Yu hsuan hsiung by Sandra Hsiung

DUBAI LONDON TAIPEI

Taipei, a future fashion capital? An investigation

Nottingham Trent University MA Fashion Marketing Yu Hsuan, Hsiung (Sandra) N0618894 Tutor: Yvonne Trew

School of Art and Design 2015/16 MA

SOURCE: Researcher-owned photo

FMMC FASH40090-FASH40093: Dissertation Declaration

This submission is the result of my own work. All help and advice other than that received from tutors has been acknowledged, and primary and secondary sources of information have been properly attributed. Should this statement prove to be untrue I recognise the right and duty of the Board of Examiners to recommend what action should be taken in line with the University's regulations on assessment contained in its handbook. Signed: .................. Date: 25/09/2016

SOURCE: Researcher own photos

Acknowledgement I would like to express my deep graditude to the following people that supported me throughout the year.

Yvonne Trew Supervisor Ge-Li & Ren-Yang Parents Lia Blaj-Ward Language teacher Lecturers and Staff of NTU all the Participants of my study and friends and family for the inspiring talks and discussions

I could not have done this without all of you. Many Thanks!

CONTENTS

Chapter 2.

Chapter 1.

p.9

p.14

Chapter 4.

Chapter 3.

p.16

p.42

Chapter 6.

Chapter 5.

p.54

p.58

Chapter 8.

Chapter 7.

p.82

p.87

Start the journey of fashion capital

WORD COUNT: 17,231

Chapter 1.

Research Background

he development of a global fashion city has been seen as a long and complicated process. Paris, London, New York, Milan and Tokyo have all experienced decades of engagement with developing their fashion industries. Fashion has become increasingly intertwined with city status, domestically and globally. According to Breward and Gilbert (2006), “the idea of the fashion city is now a feature of the global competition between cities, and has become a part of broader strategies of metropolitan boosterism that give prominence to what have become known as the ‘cultural industries’.” The most obvious example of the “competition” is the Top 50 Global Fashion Capitals which has been published every year by the Global Language Monitor, a media analytics company located in Austin, Texas (GLM, 2016). Significantly, Paris, London, New York and Milan have been considered as “top-tier” fashion capitals while many cities are competing for the “fifth” place. Moreover, the Paris fashion has long been the role model for other cities to follow such as Shanghai, which claims itself as Eastern Paris. Moreover, “permutations of [London, Paris, New York, Milan and Tokyo] and a few others have been routinely incorporated into the advertising of high fashion, after the name of a designer or brand, or etched into the glass of a shop window. In some cases, the name of the fashion

capital is incorporated into a brand name itself as perhaps most famously in the case of DKNY – Donna Karan New York” (Breward and Gilbert, 2006). In this case, the power of fashion capitals beside the brands seems enormously noticeable. A noticeable topic is that in the twenty-first century, everything is changing rapidly especially for fashion industry as Heidi Klum’s signature phrases in Project Runway, the American reality TV show, “as you know in fashion, one SOURCE: Wikimedia

SOURCE: Wikia (researcher redesigned )

day you are in. And the next day, you are out.” Looking into the ‘Future’ has always be viewed as the key task in the fashion industry. For instance, designers predict the ‘Future’ trend, whereas marketing departments seek the ‘Future’ market. For this reason, looking into the ‘Future’ might be a key task for every fashion capital.

Fashioning a city is not a new topic for urban study, but the majority of study focuses on elite fashion capitals such as London, Paris and New York. Therefore, there remains a gap as to how other cities generate their fashion

fashioning a city in marketing and branding aspects. Since a city can be viewed as a brand, branding a city is one of the main purposes for conducting this project. The reasons for choosing both London and Dubai as the examples are as follows. First of all, compared to the governments of both cities which are engaging in the development for their fashion industries, there is still large room for governmental improvement of Taipei in

industry through the elite cases. Moreover, there are not much studies focusing on

fashion industry. Moreover, looking into how London

Research Motivation

SOURCE: tigerjin1

maintains and Dubai changes their fashion status, a tentative theory of creating a future fashion capital will be provided for Taipei city in Taiwan. London, a well-known fashion capital for decades, what are the elements that can act to sustain its place in the fashion industry? For Dubai, a city which owns the power to create the ‘Future’ and something impossible, what are the factors that help to conquer the cultural boundaries to build up its fashion industry? Even though Dubai might not qualify to be called as a fashion capital yet, this city never stops changing. Following the establishment of the Dubai Design and Fashion Council and Dubai Design District, the ambition of Dubai to be one of the fashion capitals is clear. However, this has led to a whole host of debates. Some argue that the limitations of religion, policy, culture and even weather disable Dubai to become a fashion capital. In 2013, Franca Sozzanni, the chief of Italian Vogue commented that “Dubai has the potential but is not regarded as a fashion capital in the world.” In contrast, Imran Amed (2015), the founder and editor-inchief of Business of Fashion (BOF), mentioned that “As one local cleverly put it to me, Dubai is a city of the future — the kind mankind might build if we were to colonise Mars.” Though Dubai might be the least anticipated city as a fashion capital, it still strives to look for any possibility to create a new image. Therefore, its strategies can be applied to the research on the exploration of Taipei as a fashion capital. According to Skov (2011) (cited in Gilbert, 2013), “the best of the ‘second-tier’ fashion centres are not forever looking ‘up’ to Paris, London, New York and Milan, nor are they slavishly following the kind of top-down prescriptions for urban boosterism replicated in hundreds of cities across the globe that have attempted to foster a Richard Florida-style ‘creative class’” (Florida, 2004). Alongside this point, two veins of elements for creating a fashion capital have been brought up, which are “dream of small nations ” (culture power) and “economic power”(economic power). For instance, as Gilbert (2013) puts it, “Antwerp, Reykjavik, Copenhagen or Dublin have been attempts to make local formations that connect design, craft production skills, with a sense of place”. As expected, there are more and more talented designers from these cities who start to walk into the international market such as ESSENTIEL Antwerp. On the other hand, although there is no direct connection between economy of a city and its fashion industry such as Frankfurt — the international geographical financial centre without development of its fashion industry, the power of economy should always be considered in the development of a fashion city. Dubai might be a suitable example for Taipei due to its passion for building up the fashion industry with a ‘future’ vision 12

SOURCE: Ann’s house

SOURCE: BrilliantlySimple

in the twenty-first century. Nevertheless, London is also of great importance for the establishment of the fashion status in Taipei since both cities have a long history of city development. Therefore, the argument will not be fully credible if the research is restricted to Dubai. In this perspective, the research on both cities carry value for this study.

Chapter 2.

2.RESEARCH--AIM & OBJCTIVES

he research question is: Taipei, a future fashion capital? An investigation.

The main aim of the research is to investigate the key elements for creating a fashion capital and to develop a strategic path for an emerging fashion city, such as Taipei by studying two cases- London and Dubai.

Research objectives

1.To critically evaluate the needs for fashioning a global city from industrial key personsâ&#x20AC;&#x2122; point of views. 2.To critically evaluate the efforts of fashion organisations in London and Dubai. 3.To critically analyse the future plans and visions of the Dubai fashion industry. 3.To critically identify the current street style in top tier fashion capitals (take London as an example). 5.To provide a practical recommendation for fashioning Taipei city. SOURCE: Asian Review

Chapter 3.

3.1 The definition of fashion capital p.19 3.2 A fashion capital with economic power p.22 3.2.1 Tourism p.22 3.2.2 Fashion (Luxury) goods consumption p.26 33 A fashion capital with culture establishing p.29 3.3.1 Fashion photography to Street fashion p.30 3.4 Fashion week as a tool p..33 3.5 Future development p.34 3.5.1 Future development of the London fashion industry p.36 3.5.2 Future development of the Dubai fashion industry p.38 3.5.3 Future development of the Taipei fashion industry p.40

s a d e c n i v n o c s i l a t i p a c n o i h s a F n io t c e n n o c f o the point e c r e m m o c d n a e r u t l u c n e e w t e b . e lu a v d n a e t s that drives ta i ii v : A 2 1 0 2 , y r r â&#x20AC;&#x201D;Be

SOURCE: Alessandro Benetton

any theories have been proposed to explain what motivates a global fashion city (fashion c a p i t a l , f a s h i o n ’s w o r l d c i t y ) . “A reassessment of fashion’s significance has been encouraged by moves within urban studies that have emphasised characteristics of the city that meet these qualities directly. Recent work in urban theory has called for an understanding of the urban that prioritises embodied experience and treats the city as a haptic, sensory environment, just as work in fashion theory has prioritises the relationship between clothing and the body” (Pile, 1996; Entwistle, 2000 and Thrift, 2004) (cited in Breward 2006: 7).

Even though the literature covers a broad variety of such theories, this review will mainly focus on two themes which emerge repeatedly throughout the literature reviewed. The definition of fashion capital will be given firstly while the commerce (first theme) and culture aspect (second key theme) of fashion capitals are the subcategories. Moreover, these two key themes will be underpinned by knowledge of tourism, fashion goods consumption and street styles of different cities. Furthermore, fashion weeks was discussed in the literature as a tool for developing a fashion city. Figure 2.1 provides the overview of literature view.

Figure 3.1. The overlook of literature review

3.1 THE DEFINITION OF FASHION CAPITAL

ashion and the cities are inseparably connected. Fashion perform a portion of “urban life” as well as the city “itself has played an important role in the mythologizing of fashion” (Berry, 2012B: 129). One of the most wellknown ranking of the global fashion capitals publishes by Global Language Monitor. The company analyses the internet, blogosphere, and top 250,000 print and electronic news media, sources including Twitter of the cities. Moreover, “the cities are tracked in relation to their frequency, contextual usage and appearance in global media outlets” (Gilbert, 2013). Becoming one of the significant fashion cities has turned to be many global cities’ ambition; furthermore, it seems to be the trend for the public to determine the fashion level of cities in contemporary society. However, some studies suggest that the concept of the historical development of a world ordering of fashion centres is a complexity process. Base on Gilbert’s theory (2013), “it is easy to suggest that something like the Global Language Monitor index is measuring little more than noise and gossip, but perhaps that is just the point. The idea of the fashion capital has long been about more than statistics for the volume of fashion production or the size of design sector in a particular city.” To some degree this may express the complexity for determining the level of fashion in a city.

To understand the process of development a fashion city, the terminology‘Fashion capital’ should be defined clearly. There are two different aspects to theorise ‘fashion capital’ which are geography aspect and sociology aspect. According to Gilbert (2006), “Paris’ role as a fashion capital is related to the city’s industrial structure as a site of fashion production, its distinctive locations of consumption and its cultural representation in the collective imagination. This triad of influence is replicated by the other established fashion capitals but is also beginning to be exploited by emergent fashion locations in new markets such as India, China, Russia and New Zealand. Evidently, fashion has the ability to mythologise and create national and global identities, where particular cities, countries and lifestyles become objects of consumer desire” (cited in Berry, 2012A: viii). Take Paris for an example, it is not difficult to find that there are many articles, photos, websites and publications talking about Paris fashion ‘style’, Paris street ‘style’ and even Parisians’ life ‘style’. However, Gilbert has putted this study even forward in 2013, “the focus on the fashion capital both as a changing historical formation, and relationally as a form of urban ordering or hierarchy.” It has led the theory of developing fashion capitals to a “wider structure of

19 SOURCE: APULLAR (1)

economic and political power” which attract us toward the “tradition in urban studies that has focus on ‘world cities’ and ‘global cities’” (Gilbert, 2013). On the other hand, the theoretical f r a m e o f s o c i o l o g y a l s o g ave t h e alternative significance for ‘fashion capital’. “In particular, Pierre Bourdieu’s discussion of varying forms of capital as ‘the immanent structure of the social world’ has been applied to fashion discourse. Bourdieu contends that in any particular field (system of relations), capital presents itself in three ways: as ‘economic capital’ (accumulated labour in its materialised form), ‘cultural capital’ (accumulated cultural knowledge that confers power and status) and ‘social capital’ (accumulated value of social networks). Bourdieu describes the fashion field as ‘situated at an intermediary position between the artistic field and the economic field’ with its own ‘specific capital’ or ‘fashion capital’ that is made up of economic, cultural and social capital to varying degrees.” (cited in Berry, 2012A). By combining the both geography and sociology aspects, the definition of fashion capital in this thesis will be a site which owns the cultural and economic power to create its own identity with taste, style and value. It is noted that “fashion capital is convinced as the point of connection between culture and commerce that drives taste and value” (Berry, 2012A: viii). However, the taste and value driving a fashion capital will not be investigated in this dissertation since the restriction of time while the interaction of cultural and economic will be focus on in the volume.

SOURCE: Kevin Tachman

3.2. A FASHION CAPITAL WITH ECONOMIC POWER

he chapter explores the co n s u m i n g g o o d s i n a c i t y which is driven by the business activities of tourism; meanwhile, the consumption of luxury goods is leading the fashion system in a city. Therefore, in this chapter, the commerce of a fashion capital will be examined by two different subcategories: ‘tourism’ and ’fashion goods consumption’.

3.2.1. TOURISM

SOURCE: APULLAR (2)

t is crucial to probe the economic impacts of tourism since it can not only arise employment rate but also bring wealth and economic benefit for a country. According to Law (1993) and C.M. Hall (2000), “tourism is increasingly being viewed by many national and local governments as a mechanism to aid the regeneration of the ailing economies of industrial cities” (cited in Page and Hall, 2003: 194). Following the development of budget airlines and influences of globalisation, boundaries between country and country are getting smaller; hence, the growth of the tourism numbers was dramatic from 1950 to 2013. According to the survey conducted by United Nations World Tourism Organisation (UNWTO), an extremely increase can be seen in the tourism numbers of the world from 25 million in 1950 to 1087 million in 2013 (UNWTO, 2014) (cited in Holloway and Humphreys, 2016: 104). It is noted that “globally, tourism as an economic activity is important for the many countries that try to obtain a share of this estimated $7.6 trillion industry (WTTC, 2015); in addition, the global tourism industry (considering international and domestic travel) accounts for 9.5 per cent of global GDP” (WTTC, 2014). It is obviously that many countries are highly dependent on tourism which especially true for developing countries. Regarding to the destination of tourism, urban tour is one of the most popular categories for travellers since a “growing interest in cultural activities such as visits to theatres, museums and art galleries, as well as in historical- and modern- architecture and the appeal of shopping as a leisure activity. Arts festivals, cultural and sports events have further added to the appeal of many towns and cities” (Holloway and Humphreys, 2016: 223). Moreover, capital cities have sustained its place for attracting tourists. It has noted by a survey conducting by Euromonitor, the top 100 city destinations, 23

SOURCE: onedaybox

in 2014 (see table 3.1). It is noticeable that London, Dubai and Taipei are all in the top 20 city destinations especially London and Dubai rendering the second and seventh places. According to Holloway and Humphreys (2016: 225), “cities such as London, Paris, Rome, Venice and Amsterdam

all have immediately recognisable, clearly differentiated images.” which leading the study into activities and attractions for visitors in cities. Shopping is one of main purposes for almost every urban tourist. Based on a study conducted by Tourism Canada (1991), the ‘urban

experience’ of activities for travellers in Montreal, Toronto and Vancouver are including “shopping in elegant and exclusive boutiques; visiting museums, art galleries and zoos; dining in chic and elegant restaurants; taking part in sight-seeing tours”, etc. (cited in Page and Hall, 2003: 148) Even though there are many different traveling purposes for tourists, ‘shopping’ locates an irresistible place. It is supported by a study undertaking by Choi et al (2016),” shopping has become a core element of tourism, with a similar level of importance as accommodation, dining, transportation, and sightseeing, rather than simply being an accompanying activity. In other words, shopping has become a main motive for travel with the increasing importance of shopping for tourists”. Therefore, there are many cities holding shopping festivals in different s e a s o n s f o r a t t ra c t i n g shopping tourists. For instance, there are more tourists going to USA on Christmas time and to HongKong in summer time since sales and shopping festivals in these cities. In addition, considering the shopping items for tourism, fashion goods shopping for tourism has got more attentions in contemporary society

Table 3.1 The top 20 city destinations Source: Euromonitor, 2014

which especially appears on Chinese tourism. It has noted by Chol et al (2008: 2), the project aims to determine that which fashion items and shopping destinations are preferred by Chinese tourists while roughly “43% of the 136 survey respondents spent” roughly £106 to £212 on fashion goods; moreover, the preferences of places for them are “department stores and clothing chain stores.” Hence, the attention will be draw on the fashion goods consumption in a city and how it influences the fashion status of city.

