [Accessed 3rd February 2013] Fig 14 (underlines title page image) Underlines (2012) ‘Shapewear: Where Next?’. Underlines. May/June 2012:30 Fig 15 (underlines conclusive statement) Underlines (2012) ‘Shapewear: Where Next?’. Underlines. May/June 2012:42 Fig 16 Gaga queen [online image] Available from: http://thelittleflirt.typepad.com/la-petite-coquette-blog/2012/12/december-10th-2012-lpc-welcomes-atsuko-kudo.html [Accessed 10rd February 2013]
L i st o f F ig u r e s C o nt i n u e d … Fig 17 Outside store 2012 [online image] Available from: http://www.shopikon.com/london/shopping_guide/1319_atsuko_kudo [Accessed 10rd February 2013] Fig 18 Inside Store 2012 [online image] Available from: http://www.shopikon.com/london/shopping_guide/1319_atsuko_kudo [Accessed 10rd February 2013] Fig 19 (no name) 2012 [online image] Available from: marliesdekkers.com/ Fig 20 Marlies outer store 2012 [online image] Available from: www.brisbanetimes.com.au [Accessed 10rd February 2013] Fig 21 DITA MARLIES 2013 [online image] Available from: http://elpurgatoriodesylvietartan.blogspot.co.uk/2011/12/la-hoja-parroquial-de-la-moda.html [Accessed 10rd February 2013] Fig 22 (lascivious stores) 2013 [online image] Available from: lascivious.com [Accessed 15rd February 2013] Fig 23 rihannalascivious 2012 [online image] Available from: lovedbydulcie.wordpress.com [Accessed 10rd February 2013] Fig 24 WGSN Screenshot 2012 [online image] Available from: WGSN.com [Accessed 10rd February 2013] Fig 25 WGSN Screenshot 2012 [online image] Available from: WGSN.com [Accessed 10rd February 2013] Fig 26 WGSN Screenshot 2012 [online image] Available from: WGSN.com [Accessed 10rd February 2013] Fig 27 WGSN Screenshot 2012 [online image] Available from: WGSN.com [Accessed 10rd February 2013] Fig 28 WGSN Screenshot 2012 [online image] Available from: WGSN.com [Accessed 10rd February 2013] Fig 29 WGSN Screenshot 2012 [online image] Available from: WGSN.com [Accessed 10rd February 2013] Fig 30 WGSN Screenshot 2012 [online image] Available from: WGSN.com [Accessed 10rd February 2013]
A p p e n di x 1 Fitting Room Conversation Notes
A p p e n di x 2 Surverymonkey.com questionnaire results
A p p e n di x 1
Underlines Article Shapewear