3.2.2. FASHION (LUXURY) GOODS CONSUMPTION

nsurprisingly, the value of fashion industry has increased gradually. “The global textile and garment industry (including textile, clothing, footwear and luxury fashion)” is valued approximately $3,000 trillion currently (BusinessVibes, 2015). It has noted by the booming of international chain store such as Inditex/Zara; Pull & Bear, H&M and Mango which are located all over the world. Moreover, the global luxury goods market is on its process to be mature, stable and consolidate. According to a study conducting by Claudia, D. et al (2015: 5), the global luxury market surpassed US$1,139 billion in 2015 while “the personal luxury goods market stays to be the largest sub-sector, exceeding US$276 billion globally in 2015, triple the market size of 20 years ago.” There are several conglomerates which are well-known in luxury market such as LVMH, the Kering group and Richemont. According to Shipilov and Godard (2015: 1), “as today most of the world’s leading brands and labels belong to one of a few groups, of which the biggest by revenue is LVMH, the owner of Moët & Chandon and Louis Vuitton. Two other groups— Richemont, the owner of Cartier and Chloé, and Kering (formerly PPR), which owns Gucci and Saint Laurent—give LVMH fierce competition.” 26

With the supporting of these mother companies, there are more opportunities for designers showcasing in a greater scope since the boundary of the retailer country of origin and global consumers is getting disappeared. Noticeably, a growing number of designer brands cooperating with conglomerates can be seen in recent years for example Stella McCartney and Christopher Kane joined the Kering group. In the circumstances, luxury fashion seems to be one of the key features for levelling up a city’s fashion status.

Considering the demand from different nationality, based on the study by Claudia, D. et al (2015: 9), “Chinese consumers played a primary role in the growth of luxury spending worldwide” even though the economic slowdown, Chinese consumers accounted for the greatest percentage of “global luxury purchases (31%), followed by Americans (24%) and Europeans (18%). In 2000, Japanese consumers represented more than one-quarter of global luxury purchases; they now account for only 10%.” Noticeably, Chinese consumers’ spending approximately four times more aboard than the spending at home. On the other hand, Japanese, American and European luxury consumers spent on their own region; however, “growth in these regions increasingly depends on spending by tourists” especially Europe (Claudia, D. et al, 2015:9) (see Figure 3.2). Even though the luxury retail market in the Middle East had experienced 8 to 10% annual growth across the last ten years (World Finance, 2016), the Middle East did not deliver a real growth in local currency from 2014 to 2015 in that study (see Figure 3.3). The high purchasing power of elite customers in a region is definitely the key elements for attracting international brands.

Table 3.2 Personal luxury goods spending study Source:Bain & Company , 2015

Table 3.3 Personal luxury goods top countries Source:Bain & Company , 2015

Key

JLL Global Cross Border Luxury Retailer Attractiveness Index 2016 Top 50 Cities

Americas Asia Pacific Europe

City

London Hong Kong Paris Tokyo New York Shanghai Singapore Dubai Beijing Osaka Taipei Las Vegas Bangkok Seoul Kuwait City Los Angeles Chengdu Moscow Miami Milan Jeddah Riyadh Abu Dhabi Jakarta Kuala Lumpur Chicago Rome Shenyang Shenzhen Tianjin Munich Nanjing Istanbul San Francisco Hangzhou Dallas Atlanta Ho Chi Minh City Mexico City Houston Madrid Sao Paulo Honolulu Chongqing Geneva Guangzhou Vienna Wuhan Washington Zurich

Middle East & Africa

Rank

1 2 3 4 5 6 7= 7= 9 10= 10= 12 13 14 15 16= 16= 16= 19 20= 20= 20= 20= 24= 24= 26= 26= 28= 28= 28= 31 32= 32= 34= 34= 36 37= 37= 39= 39= 39= 42= 42= 42= 42= 46= 46= 48 49= 49=

Cross Border Retailer Attractiveness Index (100 = Average of 140 cities covered) 0

100 Average

150

200

250

300

Destination Retail 2016 | 51 | Table 3.4 Global cross border luxury retailer attractiveness index 2016 top 50 cities Source: JLL, 2016

Apparently, the ‘next destination’ for setting up business became a crucial task for many international companies; furthermore, a strong connection between international brands and shopping centres can be seen in every region. The presence of international brands in a city can indicate and evaluate the market opportunity with different aspects, “such as strength of the domestic retail market, quality of retail space or overall market size” (Burnet and Martinus, 2016). Moreover, a study of the “presence of 240 international retail brands across 140 key retail cities” has published in 2016, noticeably, the top 3 cities for attracting global cross border luxury retailers are London, HongKong and Paris while Dubai and Taipei locate at No.7 and No.10 respectively (see Figure 3.4) (Burnet and Martinus, 2016). For consumers’ aspect, based on CNN, the top 12 best shopping cities of the world by interviewing global experts has been published in 2014. The article examines cities in four themes: “Getting around”, “Value”, “Variety” and “Experience” by interviewing industrial experts; moreover, New York places on the top of the order while London and Dubai render the third and ninth place respectively (Kim, 2014). Noticeably, there are something in common in the order of the best shopping cities; the best cities for retailers and most popular cities for tourists. The top-tier fashion capitals: London, Paris and New York are repeatedly talked in these orders; in addition, surging attention of Dubai also can be seen in these reports. Apart from top-tier fashion capitals, there are many urban researchers studying the opportunities for a city become a fashion hub or fashion capital. However, little is known about the connection and transformation between fashion hubs and fashion capitals.

3.3. A FASHION CAPITAL WITH CULTURE ESTABLISHING

Fashion and culture are inextricably linked, on the one hand, which can be explained as fashion presenting part of culture or either way, on the other. The culture of a city which behinds its street style as a concept being adopted in this chapter. The relationship within fashion, culture and street style has supported by Takamura (1997: 7), “fashion trends” make up an essential part in “people’s lives” and is dominant role of “street culture”. Moreover, “the “street culture” has even called “fashion art” and its influence has reached all the way to haute couture. For the first time in history, people with no status, fame or power become the style setters, leading the rise of new times and new culture — a change of truly epochal significance” after World War Tw o (Takamura: 1997: 7).

3.3.1. FASHION PHOTOGRAPHY TO STREET STYLE

he term “street style” can be seen from diverse “sites” for instance magazines, academic texts, exhibitions, blogs and popular speeches (Woodward, 2009: 83). As the founder of a well-known fashion street style blog, The Sartorialist, states that the idea for begging the blog is to create a “two-way dialogue about the world of fashion and its relationship to daily life” (The Sartorialist, 2016:1). Moreover, the importance of location for taking picture can be found in the titles of Schuman’s images for instance “On the Street…. Eva, Milan” (The Sartorialist, 2016) which simply shows the name of the city and the model. “Each photograph, thus identified, is explicitly 30

tied to its location. This person, or rather the fashion on this person, is directly connected to the city they inhabit” (Rosser, 2010: 160). Sartorial’s images are the ideal ambassadors of different faces of cities which supported the belief of Gilbert (2000). “The imagined cities of fashion press rhetoric become visualised as the city is presented as a fashion object by photography. Fashion photography has had a close relationship with the representations of cities on postcards and tourist guides. In both cases there is value in those symbols that are unambiguous identifiers of a particular city” (Gilbert, 2000: 21). In other words, fashion photography illustrates the identity of city while the best example can be seen in street fashion photography since it is presenting the ‘real’ of the ‘daily' faces of city. It has noted by Berry (2012B), “fashion photography of the street appropriates the dynamism of the city to suggest an immediacy and realism that is contrasted with the fantasies and dreams of many studio-based images…. street style image is a more readily available experience of fashion in everyday contexts” (Berry, 2012B: 133). The status of street style has been transformed from a subordinate part of fashion photography in “the age of print” to “part of a worldwide viral phenomenon that established the most successful bloggers as the ‘new favourites of the fashion world’ in the age of digital” (Titton 2010: 133) (cited in Perthuis, 2015: 2).

Moreover, the influence of street style can be probed in many designers’ collections such as some “iconic streetwear labels” birthed in New York; “from old school legends like Supreme and ALIFE right through to contemporary visionaries like Alexander Wang, Opening Ceremony and Public School” (Leach, 2015: 3). To some degree, it is crucial to examine the fashion style and status of a city by its street style. Following the development of streetstyle blogs, the documentary and same way for presenting photos of different cities, the backdrop of cities become vague. It has noted by Berry

souce: Elissali

souce:Yesmin

(2012B:141),“the mythology of elite fashion capitals associated with their photographic representation has been tempered by the uniform representation of the city in street-style blogs.” However, an article discusses the 15 most important cities in fashion right now publishing by Highsnobiety in 2015 regarding to the “designers”, “aesthetics” and “trends that move the worlds of streetwear and high fashion” which suggests that the key trend of fashion scenes are still influenced by some certain “beloved” fashion industry in certain cities (Leach, 2015). Therefore, there is an arising question: whether the street style in these beloved fashion cities influence the street fashion in other cities? On the other words, whether the street style of a city is highly influential on its fashion status? In the same

vein, these “beloved” cities can be compared and contrasted with “top-tier” fashion capitals for investigating that how the elements of economic and culture powers influence fashion industry in a city.

souce: UK Fashion Design

souce: Redactie

3.4. FASHION WEEK AS A TOOL

ondon, Paris, New York and Milan Fashion weeks are the most well-known fashion events in the fashion industries for years. “Traditionally beginning in New York and ending in Paris, ‘fashion week’, also known as ‘the collections’, showcases the upcoming season’s prêt-à-porter clothing” (Entwistle and Rocamora, 2006: 735). The special event creates a platform for “fashion designers and couture houses to showcase their seasonal collections”; moreover, provides the chances for “agents and buyers to determine appropriate purchases” (Ling, 2012: 85). The surge in the number of fashion weeks can be seen for years. Ling (2008: 283) has noted, “in the past decade, a handful of smaller fashion weeks have been mushrooming and today there are no less than 85 cities from around the world that hold at least one fashion week”. There are many emerging or new-rise fashion capitals trying to gain a place in the fashion world by holding fashion weeks; in other words, fashion week as a gear is here to run in the process for fashioning a global city. For retailers and buyers having enough time to arrange and purchase designers’ collections into their retail stores or markets, designers’ autumn and winter collections showcase in fashion week in February and March; in the same vein, the spring and summer collections are hold in September and October. The importance of holding a proper fashion week has noted by Chiu (2015) by interviewing a fashion designer’s manager- Lawrence Chuang, city without its own fashion week, the speed of fashion designs in the city might be slower than other cities for six months. Moreover, if the city is lack of attraction for buyers, its local designers are hard to find their brands’ future possibilities. In other words, fashion weeks are the dominant platforms for designers to showcase their works. However, looking into Shanghai Fashion Week Expo’s website in 2005, European designers for instance, Basso& Brooke and Karl Kaferfeld allocated in the prominent place in the press, “which pushed aside local designers whose collections received limited attention and press coverage” (cited in Ling, 2012: 86). Therefore, the aims of governments or organisations to hold a fashion week are more complex than providing platforms for local designers. The reasons why so many cities host fashion weeks have been pointed out by Ling’s study (2012: 86-89), “…to associate a city with fashion increases its competitiveness”, “protect and promote local designers”, “in partnership with global players”, “(re)branding the city” and “driving economy and tourism” while the two basic reasons have been noted by Reamy and Arrington (2012: 71): “to support local fashion designers” and “to brand their city as a fashion destination”. Even though some difficulties for new-rise fashion capital to run a successful fashion week are still remaining, in terms of fashioning a global city, owning a fashion week is priority.

3.5. FUTURE DEVELOPMENT

fashion industry. Fashion industry is strongly bound with many different circumstances such as manufactory, technology, media and political industry; therefore, the current and emergent influences of other industries to fashion industries should not be ignored. There are two key influences for now and future global fashion industry which emerge repeatedly throughout the literature reviewed- technology and sustainability. Moreover, in this section, the attention will be drawn into the influences for future development of the London, Dubai and Taipei fashion industries individually. souce: Make a seen

ashion has changed extremely in recent years (Jeatt, 2006: 206). Moreover, there are many huge global shifts in the past 20 years which directly and indirectly influence the world fashion industries, for instance, “the oil price rising from $15 to $150 a barrel”; “a huge growth in awareness of pay and conditions in the labour supply chain; and rapid uptake of the internet and mobile telephony” (Forum for the Future, 2010: 14). Even experts cannot guarantee about the future of fashion; however, how to sustain in the future becomes the key lesson for fashion brands, fashion capitals and even the whole 34

In contemporary society, it has become clear that improving of technology has changed the mode of fashion industry. From utilisation of social medias and virtual reality to invention of wearable technologies, the connection between fashion and technology is clear. One of the best instances of genuine synergy between technology and fashion is in 2014, Angela Ahrendts, the former CEO of Burberry, join technology giant company- Apple (BBC, 2013). Gilbert (2013: 25) has noted that “outside of the very specific example of Parisian haute couture, the kinds of intimate interconnections between a strong fashion design sector and skilled craft workers that were the mark of the older fashion city formation are mission of designs and patterns and rapid global delivery systems. The next cheap 3-D ‘printing’ is likely to strengthen this change.” Technology has provided the new pages for the

fashion industry. In terms of staying on the top-tier seat, there is no brand stop its steps to develop its technology sectors. Regarding for fashioning city, the technology development should be taken into consideration at one of the primary stages. Massenet (cited in BFC, 2016A: 2) has noted that “London is the capital for fashion and technology. FASHTECH is essential to growth in our sector and it keeps well ahead of the competition”. As Malek Sultan Al Malek mentioned, chief executive of TECOM Business Parks, “Dubai's design drive followed

businesses around the globe as they wake up to a deep understanding that the adoption of truly sustainable solutions will spell the difference between success and failure in the years ahead.” However, it has never been an easy task for any industry and especially for fashion industry. The chairman of British Fashion Council, Harold Tillman CBE, has mentioned in its reportthe value of UK fashion industry (2016, 2), “…like most industries, we face short and long term challenges: including the need to … address the issues of global competition and sustainability. The key to tackling

naturally from its growth in other areas - for example, growth of its information technology and media sectors has spurred demand for designers” (Arabianbusiness, 2015). As Spears concluded (2014), “fashion may be fleeting, but technology in the fashion industry is here to stay. Brands and retailers embracing innovation and the state of the art will better be equipped to compete in an age in which technology has a profound impact on the way we manufacture, retail, and consume fashion and apparel”.

many of these is transparency - working together in a united fashion across the whole industry, alongside Government and other stakeholders.” Therefore, a top fashion capital’s guiding role in promoting a more sustainable environment is crucial. It has noted by Bumpus (2015: 1), as one of the top fashion colleges based in London, London College of Fashion’s sustainable fashion centre has worked with H&M “to launch the first nationwide Fashion Recycling Week, which will run from August 31 to September 6, 2015”.

Secondly, the understanding of sustainability has arisen for years. It has noted by The Future Laboratory’s sustainability report (2016: 4), “a radical transformation is sweeping through 35

3.5.1. FUTURE DEVELOPMENT OF THE LONDON (UK) FASHION INDUSTRY

n the one hand, London as one of the top-tier fashion capitals, the power and value of British fashion industry is abundantly clear. According to Oxford Economics (cited in BFC, 2016A: 1), “the British fashion industry contributes £28 million to the UK economy”. Moreover, the British fashion industry also drives other industries’ development. It has noted by Mintel (2016), “over £230 million worth of media value generated globally at the 2015 British Fashion Awards” (cited in BFC, 2016A: 5). Furthermore, in 2009 it also supported approximately 816,000 jobs. “This economic activity generated over £16 billion directly in taxation to government resources. If the wider indirect effects are taken into account, the Exchequer gained £17.5bn each from the British fashion sector” (BFC, 2016B). On the other hand, London as one of the most popular cities for tourism, it welcomed 17.4 million visitors in 2014 while 16.8 million visits rendering in 2013. Moreover, “in 2014 visitors boosted London’s economy by £11.8 billion compared to £11.5 billion in 2013, an increase of 3%” (Clement, 2015: 1). According to a fashion editor, Dacre (2011: 1), not like Paris and Milan former “has long been considered the style capital of the world while the latter has “associated with the most extreme articulation of luxury”, London “struggled to define its place on the fashion map” for years. However, 36

“today, while nurturing the McQueens and McCartneys of tomorrow remains a focus for the British Fashion Council, London has found another draw, one that has been staring it in the face: beautiful clothes that wait for it - actually sell” (Dacre, 2011). It has noted by BFC (2015: 2), there are 238 designers who are supported by “BFC Initiatives” and Sarah Mower, American VOUGE (cited in BFC, 2016A: 3), “if anything defines London, it is the chance its education system gives new designers from all over the world to get a foothold.” On the future aspect, the most recent and influential issue might be Brexit which makes the unpredictable future world even vaguer. As Amed asserts (2016: 2), “the questions now being asked are not 'if' but 'when' and 'how' an actual Brexit will happen.” After the news had release, the devalued British pound has benefited some British luxury brands. It has noted by Mallevays (2016: 3), “Burberry was one of the only luxury stocks to benefit from Brexit as the impact of a devalued British Pound on sales growth outweighed the potential increase in costs from its Euro-based suppliers.” Moreover, the short term benefit also can be found in the large number of tourists in London. “Searches by Chinese for UK holidays “skyrocketed” on Ctrip.com International Ltd.’s travel booking app, the company said, while Chinese news site Phoenix implored visitors to London to “Buy, Buy, Buy”” (cited in Bloomerg, 2016: 1). However, for long term consideration, UK not only might lose “hundreds of millions of euros in European Union funding if the UK exits the EU” (Abnett, 2016: 1) but also “a Brexit would be bad for the fashion industry — not only here in the UK, where fashion contributed an estimated £26 billion ($38 billion) to the UK economy in 2014, but across the world” (BOF team, 2016: 3). Some of the impacts can be seen in the first stage while some remain to be seen; however, Brexit is an irreversible thing for not only UK to solved but also the world to face together.

souce: BETHANY CLARKE

3.5.2. FUTURE DEVELOPMENT OF THE DUBAI (UAE) FASHION INDUSTRY

omparing with the fashion industry in London, the Dubai fashion industry is relative new. However, Dubai has built up its status a s a f a s h i o n r e t a i l s hu b by the strong purchasing power in Dubai as well as growth of tourism in the city. Moreover, Dubai is the leader of MENA (Middle East and North Africa) region for developing its fashion and design industry. It has noted by Nagraj (2013), the UAE particularly has been very proactive in the fashion industry, establishing the new Dubai Design and Fashion Council in 2013 before announcing Dubaiâ&#x20AC;&#x2122;s plans to become a global fashion hub by 2021. Therefore, even though the value of the Dubai fashion industry still remains to be seen, the forecast of it is always positive. In 2015, the Dubai Design and Fashion Council (DDFC) has published t h e MENA Design Outlook report which a i m t o â&#x20AC;&#x153; m a k e D u b a i

a design hub rivalling London, Paris, and Milan, but also taking on the communications design hubs of San Francisco and Seattle” (Kane, 2015: 1). The report shows the MENA “region is estimated to account for 5.4% of the global fashion retail industry in 2013. The UAE, positioning itself as a global and regional fashion retail hub leads the region with a majority 28.3% share of MENA apparel revenues, followed more distantly by Saudi Arabia in second with 16.8%.... The significant size of other countries’ share of apparel revenues illustrates the market opportunity that is prevalent for the fashion industry across the region” (Deloitte and The Future Laboratory, 2015: 117). Similar to BFC, has always be the pioneer for developing the British fashion industry, supported by Government- DDFC plays the essential role in the whole process for developing its fashion industry. “The mandate of the Council is to oversee the design and fashion industry, nurturing local talent by creating a sustainable industry for every segment within the design and fashion sector” (DDFC, 2016). Nurturing talent is one of the key themes for the future of fashion in Dubai since “fashion design and production has been low in the MENA region relative to mature markets” (Deloitte and TFL, 2015: 120). Moreover, DDFC aims to provide more platforms for designers to showcase their collections for instance “Arab Fashion Week and Middle East Fashion Week as well as Fashion Forward (Dubai based fashion events for regional designers), Vogue Fashion Dubai Experience and the Dubai Islamic Fashion Week, dedicated to Islamic and modest fashion”. These events might not mature enough to capture the whole fashion world’s attention; however, the “proliferation of events has been seen as a positive sign for the future of fashion design in the region, as Arab d e s i g n e r s h ave u s e d these events as a p r e c u r s o r for international l a u n c h e s ” (Deloitte and TFL, 2015: 121).

39 souce: Researcherowned imag

3.5.3. FUTURE DEVELOPMENT OF THE TAIPEI (TAIWAN) FASHION INDUSTRY

souce: Xinhua

t is hard to define the Taipei fashion industry since its still immature, comparing with other fashion industries in Taipei’s neighbour cities such as Tokyo, Seoul, Shanghai and Hong Kong, the Taipei fashion industry is sadly in an inferior place. It has noted by Chiu (2015) and Wang (2015), the former asserts that the whole fashion industry in Taiwan is not integrated yet. In this circumstance, a proper fashion week cannot be conducted. The latter also noted that instead of fashion week there is event called Taipei In Style (TIS) which has hold twice a year. However, TIS is not a proper fashion week and is lack of public and international awareness. In fact, Taipei owns the potential for growing its fashion industry for instance its purchasing power in the city. According to JLL (2016), Taipei is the top 10 city for Global cross border luxury retailer attractiveness. Moreover, a department store in Taipei called Breeze Centre, there approximately £30 millions of profit are created in one day of Breeze VIP night (Chiu, 2015). However, it might only be the scene of niche market in certain places in Taipei city such as Xinyi District. On the mass market aspect, “Taiwanese shoppers with an eye for affordable foreign fashion have found plenty to get excited about in recent years” (Chung, 2012: 1). There are hundreds of fast fashion stores blooming in Taiwan in recent years for instance, UNIQLO’s first flagship store has located in Taipei in 2010; the first store of ZARA opened in 2011 and H&M also on the trend. On the one hand it is positive scene for international fashion brands starting notice new market in Taiwan; in some degree, the awareness of Taiwan in the world is increasing. On the other hand, the local designers are even harder to be noticed or purchased by local citizens. It has noted by Wu- the Taiwan-based company behind the famous Shiatzy Chen label (Cited in Chung, 2012:2), “The fierce competiveness of those brands comes from their ability to launch medium-priced products at a high frequency. And they reduce costs by purchasing materials in large amounts from global suppliers. That means local designers have to develop highly distinctive name brands to survive.”

Chapter 4.

4.1 Over all methodological approach p.44 4.1.1 Explorative p.44 4.2. Data collection sources p.46 4.2.1. Semi-structure interview p.46 4.2.2. Observation p.47 4.2.3. Time Horizon p.48 4.2.4. Design of interview p.48 4.2.5. Design of observation p.49 4.3. Data analysis p.49 4.3.1. Interview- Content analysis p.50 4.3.2. Observational analysis p.50 4.4. Concerns p.51 4.5. Ethical considerations p.53 42

f t e r a n a l y s i n g a d ive r s e range of literature, from the findings an understanding of the connection of culture and commerce driving the position of fashion in a city can be gained. However, the most of the studies is mainly focus on the ‘past’ and seldom to use the scope of ‘future’ to determine fashion capitals; in addition, there is no clear research addressing on an up-todate analysis both of top-tier fashion capital and emergent fashion capital. In this dissertation, London, Dubai and Taipei are the cases to be conducted to investigate the elements for fashioning a global city; moreover, this study focus on the gap by exploring the insight of these cities deserving of study. Top-Tier fashion capitals are generally known as Paris, London, Milan, New York and Tokyo while each city owns different background while establishing its fashion status. Choosing London as the case since it as one of toptier fashion capitals for decades; moreover, it attracted many researchers to investigate its fashion status in the world. On the other hand, Dubai as a fashion capital is still uncertain, however, Dubai as an emerging

fashion capital is an undoubted truth. This notion can be supported by one of the article publishing on Business of Fashion website, Can Dubai Really Become a Global Fashion Capital? (Amed, 2105). Even though it might lead difficulties to generate a more complex theory while only studying these cases, there are several sub-cases within each case; therefore, a convincing in-depth research still can be provided. From the findings conclusions can be drawn into an innovative element for fashioning Taipei city which owns the possibilities to shine its fashion industry. This chapter gives a clear outline of how this study was conducted and why the chosen methodology was used; moreover, the overlook of the chapter is illustrated in Figure.4.1.

Figure 4.1. Overlook of the chapter 4- Methodology

were collected from both sources; interview, observation which can be supported by Mackenzie and Knipe (2006), the philosophical approach of “pragmatism is aligned with qualitative and/or quantitative research” which might include “tools from both positivist a n d i n t e r p r e t iv i s t p a ra d i g m s . E g Interviews, observations and testing and experiments” (Mackenzie and Knipe, 4.1. OVERALL METHODOLOGICAL APPROACH 2006: 6-7).

his research adopts pragmatism as a philosophy, which can be traced into Peirce’s ‘pragmatic maxim’- for analysing the meaning of a concept: “Consider what effects, that might conceivably have practical bearing, we conceive the object of our conception to have. Then our conception of these effects is the whole of our conception of the object” (Peirce, 1960) (cited in Putnam, 1995: 291). Furthermore, pragmatism providing the meaning of knowledge as a coping strategy for accomplishing human ends; in addition, the truth of pragmatism as “consists in successful coherence with experience” (Collins, 2016: 1). Since “the pragmatic paradigm places the research problem as dominant and applies all approaches to understanding the problem” (Creswell, 2003: 11) (cited in Mackenzie and Knipe, 2006: 3). In this research, case study approach was used to interpret as a pragmatic research methodology which used spaciously in multimethods qualitative research since the case study approach is “ideal when a ‘how’ or ‘why’ question is being asked about a contemporary set of events over which the researcher has no control” (Gray, 2013: 267). Moreover, all the data of the research 44

Acco rd i n g t o D ew ey ( 2 0 0 9 ) , “Pragmatism points to the importance of joining beliefs and actions in a process of inquiry that underlies any search for knowledge, including the specialised activity that we refer to as research” (John Dewey, 2009) (cited in Morgan, 2014: 24). This is crucial element of the principle, because it highlights the situation surrounding the environment that this research investigated. Therefore, it is appropriate to use this philosophy i n o rd e r t o e x a m i n e t h e c u r r e n t phenomenon of fashion capitals and fulfil the shortage of fashion system in Taipei city by analysing information which from people’s experience of the current situation in the city they based in.

4.1.1. EXPLORATIVE

Figure 4.2. The inductive –deductive research cycle of multi methods qualitative theory development Source: Adapted from Teddlie and Tashakkori (2009).

uilding theory from case study research is especially appropriate when the study is in a relatively new area, or when there is demand to infuse fresh perspectives into an already well known research topic (Eisenhardt, 1989). “Hypothesis or questions should be linked, where possible, with previous research; therefore, the first stage of the case study process is usually a thorough literature review to discover what past research has been done” (Dooley,2002) (cited in Gray, 2014). Therefore, an extensive literature review was done in the first stage. There is no doubt that the decisions for what and where to observe; who and what to ask are influenced by previous studies. However, there are needs of flexibility while conducting a case study research which might lead the theory into new area, “the theoretical framework that is adopted at the beginning of a study may not be the one that survives to the end” (Hartley,1994) (cited in Gray, 2014).

In spite of focusing on either inductive or deductive research processes while conducting a mono method research, the inductive-deductive research cycle is designed in this study as a multi methods qualitative research. For this research, it can be deduced from secondary research about theory of street fashion and fashion capitals. On the other hand, the qualitative findings from interviews can used to induce theories regarding how these elements(economic and culture power) may influence cities’ fashion status; moreover, establishing a fashion capital pattern in a specific city (see Figure 4.2).

4.2. DATA COLLECTION SOURCES

“there are many qualitative methods which are developed to have an in depth and extensive understanding of the issues by means of their textual interpretation, the most common types are interviewing and observation” (Creswell, 2007). This research is aimed to deliver a new idea for fashioning a global city which bases on a relative new area; therefore, a semi-structure interview and observation were designed in the primary research process.

souce: Gathua

he demands for answering the research question, Taipei as a future fashion capital? by analysing the fashion system of London and Dubai, a multi-methods qualitative wa s c h o s e n t o b e u t i l i s e d i n t h e volume since the benefit and features of qualitative methods. According to Corbin (2008) and Crewel (2007), “qualitative research methodology is considered to be suitable when the researcher or the investigator either investigates new field of study or intends to ascertain and theorise prominent issues” (cited in Pharm, 2014: 87-88). Moreover, even though 46

4.2.1. SEMI-STRUCTURE INTERVIEW

n this research, there were two levels for sampling- of cases (that is, three different cities) and then of participants ( t h at i s , f o u r d i s t i n c t c h a ra c t e rs ) . Moreover, the participants of four different characters are organisation operators, designers, students and consumers which illustrates in figure 4.3. The reasons for

choosing these four different types of interviewees are: the diversity of ideas giving from different people with different background is crucial which allows a more comprehensive conclusion to be drawn on. The researcher got in touch these interviewees through many different sources; official email address of organisations, friends’ introduction and internet surfing. After accessing to the interviewees, semi-structure interviewing was conducted in this research since the flexibility in it. By doing so, there are three different kinds of interview guides

are provided since the three different countries needed. Even though the specific topic to be covered, using semi-structured interview allows the interviewee holds a plenty of rooms in “how to reply” (Bryman, 2013: 471).

4.2.2. OBSERVATION

bservational research as the second method in the study which consists of performing observations to certain places in London. According to Gray (2013), observation is a qualitative research method “which not only included participant's observation, but also covered ethnography and research work in the field. In the observational research design, multiple study sites are involved. Observational data can be integrated as auxiliary or confirmatory research”. In this project,

observation was personal allowing the researchers to spend long hours monitoring the pedestrians present around three concept stores in London: LN-CC, GoodHood and Egg. These concept stores perfectly illustrate the owner’s aesthetic view, according to Imran Amed (cited in Post L.V.D., 2016: 2), concept stores “should be created in the image of a single highly itinerant, very driven, very passionate owner with a highly attuned, very individual aesthetic”. Therefore, observational research was mainly focus on the consumers who entered these stores while how they dress was the most important theme to be discovered. The findings from these three main areas may not represent the large scope of London’s street style; however, concept stores are seen as inextricably ’sustainability’, ‘trendy’ and ‘future’ oriented which is exactly what the dissertation aims to find out.

Figure 4.3. Samples of participants (Interview)

souce: LCF

4.2.3. TIME HORIZON

As the project was undertaken within a limited time frame, a high level of validity within the methodology was not ensure. Due to this restriction, the cross-sectional study was the best choice for this research. This involves studying ‘a particular phenomenon at a particular time’ (Saunders et al, 2012: 190), which allowed the researcher to make sure that all the data collecting is the most current. However, because of the restriction of the project limits the researcher to not be able to gain more participants for interview and survey. Although analysing a greater data would allow the research to draw out a more trust-worthy conclusion, it is difficult to access a larger sample within the time frame. However, having a narrow focus on each participant’s viewpoint can be extremely beneficial which gave the researcher a precise area to focus on and really engage with the information provided. Moreover, this particular time of study is beneficial for Taipei city since the new president just inaugurated and many changes are expected to happen in Taipei.

4.2.4. DESIGN OF INTERVIEW

he following themes are asked at some point of each of the interviews. According to the different background of each interviewee, a flexible order was processing while interviews. Even though each theme can be probed by different specific questions, the key themes remained stable to ensure the credibility of this research. * Fashion style of the city (which you based in). * Current fashion environment of the city. * Shopping experiences in different cities. * The development of the fashion industry of the city in the future. * Challenges and advantages as a fashion worker in the city you based. * Future expectation for the fashion industry of the city.

4.3. DATA ANALYSIS

D u e t o t h e c h o s e n r e s e a rc h m e t h o d s a n d accessibility of the resources, the secondary data will be collected and analysed. The main sources of secondary data will be: academic books, journal articles, news press, internet websites, newspapers and databases. Some of them are already used in this proposal (see Reference). The analysis will occur during the collection of data as well as after it. This analysis will help to shape the direction of data collection, especially where a more inductive approach is following (Saunders 2007: 484). The research will include theory search and analyse, comparison of the data and searching for the evidences of theory in the real situation of the London and Dubai fashion industry.

4.2.5. DESIGN OF OBSERVATION

The observational research was conducted with the observation form (see Appendix 1) which providing a complete detail of the name and location of the store, the day and time when the research was practiced. This observation was practiced for three days: two days of weekday and one day of weekend; moreover, for gaining a more trustworthy result, the researcher visited these three places on the same time of days. Furthermore, the observation form was sorted in Appendix1. 49

4.3.1. INTERVIEW ANALYSIS

By doing so, the information of transcripts and documents was sorted by words or phrases into the correct node that fits. Data collected in this way will highlight patterns and once organised are called themes (Flynn and Foster, 2009). Kumar (2014) supports with this definition and states that identifying themes is one of the main strategies of analysing qualitative data. This method of analysis can be coined thematic analysis since according to Flynn and Foster (2009) that includes coding, categorising, and sorting words, which is the process of this research. After the similar themes are created through the body of information, the elements for fashioning a global

souce: Dreams travel

programme called NVIVO is used to help identify the categories within the transcript. NVIVO is designed to organise, analyse and investigates insights in unstructured, or qualitative date (Qrinternational, 2015). Considering the limitation of time, NVIVO not only allows the data analysis to be less time consuming but also increases the level of reliability. It enables the extensive research that had been gathered to be manageable and aid an engaging analysis. Through NVIVO, the transcripts and documents are uploaded, moreover, the list of key themes which have been discussed in literature review are inputted as nodes. 50

city will be classified. The concepts are supported by the variety of resources which are categorised in different themes; therefore, the proposition can be provided. It could be bound together with pragmatic philosophy since the result can be utilised as the critical path for fashioning the target city- Taipei.

4.3.2. OBSERVATIONAL ANALYSIS

fter utilising the observation form to collect information directly from each sites, the information was analysed. By examining the pedestriansâ&#x20AC;&#x2122; outfits and styles who were surrounding these stores, a general idea of London street style can be gained. Moreover, choosing three different locations can benefit the finding by comparing and contrasting the data collecting from different places. Therefore, the analysis of each place was individually

presented in the first stage which can be seen in appendix 1; furthermore, a summary of all the samples around each area were written in the project. The findings from London city observation were compared and contrasted with the secondary research of street style in London. Analysing whether the top-tier fashion capital influences other cities; moreover, the style of a city should take into consideration for fashioning a city will be discussed.

4.4. CONCERNS

ne of the main concerns is that the right number of participants since the difficulties to access as much as people for interviewing while the limited time; therefore, the scope of research might not sufficiently broad to allow the researcher to draw out the conclusion. Furthermore, the dissertation determines three different cities which all locate in different time zones; thus, the face-to-face interview is impossible to access to every participant while some discussions are conducted by email. However, limitation of email is that it cannot be depth since it might be difficult to probe more deeply into what people say. Additionally, a concern might raise to make the participants relaxed and talkative in order to gain relevant insights. The researcher is unexperienced in conducting interviews in English; hence, possible mistakes might be the research does not ask the right questions to draw a connection to what needed for the project. 51

souce: YSL

4.5. ETHICAL CONSIDERATIONS

â&#x20AC;&#x153;

Ethical issues cannot be ignored, as they relate directly to the integrity of a piece of research and of the disciplines that are involved" (Bryman, 2013: 130). Therefore, it is important to maintain the participantsâ&#x20AC;&#x2122; rights, it is to protect the researcher from any harm (Flynn and Foster, 2009). Therefore, in order to have both parties at the same base, a consent form is signed (see appendix 2). The form contains an explanation of the study and the course of action the researcher takes and informs that the interview is recorded; in addition, on the title of the interview guide also describes the purpose of the research and the rights of the participants. The consent form states how received information are handled and leaves the participants the option to choose to receive a transcript after the researcher typing. The interviewee also is informed that he/she can withdraw from the study any time without judgement and decline answering questions. Each party keeps one of the forms that are signed by both involved. The safety of the researcher is handled through the study design, as explained earlier. Furthermore, safe ways of traveling are chosen like public transport and the interviews are conducted only during the daytime. The safety of the participant is not endangered through the study as no exercises or dangerous situations are involved. Collected data are handled carefully. They are only processed on one password protected PC. Further are these data not given to a third person or organisation on purpose. The researcher handles all information responsibly and in a way that brings no harm to the participants. The researcher is sensitive to the view point of the participants and since the interpretation is made by the researcher who ensures that misinterpretations are avoided and if necessary additional information will be sought. In the final work all participants are anonymised and only categorised them by their occupation; therefore, keep them not identifiable. After the project received its final mark all data are destroyed. The participants are offered to receive a copy of the final work if desired.

Chapter 5.

or the results of interview, there are total 9 participants for interview. Fo r t h e e t h i c a l c o n c e r n , t h e participants’ role will be mentioned in the discussion part for instance London consumer A, London fashion student K instead of mentioning their real name. Unfortunately, due to the regulations of British Fashion Council, they do not involve any student’s research, the researcher was unable to access anyone of them. However, the report of "Future of fashion strategic considerations for growth" has published by BFC in 2012(see Appendix 3) which is exactly relating to the research needs. Even though it might not be the latest vision, there are many useful information allowing the researcher to answer the research question. Therefore, the total volume is including 9 transcripts and 1 report, which had been imported to NVIVO for analysing.

words; hence, the interpretation of the content by more than three times reading. Therefore, there are three levels for the Nodes which is illustrated in Figure 5.1. City as a container is the main topic of the research. In addition, there are 6 categories which were mainly mentioned by the interviewees and report, which are commerce, culture and style, workers, education, government and shopping. Among all the categories, the commerce, workers and shopping were divided into several different sub-categories for providing better understanding of these key themes. These key themes will be examined in detail in the main discussion section.

First of all, there several categories (Nodes) were created through simply reading transcripts and report from time to times. Secondly, the researcher closely read through all the contents, if the contents directly relate to the Nodes, the contents will be pulled into the Nodes as quotes. In terms of the regulation of quotes, the researcher used the function of NVIVO called ‘Text Search Query’ for the key

Figure 5.1: The key themes (Nodes) of the findings.

Figure 5.2: The number of references in each key theme. 56

he figure 5.2 displays the correlation of the evidence for how many quotes referred to each key theme, which provides a general analysis to the amount of transcripts and report that provide a reference under the themes coding in NVIVO. There are 3 sources and 12 references in commerce sectors; moreover, under the commerce sector there are 3 sources and 7 references in International Companies section and 2 sources and 3 references in tourism section. In term of the theme of culture & style there 8 sources and 21 references are quoted in while 3 sources and 12 references in education section. Moreover, the two of the biggest sections are Shopping and Workers environment, there are 5 subcategories for the former which are atmosphere (3 sources and 8 references), consumersâ&#x20AC;&#x2122; needs (6 sources and 9 references), convenience (5 sources and 6 references), Diversity of choices (4 sources and 5 references) and location (5 sources and 7 references) while the platform (5 sources and 19 references) and supports (5 sources and 17 references) for the latter. Among all the sectors, shopping, workers and culture & style are the top three covering most references.

commonly matched as bottom. Loose pants can be seen on some pedestrians while skinny and fit jeans and trousers are the main. For the surrounding area of Good Hood, there two different main types of features for men which are outfit for office workers and outfits for non-office workers. For office workers, shirts as top and jeans or fit trousers as bottom with leather shoes or trainers. For non-office workers, white T-shirt with simple pattern as top and Jeans (mainly light colour) as bottom with canvas shoes and caps.

In terms of the finding of observation (the observation form can be seen in Appendix 1), there are several key features which have been found in these chosen areas- surrounding EGG, LN-CC and Good Hood stores for instance bicycle, trench coat (summer collections), tote, white T-shirt, Moccasin/ leather shoes and colourful socks. The concept store of EGG is nearby Oxford Street which is the main shopping area for tourists and local citizens, it is hard to pick up the key features in the area. However, moccasin shoes and loafer shoes have been seen for times with fashionable persons. The days for observations are in Summer, therefore, the street style are mainly spring and summer outfits. The finding of observation surrounding LN-CC, white T-shirt is the most common outfit for male pedestrians. The black trousers and Jeans are 57

Chapter 6.

a DISCUSSION

Through the secondary research, observations and interviews the key themes for developing fashion industry in a city can be discussed with seven sections, which have developed from finding. These sections are Come to this region, consumers prefer shopping destinations, Culture & Style, Education, Government, Workers and Future development. Moreover, the results of observation will be discussed in the Culture & Style section for providing a more comprehensive scene. Using some imagination, this discussion section symbolises a recipe for making the final “meal”- fashion capital while city is a container and the key themes are the ingredient.

Come to this region In this section, the argument is that international companies and tourism are attracted by fashion capitals, which are also the elements for developing a fashion city.

International companies

hrough the understanding which gained from the literature review, the presence of international brands in a city can indicate and evaluate the market opportunity with different aspects, “such as strength of the domestic retail market, quality of retail space or overall market size” (Burnet and Martinus, 2016). In Dubai, there are many international co m p a n i e s ’ h e a d q u a r t e rs which have been set up in Dubai Design District (D3). According to Dubai director of strategy M, “I think the Middle East particularly Dubai is being consider as a hub by international companies

souce: LVMH

especially from Europe for a long time. Some of the companies they are actually part of D3, they locate their office from other free zones to here in Dubai. So some of those they are already present in the Middle East. I would say that for big companies the Middle East presented create opportunity because some of the clients are already based here. You know like Chanel, their buyer, clients are from the region. Many their clients are from the region.” In this circumstance,

the fashion industry in Dubai can work a l o n gs i d e t h e mainstreams. So does British Fashion Council ( B FC ) a s s e r t s i n t h e report, “the sector and government should work hand in hand to attract investment and partners for British fashion businesses”. How to attract investment and partners come to Taipei becomes one of the most urgent task for it. Even though there are certain level of difficulties for the small and medium size of company entering Dubai market, the main argument is that these international companies are ‘willing to enter’ Dubai market. I n c o n t ra s t, l o o k i n g into the Taipei fashion

souce: LVMH (1)

industry, even though the luxury goods purchasing power in Taipei is in the rank of luxury retailer attractiveness index 2016 top 10 cities (JLL, 2016), the distance for international companies entering Taipei city still remains. Based on Consumer O in Taipei, “I feel that Seoul (Korean) culture is not only popular in Asia but also the world. Moreover, there are many luxury brands cooperating with Korean culture. So I think Korea is already there but Taiwan (Taipei) is not.” It noted by a case of investment, “Louis Vuitton is getting into the K-Pop business. The world's largest luxury brand's private equity arm,

LVMH, announced it will invest up to $80 million in South Korea's YG Entertainment Inc., the record label and talent agency behind some of the genre's largest acts” (Stutz, 2014). The win-win situation can be seen in Seoul, international big companies invest local companies in the region. In Korea, entertainment, technology and fashion industries are banded together which is the shortage of the industries in Taipei. 59

s Tourism

o u r i s m h a s included in the commerce section as it in the literature review. According to Law (1993) and C.M. Hall (2000), “tourism is increasingly being viewed by many national and local governments as a mechanism to aid the regeneration of the ailing economies of industrial cities” (cited in Page and Hall, 2003: 194). In the fashion sector, developing city as a popular shopping destination which is not only step toward successful for emergent fashion capital but also the crucial task for top-tier fashion capitals. According to the only report that BFC’s suggestion for British Government, “the easing of tourist visas will assist the UK in competing with other international shopping 60

destinations.” In some degree, a market size of fashion in a city also can be increased by a growing number of tourists. Dubai is the best example for this situation, Dubai has established a great number of tourists every year by its giant shopping malls. Dubai director of strategy M mentioned that “in 2015, the Dubai mall attract 750 million tourists.” Moreover, it is anticipated that a huge throng 04 will travel to the Middle East in the upcoming events2020 Dubai World’s Fair and 2022 FIFA World Cup in Qatar. In the same vein, almost every city in the world is engaging to host international events for instance Olympic game, World Cup, World’s Fair and Fashion Weeks. On the one hand, Taipei is rarely considered as the destination for hosting these big events. Even though the international event is not the only way for promoting

a city, it is the fastest way allowing people to come to the city and get to know it. On the other hand, Taipei is still not well-known enough comparing with Dubai and London since many worldclass buildings for the former such as Burj Khalifa, Dubai Mall and Burj Al Arab tower while the latter is already one of the world-class capitals. Therefore, the argument will be draw on that the more people know about Taipei city and come into the region, the more chances for emergent local designers to be noticed.

souce: 01.2.4.5.6.8: The researcher-owned photos 03: Agendac 07: Aspyn Ovard

d Consumers prefer shopping destination

souce: VOGUE UK

ooking into the shopping destinations closely in cities, there are many fashion hubs in both city- Dubai and London. A l t h o u g h t h e s e ve ra l w e l l known fashion hubs in Dubai are mainly located indoor such as malls and outlets because of the hot weather in Dubai, there are more new ‘faces’ of Dubai city which might attract more people visit this city in the nearly future for instance outdoor shopping hotspots, Dubai City Walk and Dubai Box Park. On the other hand, it is noticeable that the similar answers got from London consumer L, V and A. For them, Brick Lane, Oxford Circus and Covent Garden Market are the main places to purchase fashion goods. Similarly, from the Taipei consumer C and O’s answer, Eastern, Xinyi and Zhongshan District were the only places have mentioned. Surprisingly, even though different people has different preferences, the similar answers can be found from interviews. Therefore, the reasons why these locations are popular for consumers should be found out. There are three themes presenting the consumers’ shopping preference environment. First of all, a popular shopping d e s t i n a t i o n s h o u l d b e c o nve n i e n t f o r consumers. Base on London consumer L, “stores in London are main gathered in one place. For example, there are more second hand, Vintage and local designers' collection in Brick Lane. On the other hand, in terms of luxury brands and mass market brands we can see in city centre such as Oxford Circus.” It is noted by London consumer V and A, V: “I feel that there are many brands and shops in London. Even though there is only one main street (Oxford Street), it is long enough for same brands to locate in few blocks distance which is quite convenient for shopper. More choices, quick convenient. Moreover, we can see both luxury and fast fashion brands on the street which can fulfil different people's needs.” London consumer A also mentioned 63

d Consumers prefer shopping destination that “I prefer London since it is much easier for shopper. I can walk to any shops I want to go.” Because the density of shops in London provides a pedestrianfriendly environment for shoppers. Comparing with London, the shopping environment in Taipei still remains to be improved. The interview data from Taipei consumer C demonstrates that “if compare with other cities, the density of shops in Taipei is not really high. There are too much cars in Taipei shopping areas and is lack of pedestrian lanes. However, many pedestrian lanes can be seen in shopping areas of London and Shanghai.” Undoubtedly, urban renewal might be hard to conducted in Taipei since the complexity of policy and residents’ viewpoints. However, it is still possible to build up a consumerfriendly shopping environment in Taipei by emphasising the function of public transportations and constructing more pedestrian lanes in key shopping areas. Secondly, providing a diversity of choices for consumers might attract people to keep coming back for shopping. London as a fashion capital, many international brands and designers’ labels can be found in this city. The interview data from London consumer A indicates that “London is more international since there are many different people from different countries and there are many different international brands which you cannot see in Taipei.” By understanding why people chose purchasing in London, London consumer V also expressed that “I think that it is because the diversity of choices. Even though the most of stuffs I can buy online, I still prefer to purchase clothes in physical stores because I can try them on.” Moreover, London consumer L also referred to the reason why he keeps shopping in London because “there are many sample sales in London so I can get something good with

good price.” Surely, there not much designers’ labels present in Taipei city which can understood from Taipei consumer O ’s i n t e r v i e w . S h e mentioned that “there are many select shops in Taipei but not much direct-sale stores. In select shops, buyers normally only choose few pieces f r o m d e s i g n e r ’s works. However, as a shopper I would like to explore the designers' collection a little bit deeper. I feel that the choices in Taipei is definitely too less.” L a s t l y, t h e atmosphere in a shopping area can influence consumers’

viewpoints of the city. From interviewees’ responses, London illustrates a positive image for fashion purchasers. According to London consumer L, “I will think that there is certain quality of the brands and the price would not be too low”; furthermore, it might influence his shopping behaviour- “… a little bit positive image of the brands. If you say this item which is London based brand, somehow people will think it is better.” In London, people on the street dress well and fashionable which might arise the shoppers’ desire to ‘buy something’. The interview data from the London consumer V illustrates that “I think London is very suitable for shopping since there are many fashionable

pedestrians who you can find on the street. So this environment will inspire your shopping desire.” It is noted by consumer A, she explained that “there are many people in London so I will like to observe how other people dress on the street. Furthermore, I will think about whether the item is suitable for me or not. It is like the concept of inspiration… moreover, you might think how can I did not get something w h e n a l m o s t eve r y o n e gets shopping bags. And the street style is what I like. Compare with Taipei, there more people's outfits in London streets can surprise me and boost my shopping desire.” From these consumers’ point of

views, the hypothesis can be set up bravely that a successful shopping destination should arise the consumers’ desire for shopping. London represents talented designers, innovated designs and certain quality of goods; moreover, the fashion hubs in London provide a convenient shopping environment with a diversity o f c h o i ce s a n d w o n d e r f u l atmosphere. Therefore, the next section will discuss that how culture and style of a city important for developing a fashion capital.

souce: 01. JAK PHILLIPS 02. THE WONDER JOURNAL 03. Free Travel wallpapers 04. Wang.N. (1) 05. Wang.N. (2) 06. Matthew Cheetham 06

souce: THREE HUNDRED AND SIXTY-SIX

Culture & Style

h e hy p o t h e s i s of culture environment for fashioning a global city can be made from the interview data; the diversity and freedom in culture aspect can determine the possibility to create something new. The interview data from London based fashion student K indicates that “the inclusiveness in the different art cultures is important for fashioning a global city.” From his learning experience in Central Saint Martin which allows him to ‘be himself ’. He mentioned that “if I only talk about CSM, nobody will judge your outfit here and you can do whatever you want such as you can wear garbage bags, pyjamas or high-heels every day. I think it is very important to do whatever you want. From your outfits, works to even your thinking since teachers here are more 66

engage to give you advices rather than saying 'no' or 'you have to do this'. There are more possibilities for creating something new.” In the same vein, London designer D also asserts that “I think London more creative, push the boundaries a little bit more. I prefer London because this environment is very free and I think in the London fashion sense, people are ve r y o p e n t o w h a t n e w fashion is. Every season you can do whatever you want.” O bv i o u s l y, t h e L o n d o n fashion industry provides enough rooms for designers and fashion workers to showcase ‘what they want to do’, which is why London owns unbreakable talented designers as backing. On the other hand, even though Dubai is known as a Muslim culture city, the Dubai based designers still have their space to create their preferred designs and not to be labelled as Muslim fashion designers. According to Dubai director of strategy M, “we identified this things Muslim is also mentioned as Islamic or conservative fashion but

some of the designers themselves they don't want to be label like that. So we move away from this categorisation especially in Dubai.” However, in Taipei, customers and the whole industry might not be open to something new which made by local designers. There is little freedom f o r Ta i w a n e s e f a s h i o n designers to be innovated and creative. It is supported by fashion student K, “Fashion 'trend' seems too important for Taiwanese. Shortly, the majority of aesthetics will judge the rest of aesthetics. In some degree, the rest of aesthetics can be disappeared.” Unfortunately, this also can be found in the Taipei street style. Top three fashion capitals, London, Paris, New York street styles are the textbooks for fashionistas in the world to study and follow. Best fashion shows can be seen in these cities every day; moreover, they are ‘tagged’ in magazines, academic texts, exhibitions, blogs and popular speeches. G e n e r a l l y, L o n d o n illustrates a classic style in

souce: Hyphy Hip

souce: Dagworthy, Wendy

I would say that London is a city with diversity. You can see the classic England style such as suits with Oxford shoes for men and modern coats or trench coats with high heels and leather bags for women.

fashion sense The interview data from consumer A reveals that “I would say that London is a city with diversity. You can see the classic England style such as suits with Oxford shoes for men and modern coats or trench coats with high heels and leather bags for women.” It is noted by the finding of observation, even though in the spring and summer season, trench coats still can be seen on the street. Therefore, for fashioning a capital, its fashion ‘style’ should be strengthened. Dubai is considered as a city without style; however, its fashion style has presented in the region beautifully. According to director M, “we have to go back to the tradition and to see what is going on in this region. So, there is a strong demand for unique pieces and collections.

Because these ladies mostly are like royalty so lady within the local society they have to attend a lot of weddings…. I would say that the features of Dubai fashion or Middle East fashion is very feminine with a lot of embroideries.” However, there is no ‘Taiwanese fashion style’ can be distinguish for the world yet since Japan and Korea cultures and styles deeply influence Taiwanese for decades. It is noted by almost every interviewee who have been to Taipei. Base on fashion student K’s viewpoint, “I feel that Taiwanese is too follow 'Fashion trend'. They think the newest is the best such as fast fashion. From food to outfits, we are always chasing the trend. Moreover, Korean and Japanese cultures (especially Korean culture) are very influential for Taiwanese. I kind of feel that everyone looks the same in Taiwan. In some degree, it shows that the majority of Taiwanese (of course not everyone) are lack of their own opinion.” U n d o u b t e d l y, Ta iwa n e s e are crazy about fast fashion which restricts they dress out their own style. There is no ‘Taiwanese fashion style’ for consumer V and L, since “the situation is really like that you might see almost everyone wears one item on the street no matter old or young people when the item

is on trend. You will feel kind of they are wearing the same outfits. Too follow the trend I think.” Even though there are more and more people in Taipei who are more open-minded for new fashion, it hard to see their own styles and tastes. As consumer L’s opinion, “it is more like following someone maybe actor or fashion blogger rather than taking them as inspiration and create their own style. Korean is the successful example for this I think. They take other styles as inspiration but you can distinguish it is Korean style for sure.” Fr o m t h e f i n d i n g of observation, there are three key street style features which illustrated in the following pages. The researcher collected the findings while observing London street style; furthermore, these features are presented in visual ways. From street fashion with bicycles, colour socks, leather shoes to trench coats which best represent Londoners’ daily life style and life attitude. By taking look of these images, we m i g ht u n d e r s t a n d h ow ‘they show their attitude of fashion in detail with a causal style but still dress as themselves’ a little bit more. 67

f Culture & Style

ON THE STREET A belted raincoat in a military style, having straps on the shoulders and deep pockets. How to dress fashionable for unpredictable weather? Should I bring one umbrella? These might be questions for Londoner. While people are still running in the rain, Londoners already best prepared one- Trench coat.

04 05

Souce: 01. COLLAGE VINTAGE 02. Tommy Ton (1) 03. ELLE UK 04. Mil razones en mi vestidor 05. Tommy Ton (2) 06. VOGUE 07. ELLE UK 08. Joseph Kent 09. ELLE UK 10. ELLE UK 11. Trendylisbon

09 10

f Culture & Style

ON THE STREET Urban life with bike. There are many urban citizens choosing to ride bicycles for daily commuting in stead of driving cars. This easy carry item highly not only reduces people's parking and trafic difficulties but also turns to be one of the most important and noticable fashion item. 01

Souce: 01. Twoeggz 02. Papier K 03. KRAFAGT78K 04. The researcher-owned photo 05. Shadow 06. Just Jared 07. Cyclestyle 08. Messness 09. THE ESCAPIST 10. Dutch Bikes 11. Thefashiontag 12. Slackersclub 03

f Culture & Style

ON THE STREET "Colourful socks are the noticeable items for me in London Street Style since the colours are so different with their trousers or tops; however, these items are perfectly matched together. Socks turn to be the key point or main actor of their outfits." - London shopper L 01

souce: 01. Printpulp 02. Sarah Dyer 03. Femalefatal 04. closetful of clothes 05. Garconjon 06. Claire Jameson 07. Dressing for Dinner 08. Item-m6(1) 09. Item-m6(2) 10. Collage vintage 11. REMI BUTLER-NAJAIR 12. British Odd Socks 06

07 08

11 12

Education

T 01

he fashion education institutions in London play a prominent role in the global fashion industry, which can be seen from many different rankings. For instance, in the survey conducted by BOF (2015), there are four London based fashion schools which rank among the top 10 places while Central Saint Martins (CSM) is always the No.1 in different studies. From the student K’s learning experience in both cities

London and Taipei, he pointed out that “there are more spaces and freedom for students in CSM. There is no limitation to restrict students how to preform and showcase their works. Moreover, the teachers in CSM will not tell you what is 'Good' or 'Bad'. They discuss with you and encourage you to think…. If considering about 'skill', the division of work in CSM is clear-cut, everyone is charged with specific responsibilities. For instance, if you are a designer, you only have to do designer's works. You should only be professional in your part. However, in Taiwan (Taipei), you have to learn everything.” Even though the Taipei fashion industry has different system as that in London, the London fashion industry is always working under the idea of sustainability, which has value for other cities to learn from. The division of work in global fashion industry is also clear-cut, which proofs the education style of London is more industrial needed. Therefore, Taiwanese students might face the difficulties to be more professional in one sector; hence, many Taiwanese fashion design students choose to study abroad after four years’ university experience in Taiwan. These situations show the needs for revising the education system in Taipei fashion schools which not only has to nurture talents but also understand what are the industrial needs. London is considered as one of the best cities for nurturing talents; moreover, fashion schools in London are “comparable in terms of academics, quality of staff, and amazing campuses” (Canter, 2016: 1). The interview data from student K indicates that “living in London is already an added valued for me since

London is close to other top-tier fashion capitals; therefore, I can get the first-hand information from the industries easily. As a CSM student, I feel that the teachers of CSM and the London fashion industry are inextricably linked. So if you are good enough, you can be lined with the industry very quick. However, this will not happen in Taiwan at least for now.” Therefore, for fashioning Taipei city, at least more than one wellfunctioning fashion school should be established; moreover, fashion schools should work alongside with the fashion industry and government. A good learning environment with strong supports by government and

industry, which can nurture more talents and provide more platforms for them to showcase their works. According to the only report that BFC’s suggestion for British Government, “support colleges and scholarships to leading educational establishments and accessibility to British students.” Therefore, next section will discuss that how government should work on the process for fashioning a global city.

souce: 01. The life of stuff 02. Eleanor Snare 03. Knitting Industry 04. Stephany Chung

Government

I 01

n t h e f a s h i o n s e c t o r, government can be seen as the most influential role in every country. Fa s h i o n i n d u s t r y c a n b e developed only if government put effort on it. Looking at the current top-tier fashion capitals for instance London, N e w Y o r k a n d Pa r i s ; t h e emergent fashion capitals such as Shanghai, Dubai and Seoul, there is no government leaving its fashion industry behind. According to the only report that BFC’s suggestion for British Government, “the government should strive to champion British fashion, not only to help it succeed, but also to reap its positive brand associations for the country as a whole.” However, in Taiwan, there is little attention of government on fashion sector. The most obvious example is that there is no an official fashion week in Taipei yet. It is noted by the literature review, if the city is lack of attraction for buyers, its local designers are hard to find their brands’ future possibilities. Designers have no fashion week to showcase their collections, which is like movie stars have no film award to perform their acting (Chiu,

Souce: 01. Shaun James Cox 02.Beauty Rebel 03. Downtown Design 04. BOF 05. Beauti Mode 06. Proportion London 04

2015). The interview data from consumer V manifests that “In Taipei, you might feel that 'fashion' is not too important for government, industries and even citizens, which is a shame. Overall, it is lack of attention for (the Taipei) fashion industry.” The reason why the Taipei fashion industry is always left behind, which can be assumed that there is no a proper organisation to hold all of these projects. Moreover, the organisation should be supported by the government for instance Dubai Fashion Council and London Fashion Council. Nowadays, the Taipei fashion industry is like a team without leader. Even though there is Taiwan Textile Federation in Taiwan, the organisation was founded for textile industry in Taiwan rather than looking the Taiwan fashion industry as a whole. It is noted by the intervieweedesigner E, “Even though there is Taiwan Textile Federation,

the emergent designers are hard to find a place to showcase their collections. The platform of TTF is not really for us I think.” The power of fashion council also can be noted by the interview data from director M, “we are continuing having a discussion with Fashion Platform organiser like Fashion Forward. Also, we are being very support with them also because we believe that they are doing a fantastic job in Dubai. Nothing has been done to promote before the council e s t a b l i s h e d . ” U n d o u b t e d l y, establishing a fashion council and hosting a fashion week are not something which can be done shortly. However, that is also t h e p oin t why man y Taiwanese fashion workers, students, academics are trying to arise the government’s attention since there is nothing can be done without government’s support. Moreover, following the development of fashion industries of Taipei’s neighbour cities such as Seoul, Shanghai a n d H o n g K o n g , t h e Ta i p e i fashion industry may begin to degenerate since it has not been cared yet. In other words, the Taipei industry which does not advance loses ground.

Fashion workersâ&#x20AC;&#x2122; needs

Souce: Asian Couture Federation

n this study, the researcher does not limit the definition of fashion worker as only fashion designer since every role is same important for developing a f a s h i o n c i t y . I n a co m p a n y, a company's staff is an important asset. In the same vein, fashion worker is an important asset in the fashion industry. Therefore, fashioning a global city, fashion workers’ needs should always be considered in. According to the interviews, there are two main themes which can be utilised for generally concluding the fashion workers’ needs. First of all, providing platforms for designers to showcase their collections is always the key task for fashion council. This is noted by director M, “I would say that moving from a fashion hub to fashion capital require to look at some of the elements of value chains. So we realised that the most important thing is to create a platform…. being an event and showcase platform that are crucial… So this is why D3 work with Fashion Forward to make sure that we help local designers to have a platform to showcase and to attract international buyers coming to Dubai to experience the new designers.” The interview data from fashion student K also indicates the importance of platform, “platform is really important. It's not only about the platform of CSM but also the platform of Internet such as Instagram, Facebook and YouTube. For instance, the show of CSM and LCF will be presented in VOUGE UK but the show of my college in Taipei will not be showed in VOUGE Taiwan. I mean the influences of these fashion school.... as well as the support of school can be seem.” In Dubai, there are more physical and online platforms which have planned to establish in recent years for local designers. On the one hand, following the development of technology, online platforms are as important as physical platforms (or even more) in the fashion industry. It is noted by the only report that BFC’s suggestion for British Government, “focus on maintaining 79

Fashion workers’ needs London as the best place to incubate and grow a fashion business, including making more resources available online to fashion entrepreneurs.” Providing online showcasing platform for local designers, which is also one of the main projects conducting by Dubai Fashion Council. According to director M, “D3 also plans to create pop-up shops actually during our irregular events this called mid-D3, we have pop-up shops together with Not Just A Label. Not Just a Label is an online platform based out of London. So the objective is to create a platform (brick and mortar or online) where the designers can showcase.” On the other hand, for the p hys i c a l p l a t f o r m s , t h e i n t e r v i ew data from director M indicates that “Dubai Mall realised the importance of supporting local designers so they created the platform called ‘Design 971’. It is Dubai Mall’s first pop-up concept store where showcasing the young local designers’ collection for I think three to six months.” However, there is very few stores in Taipei to display young local designers’ works while the most of Taiwanese designers’ label are created by idols, someone who has enough budget or who has become famous overseas a l r e a d y . T h e i n t e r v i ew d a t a f r o m designer E manifests that “even though there is ‘Taipei In Style’ event every year, you hardly to see any emergent Taiwanese designers' works there. It is always same old person. Besides, I prefer to showcase my collections in Hong Kong or somewhere else. I think the fashion weeks in HK, Korea and Shanghai are much better. Talking about selling platforms. I have visited Thailand, the environment of design sector is very attracted, I can feel that the Thai Government is very care about its design industry. So there is whole floor which displaying only new and emergent designers' collections in one department

store in city centre. Overall, the Taiwanese government does not really care about design sectors, fashion m a r k e t i n Ta i w a n is too small and the shortage of platform to showcase.” S e c o n d l y, fashion workers also need to get more supports and keep learning while developing their business for instance c o m m e rc i a l k n o w h o w, l e a d e r s h i p , innovation and sustainability. However, if there is no a well-functioning organisation which c a n p r ov i d i n g t h i s information or mentorship programs,

fashion workers can be lose on the way to success. Even though new London based designers who can gain supports and information much easier than others in other cities, the interview data from designer D still manifestoes that “I think we need more help. New designer definitely need more help, need easier access to funding or someone who can mentor you properly about the business sides of fashion cause when you in university do not learn about outside of it.” Undoubtedly, British Fashion Council is doing a fantastic jog for nurturing and supporting new talents. Although the requirement of BFC still remain difficulties for talents to access, there are many online classes and advices which allows people to download and self-study about it. It is noted by designer D, “have looked at them. But it has requirement so have to require to that. And it is quite difficult because some of them want at least two stacked so you have to be in two shops for under two years but I have not done that yet so I cannot really approach to them. But they do offer, the free advices, classes you can download online and you can read about everything that might help you about business building.” However, in Taipei, it is hard for young designers to get more supports from official organisation once they graduate from university. There is very few official organisation or initiative to support talents. The interview data from designer E shows that “there are a lot of challenges for Taiwanese designers. Firstly, I feel that there is little of supports by the whole fashion industry…. (Secondly), the environment in Taiwan for designers, which is very depend on "who you know". Even though you are talented, it is hard to find a place for you. In Taiwan, it is like you must to know somebody first otherwise usually you are still nobody.” By meeting the fashion workers’ needs, Dubai Fashion Council is highly engaging to protect and nurture its local talents. According to director M, “we help designers to capture more international audiences. So some of those will be able to sell their collections in Harrods, Galeries Lafayette or Harvey Nichols and the ‘GOAL’ is to make sure that the brands from Dubai become also internationally.” Following the development of Dubai city and evolving fashion weeks’ calendar, according to Dubai director of strategy M, “there is one case (the news), Michael Cinco is one of the local couturiers and he is going to showcase Paris couture fashion week….it is success story that you want to celebrate but it is more like personal achievement for designer that bases in Dubai 25 years. That made his name famous internationally because Lady Gaga is wearing some of his cloths or J-Lo is choosing his couture pieces for international award ceremony.” This case shows that a talented designer can become famous after basing in Dubai for 25 years; however, the talented Taiwanese designers normally become famous after few years based in other countries. Souce: 01. Proportion London 02. Jakub Feranec 03. Carolina Rosa 04. FAHMIDA KAMAL ROB 04

Chapter 7.

Conclusion

he goal for fashioning Taipei city should focus on strengthening and integrating the whole fashion industry in Taiwan, instead of being satisfied with discussing few unknown fashion events in Taipei or well-known Taiwanese offspring designers based in other countries for a long time such as Jason Wu. Taipei is a liveable city contains talented designers, diligent workers and strong purchasing power. However, the fashion sector is always ignored and underestimated by the Taiwanese government while the needs for establishing official Taipei Fashion C o u n c i l a n d a p r o p e r Ta i p e i Fashion Week have awakened by the industrial workers and the public. By understanding the demands of fashion industrial workers, there is a strong need for Taipei to provide more platforms for local designers to showcase their collections. There is no proper event for young Taiwanese designers to showcase their works; moreover, the fashion events in Taipei always present some same old things. From the study of London and Dubai fashion industries, the engagement of their local government to fashion sectors can be seen clearly. Dubai fashion council works with Fashion Forward and Not Just A Label for promoting their designers to go internationally. Every year there are many different young designers’ works presenting in London Fashion Week and different presses. However, many Taiwanese designers will choose to study abroad after

four years’ university in Taiwan since they might gain more chances to showcase their talents in other cities. Through the insight of students’ learning experiences in both cities: Taipei and London, a need for revising the education system of Taipei fashion schools has emerged. Fashion design graduated students might face difficulties to build up their businesses or own labels since they do not learn ‘outside of it’. They have to start to learn about pricing, marketing and industrial know-how once they graduated. The division of work in global

Souce: 01. Hdwallpix 02. Fliper 03. Yun-Pin Chen

fashion industry is clear-cut. Therefore, many different roles of fashion industry are crucial for instance fashion marketing, communication and branding. The Taipei fashion institutions should not only focus on nurturing fashion designers but also fashion marketing, communication and management students since fashion world is not only played by fashion designers. Fashion and shopping are inextricably linked: London, Paris and New York are trying to sustain their places as popular shopping destinations. Taipei can be seen as a potential fashion capital since its luxury goods purchasing power. H o w e v e r, t h e c a l l s f o r improving Taipei shopping environment from consumers are founded. The preferred shopping destination for consumers is like Oxford circus in London which is a convenient and pedestriansf r i e n d l y s h o p p i n g p l a ce with a diversity choices of brands. Moreover, the stylish

and fashionable Londoner is also one of the keys for boosting consumers’ desire to purchase ‘more’. F r o m t h e understanding of interviewees’ viewpoint, the desire of something ‘new’ is clear. Even though there is a slight growth in the number o f Ta i w a n e s e c i t i z e n s who are craving to dress differently, the majority of Taiwanese still care more about ‘trend’ or ‘popular item’. Comparing with London, the ‘Taiwanese style’ or ‘Taipei street style’ still cannot be distinguished easily yet, which has arisen the question for Taiwanese and the fashion industry i n Ta iwa n . H o w t o g e t inspiration from other toptier fashion capitals and create ‘Taiwanese styles’? U n d o u b t e d l y, t h e r e i s very minimal chance to change people’s thinking of ‘fashion’. Therefore, the recommendation for f a s h i o n i n g Ta i p e i c i t y can be divided into three steps: short term target, immediate goals and long term strategy.

Recommendation

i r s t o f a l l , Ta i p e i i s either like Dubai which owns a lot of budget for supporting fashion industry and establishes something new quickly; nor like London which has untouchable fashion status in the global fashion industry. Therefore, the development of Taipei fashion industry should be step by step. There is nothing can be done without a leader of a team. Thence, the short term target is: to found ‘Taipei Fashion Council’ which can manage the Taiwan fashion industry as a whole. Moreover, this fashion council should be supported by government but run individually. This fashion council should take all the fashion industrial sectors into consider for instance fashion design, fashion and communication, marketing and management. The fashion industry can be more comprehensive only by

gathering all the ideas from different roles. Secondly, Taipei (Taiwan) should host its own proper fashion week. There is an enormous shortage of platforms for Taiwanese local fashion designers to showcase their works. If Taipei is like London, Paris or even Shanghai or Seoul, I believe that there are talented Taiwanese designers would like to back to their home country to work. Furthermore, a successful fashion week can attract a huge throng to travel in the host city. The reason for putting fashion week as the immediate goal is that hosting a fashion week requires a huge of investment and a lot of sponsors, which cannot be done in a short time. Moreover, every part of fashion industry should be ‘ready’ for a fashion week for instance, the young designers have to will-prepared their collections, the presses should be welltrained for this kind of big even., etc. Lastly, for the long term plans, the whole education system in Taipei (Taiwan) should be revised and the culture and taste of Taipei (Taiwan) should be discovered and promoted. The fashion education in Taiwan should nurture more professional talents instead of encouraging students to learn everything. There is a gap for older generation of pattern makers and young generation of pattern makers in Taiwan since many young fashion students in Taiwan want to be fashion designers only. Next, it is a good starting point for growing our own taste of fashion since there are some emergent local fashion start their business in Taipei. It is expected that they will consider more about Taiwanese outfits with Taiwanese life style. All of these process require times. However, students and local citizens will change after they receiving and gaining more information from the world.

souce: 01. Knitting Industry 02. SHAO YEN(1) 03. SHAO YEN(2) 04. L’eau

THIS STUDY PROVIDES AN OVERVIEW OF ELEMENTS FOR FASHIONING A GLOBAL CITY; MOREOVER, EACH ELEMENT WORTH INDIVIDUAL STUDY. H O W E V E R , T H I S D I S S E RTAT I O N COULD NOT IN-DEPTH STUDY EACH ELEMENT SINCE THE RESTRICTION OF TIME. FOR THE FUTURE STUDY, T H E G OV E R N M E N T P OW E R F O R DEVELOPING THE TAIPEI FASHION INDUSTRY CAN BE FOCUSED ON BECAUSE IT IS THE KEY POINT TO CHANGE THE CURRENT DIFFICULTIES IN TAIPEI. MOREOVER, THE FUTURE DEVELOPMENT IS ALWAYS THE KEY, TA K I N G D U B A I A S A N E X A M P L E , DUBAI GOVERNMENT AND FASHION COUNCIL HAS CONSIDERED ABOUT THE FUTURE DEVELOPMENT AND SUSTAINABILITY OF DUBAI CITY WHILE MAKING EVERY STRATEGY A N D P O L I C Y. T H E R E F O R E , C O N S I D E R AT I O N O F F U T U R E ASPECTS SHOULD BE INCLUDED IN THE FUTURE STUDY. 86

Chapter 8.

8.1 Image Reference p.88 8.2 Reference p.92 8.3 Bibiography p.94 87

Image Reference

Reference

Bibiograohy

TO BE CONTINUED

Appendix

Appendix 1- Observation form p.90 Appendix2- Consent forms p.94 Appendix3- Future of fashion strategic considerations for growth p.103 Appendix4- Treanscripts p.130 Appendix 5- Interview Guide with notes p.140

Appendix 1

Observation Form Day:

Location:

Time:

Number of

Sample

Outfit of

Features of

sample

description

him/her

colour

pattern

style

Note:

Conclusion of the day:

Observation form

Appendix 1

Observation form

Appendix 2 Nottingham Trent University School of Art and Design

CONSENT FORM Project Title: ……Taipei, A future fashion capital? An investigation.………………………………..

Please read and confirm your consent to being interviewed for this project by ticking the appropriate boxes and signing and dating this form 1.

I confirm that the purpose of the project has been explained to me, that I have been given information about it in writing, and that I have had the opportunity to ask questions about the research I understand that my participation is voluntary, and that I am free to withdraw at any time without giving any reason and without any implications for my legal rights

X I give permission for the interview to be recorded by research staff, on the X understanding that the tape will be destroyed at the end of the project I agree to take part in this project X

4. Daniel Chu 06/08/2016 __________________ __________ __________________ Name of respondent Date Signature For office use only Name of researcher taking consent ……Yu Hsuan Hsiung ……………………………………. Date ………06/08/2016……………………………… Signature

Student Ethical Toolkit 94

Consent forms

Appendix 2

Consent forms

Appendix 2

Consent forms

Appendix 2

100

Consent forms

101

Appendix 2

102

Appendix 3

FUTURE OF FASHION STRATEGIC CONSIDERATIONS FOR GROWTH

Future of fashion strategic considerations for growth

103

Appendix 3 ååËVËFuture of FashionËVË0 ? Ëß Ö

Thank you to the following for their support: For their input to this document jË+ ÍW jÁ^Ë ^Ë.j wÁ a~jÄ jË0ßÁÁj Ë ^Ë ^Ë jË0ßÁÁj Ë jÄ ~ Ë ÄÖ Í? Wß

?Ü aË. j¬ jÁa^Ë ^Ë0 ¬ ?

Ë W ?ÁÍ ß^Ë ? Á ? ^Ë ÖÄjË wË Á?ÄjÁË +Á wjÄÄ ÁË Á? WjÄË Á jÁ^Ë j?aË wË a Ë j~jË wË ?Ä ^Ë2 Áa Ë- W ?ÁaÄ ^Ë jÄ ~ Ë ÁjWÍ Á^Ë0 ¬ ? Ë Ë ~^Ë #^Ë ÖÄjË wË Á?ÄjÁË ?Áj Ë j Ä ^Ë+Á W ¬? ^Ë ?Ä Ë-jÍ? Ë W?aj ß +Á wjÄÄ ÁË Ö ÄjË8 Ä Ë# ^Ë ÖÁÄjË ÁjWÍ ÁË Ë ?Ä ^Ë . ?Á ~?ßË W jj^Ë jwË jÁW ? Í^Ë ?ÁÁ aÄË W ?j Ë. ?Á¬^Ë #^Ë jMj ? ÄË - W ?ÁaË ÍÍ j^Ë #^Ë Á Í Ä Ë ÍÝj?ÁË ÄÄ W ?Í Ë . Ë8?Áa^Ë ##^Ë Á Í Ä Ë ?Ä Ë Ö W 0? ?Ë ÍÍ j ? jÄ^Ë j?aË wË+-^Ë ?Á ÄËFË.¬j WjÁËË 8j aßË ?~Ý ÁÍ ßË# ^Ë j?aË wË.W Ë wË ?Ä ËFË0jÞÍ jÄ^Ë - ß? Ë j~jË wË ÁÍË 8j aßË ? j ^Ë ÁjWÍ Á^Ë j ÍÁjËw ÁË ?Ä Ë ÍjÁ¬Á Äj ÁË ÁjË w Á ?Í Ë? aËÍ ËÄjjËÍ jËx ËÜ Ä Í] ÝÝÝ±MÁ Í Ä w?Ä W Ö W ±W ÊwÖÍÖÁj ww?Ä Contributors to the film jÞ? aÁ?Ë. Ö ? Ë# ^Ë a Í Á^Ë7 ~ÖjË2 ?Ë8 Í ÖÁË# ^Ë a Í Á jw^Ë7 ~ÖjË2. ß?Ë a ?ÁW Ë ^Ë ß?Ë a ?ÁW ÖÁMjÁÁß

?Á jË-ÖÄ ^Ë #^Ë Á Í Ä Ë ?Ä Ë Ö W

ß ? Ë jÄË^Ë a Í Á^Ë , ?Á aË0 ? Ë ^Ë ? Á ? ^Ë Á Í Ä Ë ?Ä Ë Ö W ?W Ë8Á ~ Í^Ë.ÍÖaj Í^Ë0 jË ?Ä Ë-jÍ? Ë W?aj ß ?Ä Ë jW jß^Ë M? Ë ?Á jÍ ~Ë ÁjWÍ Á^Ë Ö -0Ë Ë jÁj ßË Ö ÍË +^Ë.jWÁjÍ?ÁßË wË.Í?ÍjËw ÁË Ö ÍÖÁj^Ë # ß ¬ WÄ^Ë ja ?Ë? aË.¬ ÁÍ ?ÍjË+ j ? ^Ë Áj?Í ÜjË ÁjWÍ Á^Ë0 ¬Ä ¬ ?ÖÁ?Ë ? jß^Ë Ë Ö ÍÖÁ? Ë M?ÄÄ?a Á ?ÁßË jÁ^Ë ? ?~ ~Ë ÁjWÍ Á^Ë0 ¬Ä ¬ Ö MjÁÁß . ÁË+ ¬Ë Ájj ^Ë ÁW?a ?Ë Á Ö¬ËËË .?Á? Ë ÝjÁË ^Ë Ë M?ÄÄ?a ÁËw ÁË jÁ~ ~Ë0? j Í . Ë8?Áa^Ë ##^Ë Á Í Ä Ë ?Ä Ë Ö W 8j aßË ?~Ý ÁÍ ßË# ^Ë j?aË wË.W Ë wË ?Ä ËFË0jÞÍ jÄ^Ë - ß? Ë j~jË wË ÁÍ Thank you to all BFC Industry Patrons, BFC Corporate Partners and the London Fashion Week Sponsors

FUTURE OF FASHION – STRATEGIC CONSIDERATIONS FOR GROWTH LAUNCHED AT

104

Future of fashion strategic considerations for growth å¤ËVË ÖÍÖÁjË wË ?Ä ËVË Íj ÍÄ

#0 Foreword #1 Skills, Training & Job Creation ¤±¤Ë M? ßËÁjW ~ ÄjaËW j~jÄ ¤±ÔË WÖÄË Ë?¬¬Áj Í WjÄ ¬ÄË? aËÍÁ? ~ ¤±ÏË Ä ajÁ?Í Ä #2 Retail Ô±¤Ë-jÍ? Ë ¬?WÍ Ô±ÔË ~ Ëw?Ä Ë jjÍÄË ~ ËÄÍÁjjÍ Ô±ÏËÔå¤ÔË#¬¬ ÁÍÖ Í jÄ #3 Manufacturing Ï±¤Ë0 jËÁjÍÖÁ Ë wË ? Öw?WÍÖÁ ~Ë Ï±ÔË ?ÁÁ jÁÄËÍ ËÁj aÖÄÍÁ ? Ä?Í Ï±ÏË jÍ¾ÄË ? jË ÍË Ë Á Í? #4 Talent Creation & Development |±¤Ë. ÝW?ÄjË.ÖWWjÄÄ |±ÔË Ë0? j ÍË+?Í Ý?ß |±ÏË Ö a ~Ë Ë ÖÁË.ÖWWjÄÄ #5 Philanthropy, Sponsorship and Collaboration y±¤Ë ?Ä Ë?ÄË? Ë?ÁÍËw Á y±ÔË ja W?ÍjaËw ÝjÁÄË wËw?Ä y±ÏË-j ÖÜj ?Í ~Ë Á Í? ¾ÄËMÁ? a #6 Conclusion and Summary of RecommendationÄ

105

Appendix 3 åÔËVËFuture of FashionËVË ÁjÝ Áa

Foreword

106

Future of fashion strategic considerations for growth åÏËVËFuture of FashionËVË ÁjÝ Áa

0 jÁjË ÄËÄ Ë ÖW ËÍ ËMjË¬Á ÖaË wË Ë Á Í Ä Ëw?Ä ±Ë a Ë ÄË?ËÝ Á aËWj ÍÁjË wË WÁj?Í Ü ÍßË? aËajÄ ~ ËÍ? j Í±Ë Á Í Ä ËajÄ ~ jÁÄË W?¬ÍÖÁjËÍ jË aË wËÍ jË j Í^ËW?ÄW?a ~Ë ÍË Í ËÍ jË ~ ËÄÍÁjjÍ^ËWÁj?Í ~Ë?Ë Ö Í ËM Ë ¬ Ö aË aÖÄÍÁß±Ë ËÔåå Ë2 Ëw?Ä ËW ÍÁ MÖÍjÄËÌÔå± M Ë ÁË¤±È°Ë wËÍ Í? Ë2 Ë +ËqËÍÝ WjË?ÄË ÖW Ë ?ÄË¬ÖM Ä ~Ë ÁËW?ÁË ? Öw?WÍÖÁ ~ËqË? aË ÄÖ¬¬ ÁÍjaË?Á Ö aËo¤É^åååË MÄ±Ë0 ÄË jW WË?WÍ Ü ÍßË~j jÁ?ÍjaË ÜjÁËÌ¤ÏM Ë a ÁjWÍ ßË ËÍ?Þ?Í ËÍ Ë~ ÜjÁ j ÍËÁjÄ ÖÁWjÄ±Ë wËÍ jËÝ ajÁË a ÁjWÍËjwwjWÍÄË?ÁjËÍ? j Ë Í Ë ?WW Ö Í^ËÍ jË ÞW j¶ÖjÁË~? jaËÌ¤È±yM Ë j?W ËwÁ ËÍ jË Á Í Ä Ëw?Ä ËÄjWÍ Á± 0 jËW ? j ~jË ÄËÍ ËMÖ aË Ë ÖÁËÄÖWWjÄÄË Ä Ëw?ÁËÍ Ë?W jÜjËjÜj Ë Áj±Ë 0 jË ja ?ÍjË¬Á Á ÍßËw ÁËÍ jËÁjÍ? ËÄjWÍ ÁË ÄËÍ Ë WÁj?ÄjËÄ? jÄËÍ ËÜ Ä Í ÁÄËwÁ Ëj jÁ~ ~Ë ?Á jÍÄ^Ë¬?ÁÍ WÖ ?Á ßËÍ jË - ËjW jÄÇËÍ Ë ÜjÄÍË Ë ÍjÁ ?Í ? ËÁ ÖÍË wË ÖÁËÄÍÁ ~jÄÍË w?Ä ËÁjÍ? ËMÁ? aÄË? aËÍ Ë ?Þ ÄjËÍ jË jË ¬¬ ÁÍÖ Íß± 8jË? Ä Ë jjaËÍ Ëj ÄÖÁjË jÝËÍ? j ÍË ÄË ÍË ßË Ä ÝW?Äja^ËMÖÍËÄÖ¬¬ ÁÍjaË Ë ÍÄËÍÁ? Ä Í Ë Í ËMÖÄ jÄÄËÄÖÄÍ? ?M Íß±Ë ÄËW ?¬ÍjÁÄËÍ ÁjjË ? aËw ÖÁË wËÍ ÄËÁj¬ ÁÍËÄ Ý^ËÝjË?ÁjË~jÍÍ ~Ë MjÍÍjÁË?ÍË j ¬ ~Ë~ aË aj?ÄËÍÁ? Ä ?ÍjË Í Ë W jÁW ? ËÄÖWWjÄÄ±Ë ÝjÜjÁËÝjË jjaËÍ Ë a Ë ÁjËÍ Ëj ÄÖÁjËÍ ?ÍËÍ jËÝ jË aÖÄÍÁßË W? Ë ¬Á ÜjË ÍÄËÁjÄ j WjË Ë?Ë ~ ßË W ¬jÍ Í ÜjËj Ü Á j ÍË? aËÍ? jË?aÜ? Í?~jË wË ¬¬ ÁÍÖ Í jÄË?Ü? ?M j± . ?Á ß^ËÍ jÁjË ÄË ÝËqË¬jÁ ?¬ÄËw ÁËÍ jË xÁÄÍËÍ jË Ë?Ë~j jÁ?Í ËqËÁj jÝjaË ÍjÁjÄÍË ËÍ jË¬ Íj Í ? ËÍ Ë ? Öw?WÍÖÁjË ~ ¶Ö? ÍßË Ä¬jW ? ÄÍË¬Á aÖWÍÄË ËÍ jË2 ±Ë8jËÄ Ö aË~Á?MË Í ÄË ¬¬ ÁÍÖ ÍßË? aËMÖ aË Ë Í^ËÍ ËÄÍÁj ~Í j Ë ÖÁËMÖÄ jÄÄjÄËwÁ ËÍ ¬ËÍ ËM ÍÍ ±Ë

0 jË jßËÍ Ë? Ë wËÍ ÄË ÄËÍ Ë¬Á wjÄÄ ? ÄjË ? aË wwjÁËMjÍÍjÁËW?ÁjjÁË¬?Í ÄËÍ Á Ö~ ÖÍË Í jË aÖÄÍÁß^Ë ÍË ÖÄÍË ËajÄ ~ ËÍ? j Í±Ë0 ÄË j? ÄËÖ ajÁÄÍ? a ~Ë ÝËÍ jË ?Í ? Ë ?¬¬Áj Í WjÄ ¬ËÄW j jËW? ËMjËÖÄjaËÍ Ë MÖ aËÄ¬jW xWËÄ ÄË?ÍË? Ë jÜj ÄË wË?Ëw?Ä Ë MÖÄ jÄÄ±Ë ÍË? Ä Ë j? ÄËWÁj?Í ~Ë ÄËÝ Í Ë MÖÄ jÄÄËÄW ÄË? aËWÁj?Í ~ËÄ¬jW xWË ¬Á ~Á? jÄËÍ ËajÜj ¬ËMÖÄ jÄÄË j?ajÁÄË Í ËÝ Á Ë? ~Ä ajË ÖÁË j?a ~ËajÄ ~ ËÍ? j Í^Ë ?ÄËÝj Ë?ÄË ? ~Ë a ËÍ jËMjÄÍË¬ ?WjË Í Ë WÖM?ÍjË?Ë jÝËMÖÄ jÄÄËwÁ Ë Í ? Ë jÞW Íj j ÍËÍ ËW jÁW ? ËÄÖÄÍ? ?M Íß± 2 ajÁÄÍ? a ~ËÍ jËaß ? WË ?ÍÖÁjË wËÍ jË Áj ?Í Ä ¬ËMjÍÝjj ËajÄ ~ jÁË? aËÁjÍ? Ë ÄÍÁj ~Í j ÄË ÖÁËW? ËÍ Ë ? jË ÍËj?Ä jÁËw ÁË Í ÖÁ ÄÍÄËÍ ËW jË jÁjËÍ ËÄ ¬ÇËÝjË? ËMj jxÍË Ý j ËÍ ?ÍË ?¬¬j Ä±Ë Ë¬?ÁÍ WÖ ?Á^ËÝjËW? Ë Ë~ ÜjÁ j ÍËÍ Ë MjÍÍjÁËÖ ajÁÄÍ? aËÍ jËaß ? WËw ÁWjÄËÝ Í Ë Í jËÄjWÍ ÁËMßË W Öa ~Ëw?Ä ËÁjÍ? Ë Ë ÍÄË ajx Í Ë wËÍ jËWÁj?Í ÜjË aÖÄÍÁ jÄË®?wÍjÁË ? ËÝ Í Ë ? ßË ~ ËÄÍÁjjÍËÄÍ ÁjÄËj ¬ ß ~Ë Í ¬ j aËajÄ ~ jÁÄ^Ë ÝËW? ËÍ jßË ÍËMjË¬?ÁÍË wËÍ jËÄ? jËMÖÄ jÄÄ·¯^ËÄ ËÍ ?ÍË ÍËW? Ë~jÍËÍ jË ¬ WßË?ÍÍj Í ^Ë? aËW Ü ËÄjÁÜ WjËÁjÄ ÖÁWjÄ^Ë ÍË jjaÄ±Ë ÜjÁ j ÍË ÖÍa?Íja Áj¬ ÁÍ ~Ë ? aË ?W Ë wËÖ ajÁÄÍ? a ~ËW Ö aË j?aËÍ Ë ÄÄjaË ¬¬ ÁÍÖ Í jÄ±ËË 0 jÄjËÄÍÁ?Íj~ WËW Ä ajÁ?Í ÄË?ÁjËÍ jËxÁÄÍË Í jË ËÍ jËÝ?ÍjÁË ËW?ÁÜ ~Ë ÖÍË?ËÜ Ä ËÍ ?ÍË Ä¬? ÄËÍ jËÝ jËw?Ä ËÄjWÍ Á±Ë8jË jjaË Í ËÝ Á ËÍ ~jÍ jÁËÍ Ë ? jËÍ jË ÄÍË wËÍ jË ¬¬ ÁÍÖ Í jÄËw?Ä ËW? Ë wwjÁËÍ Ë Á Í? ±Ë ÍË ÄË~ aËjW WËÄj Äj^Ë Í¾ÄË?Ë ?ÄÄË?ÁÍ ÄÍ WË Üj j Í^Ë? aË?ÍËÍ jËj aË wËÍ jËa?ß^Ë ÍË Áj¬ÁjÄj ÍÄË Ü?Í ^Ëaß ? Ä ^Ëß ÖÍ Ë ? aË ¬j±

107

Appendix 3 å|ËVËFuture of FashionËVË. Ä^Ë0Á? ~ËFË MË Áj?Í

Skills, Training & Job Creation

108

Future of fashion strategic considerations for growth åyËVËFuture of FashionËVË. Ä^Ë0Á? ~ËFË MË Áj?Í

The continued success of British fashion relies on future generations having the type of training and qualifications that business needs. We have strong fashion colleges, with an unrivalled international reputation. As a starting point, these colleges need to be protected, given the opportunity to grow and embed their links into business. Attention is needed to ensure the new visa regime does not divert the world’s best talent away from London. Work has begun to map out training in all the various functions within the fashion industry. Where gaps exist, action must be taken to fill them, for example through carefully designed apprenticeship programmes. From top to bottom, and at all levels of technical ability, our fashion education system needs to be marching in step with the needs of our fashion industry.

109

Appendix 3 åÉËVËFuture of FashionËVË. Ä^Ë0Á? ~ËFË MË Áj?Í

1.1. Globally recognised colleges

Á Í? ¾ÄËw?Ä ËW j~jÄË?ÁjËÍ jËj ~ j Á Ëw ÁËÍ jËÝ jË aÖÄÍÁß^ËÝ Í Ë?Ë~ M? Ë Áj¬ÖÍ?Í Ëw ÁËjÞWj j WjËÍ ?ÍË ÄËÄjW a Í j±Ë0 jßËÝ Á ËÍ ~jÍ jÁËÖ ajÁËÍ jË ?ÖÄ¬ WjÄË wËÍ jË Ë j~jÄË Ö W ËÍ Ë ÍjÁ ÍÝ jËw?Ä ËjaÖW?Í ËÝ Í Ë ajÁ Ë MÖÄ jÄÄË¬Á?WÍ Wj^Ëw ÁËjÞ? ¬ jËMßËW jWÍ Üj ßË Ä ÝW?Ä ~ËÍ j ÁËÄÍÖaj ÍÄ¾ËÝ Á Ë? aË wwjÁ ~Ë ?Í ? Ë? aË ÍjÁ ?Í ? ËÝ Á Ë ¬¬ ÁÍÖ Í jÄË ? aËÄW ?ÁÄ ¬ÄËÍ Ë jÝËÍ? j Í±Ë Á?aÖ?ÍjË ?Ä Ë8jj Ë¬Á Ü ajÄË?Ë¬ ?Íw Á Ëw ÁË W j~jÄËÍ ËÄ ÝË~Á?aÖ?ÍjËW jWÍ ÄË? aË w ÁËÄÍÖaj ÍÄËÍ Ë~? Ë?aa Í ? Ë ja ?Ë? aË aÖÄÍÁßËÁjW ~ Í ± 0 jË? Ö Ë wË j ÍÁ? Ë.? ÍË ?ÁÍ ÄËÁj?aË jË?ËÁ ËW? Ë wËÍ jËÝ Á a¾ÄËx jÄÍËWÁj?Í ÜjË Í? j ÍËÝ Í Ë ÍÄË~ M? Ë zÖj WjË WÁj?Ä ~Ë ßj?ÁË Ëßj?Á±Ë ÍÄËÁj¬ÖÍ?Í ^Ë jËÍ jË- ß? Ë

j~jË wË ÁÍ^Ë?ÍÍÁ?WÍÄËÍ jËMjÄÍËajÄ ~ Ë ÄÍÖaj ÍÄË?WÁ ÄÄËÍ jËÝ Á aËÍ ËÄÍÖaßË Ë a ±Ë a ¾ÄËÁj¬ÖÍ?Í Ë?ÄË?Ë ÍËMjaË wËj jÁ~ ~ËÍ? j ÍËÄÍ?ÁÍÄË?ÍËÍ jÄjËW j~jÄ^Ë Ý Í ÖÍËÍ j Ë ÁËÝ Í ÖÍËÍ jË ~ ËÄÍ? a?ÁaË wËajÄ ~ jÁË~Á?aÖ?Í ~ËwÁ Ë Á Í Ä ËW j~jÄ^Ë Í jË ? aÄW?¬jË wË Á Í Ä Ëw?Ä ËÝ Ö aËMjË ÜjÁßËa wwjÁj Í± .ÖWWjÄÄËMÁjjaÄËÄÖWWjÄÄ±Ë Á ÄÍ ¬ jÁË ? jß^Ë ÝË jwË Áj?Í ÜjË#wxWjÁË?ÍË ÖÁMjÁÁß^Ë ÄË?Ë ~Á?aÖ?ÍjË wËÍ jË- ß? Ë j~jË wË ÁÍË? aË jË ? ßË wË ÄËW Ö ÍjÁ¬?ÁÍÄË j?a ~ËÖ¬Ë~ M? Ë MÁ? aÄ^Ë jË ÝËMÁ ~ÄË ? ßË jÝË~Á?aÖ?ÍjÄË Í ËÍ jË Á~? Ä?Í ËÍ ËÝ Á ËÝ Í Ë ±Ë

0 jË a Ë j~jË wË ?Ä Ëj ¬ ?Ä ÄjÄË ÍjW W? ËÄ ÄË? aËMÖÄ jÄÄËW ?M Á?Í Ë Ë? Ë wËÍ jËW ÖÁÄjÄË ÍËÁÖ Ä±Ë ÍÄËÍj ËÍ ÖÄ? aË ÄÍÖaj ÍÄËqË wËÝ W Ë ? wË?ÁjËwÖ ËÍ j^Ë?Ë Í ÁaË?ÁjË ÍjÁ ?Í ? Ë? aËoå°Ë?ÁjË ËÝ Á Ë Ä ÞË Í ÄË?wÍjÁË~Á?aÖ?Í ~ËqË?ÁjËÍ?Ö~ ÍËÍ Ë ½w?Ä ËÍ jËwÖÍÖÁj¾ËMßËÖ ajÁÄÍ? a ~Ë ÍË ßË Í jËÄ W ? ËW ÍjÞÍË ËÝ W ËÍ jßËÝ Á ^ËMÖÍË ? Ä ËÍ jËÁj? ÍßË wËMÖÄ jÄÄ±Ë

“MORE INDUSTRY CONTACT HAS LED TO MORE OPPORTUNITIES IN STORE AND HEAD OFFICE ROLES FOR STUDENTS AND GRADUATES.” KAREN DENNISON, FASHION RETAIL ACADEMY

“UNDERSTANDING THE INTERPLAY BETWEEN CREATIVITY AND INDUSTRY IS WHAT MAINTAINS LONDON AS A GLOBAL LEADER IN FASHION EDUCATION.” FRANCES CORNER, LONDON COLLEGE OF FASHION 110

Future of fashion strategic considerations for growth åÈËVËFuture of FashionËVË. Ä^Ë0Á? ~ËFË MË Áj?Í

1.2. Focus on apprenticeships and training

1.3. Considerations

ÁjË jjaÄËÍ ËMjËa jËÍ Ëj ÄÖÁjËÍ ?ÍËÍ jË Ä ÄËW ~Ë ÖÍË wËW j~jÄ^Ë?ÍË? Ë jÜj Ä^Ë ?ÍW ËÍ jËaj ? aÄË wËMÖÄ jÄÄ^Ë?ÄËÝj Ë?ÄË ~ Ü ~Ë Í jÁËÁ ÖÍjÄË Í ËÍ jËw?Ä Ë aÖÄÍÁßË w ÁË ajÄ ~ jÁÄ±Ë ¬¬Áj Í WjÄ ¬ÄËW? Ë j ¬Ë ? aË ÖÁËw WÖÄË ÝË ÖÄÍËMjËÍ Ëj ÄÖÁjËÍ jßË?ÁjË W ¬ ?Wj^Ë?WWjÄÄ M jËw ÁËM Í Ë a Ü aÖ? ÄË ? aËMÖÄ jÄÄjÄË? aË?ËÜ ?M jË ¬Í ±

8jË ÖÄÍËMÖ aË Ë ÖÁËÄÍÁj ~Í ÄËÍ Ëj ÄÖÁjËÍ ?ÍË ÝjË?ÁjËaj ÜjÁ ~ËÍ jËÄ¬jW ? ÄÍËÄ ÄËÍ ?ÍËÍ jË Ý jË aÖÄÍÁßËÁj¶Ö ÁjÄËÍ Ë~Á Ý^Ë ÍË ÖÄÍËÍ jË Í ¬ j aËajÄ ~ jÁËÍ? j Í±Ë0 ÄË j? ÄË wwjÁ ~Ë Áj? ^ËÁj jÜ? ÍË¶Ö? xW?Í ÄË? ~Ä ajËÍÁ? ~Ë qËj ÄÖÁ ~ËÍ ?ÍËÍ jËÜ?Á ÖÄËW?ÁjjÁË¬?Í ÄË ?Ü? ?M jË?ÁjËwÖ ßË¬Á ÍjaË? aËÖ ajÁÄÍ a±Ë 0 jËajÜj ¬ j ÍË wË j?ajÁÄ ¬ËÄ ÄËÍ Ë j ÄÖÁjËÍ ?ÍËÝjË ?ÜjËÍ jËW jÁW ? ËÄÖ¬¬ ÁÍË Í ËM?W Ë ÖÁËWÁj?Í ÜjËÍ? j ÍË ÄË? Ä ËjÄÄj Í ? ±

Ö MjÁÁßËw ÁËjÞ? ¬ j^Ë ?ÄË j ¬jaË ? jË ÍÄË 2 Ë¬Á aÖWÍ Ëw?W Í jÄËÄÖÄÍ? ?M jËÍ Á Ö~ Ë ? Ë?¬¬Áj Í WjÄ ¬Ë¬Á ~Á? jË Ë. jÁÄjÍ±Ë ßËÝ Á ~ËÝ Í Ë W? ËÄW ÄË? aËW j~jÄË ÍËÁjWÁÖ ÍjaË? aËÍÁ? jaËÍ jË?¬¬Áj Í WjË Ý Á w ÁWjË ÍË jjajaË ËÄ¬jW xWË¬Á?WÍ W? ËÄ ÄË ÄÖW Ë?ÄË¬?ÍÍjÁ WÖÍÍ ~^ËÄÍ ÍW ~Ë ? aËx Ä ~±Ë ÖÍËÝ jËÍ jÄjË ÝjÁË jÜj Ë?¬¬Áj Í WjÄ ¬ÄË ?ßË j ¬Ë ?Á~jÁËxÁ ÄË MÍ? ËÄ¬jW ? ÄÍËÄ Ä^Ë Í jÁjËÁj ? ÄË?Ë~?¬Ë ËÍ jË¬Á Ü Ä Ë wË ~ jÁ jÜj ËÍjW W? Ë? aË ? ?~j j ÍËÄ ÄËw ÁË Ä¬jW ? ÄÍËw?Ä ËMÖÄ jÄÄjÄ± 0 jË~ ÜjÁ j Í¾ÄË Áj?Í ÜjË aÖÄÍÁ jÄË Ö W Ë ?ÄËjÄÍ?M Ä jaË?Ë. ÄjÍË. ÄË Á Ö¬^ËÍ Ë ÄÖ¬¬ ÁÍËÍ jË aÖÄÍÁßË Ë aj Í wß ~ËÍ jËÄ ÄË ~?¬ÄËÍ ?ÍËjÞ ÄÍË? aË ÝËÍ jßË ~ ÍËMjËx ja±Ë ÍË¬ÁjÄj Í^ËÍ ÄË~Á Ö¬Ë ÄËjÞ¬ Á ~Ë ÝËÍ Ë ?¬ËÍ jË ?Í ? Ë?¬¬Áj Í WjÄ ¬ËÄW j jË Í ËÍ jËÄ¬jW xWË jjaÄË wËÍ jËw?Ä ËÄjWÍ Á±Ë # jË ¬Í Ë ~ ÍËMjËÍ ËWÁj?ÍjË ~ jÁ jÜj Ë ?¬¬Áj Í WjÄ ¬ÄËÍ ËajÄ ~ Ë~Á?aÖ?ÍjÄ^Ë¬jÁ ?¬ÄË ?ÍË jÜj ËÉË®¬ ÄÍË~Á?aÖ?Íj¯Ë ÁËÈË®+ Ë ÁË j¶Ö Ü? j Í¯^Ë Ë?aa Í ËÍ Ë ÝjÁË jÜj Ë!7,ÄË Í?Á~jÍjaË?ÍËÄW Ë j?ÜjÁÄ± ËÔååÉ^Ë. ÁË+ ¬Ë Ájj Ë aj Í xjaË?Ë~?¬Ë ËÍ jË ?Á jÍËw ÁËÍj?W ~ËÄ¬jW ? ÄÍËw?Ä Ë ÁjÍ? ËÄ ÄË? aËÄ ËjÄÍ?M Ä jaËÍ jË ?Ä Ë -jÍ? Ë W?aj ß±Ë ÍË ÝË ?ÄËÈååËÄÍÖaj ÍÄË ? aËÍ jËÄÖ¬¬ ÁÍË wËoyËMÁ? aÄË W Öa ~ËÍ jË ÁW?a ?Ë Á Ö¬^Ë ?Á ÄË? aË.¬j WjÁ^Ë!jÞÍË? aË 0jÄW ±Ë ?ÄÍËßj?ÁËÉå°Ë wË ÍÄËÄÍÖaj ÍÄËÝj ÍË ÄÍÁ? ~ ÍË Í Ë MÄË Ë~Á?aÖ?Í ~±

0 jÁjË ÄË? ËjÞ¬jWÍ?Í ËÍ ?ÍË Á Í Ä Ë?ÁÍË W j~jÄËÝ Ëaj ÜjÁËjÞWj¬Í ? ËjaÖW?Í ËÍ Ë ? Í? Ë Á Í? ¾ÄËÁj¬ÖÍ?Í Ë?ÄËMj ~Ë?ÍËÍ jË w ÁjwÁ ÍË wËÍ jËWÁj?Í ÜjË aÖÄÍÁ jÄ±Ë ÝjÜjÁ^Ë ÁjÄ ÖÁWjÄËw ÁËÍ jËW j~jÄË? aË aÖÄÍÁßË ¬Á wjÄÄ ? ÄË?Áj ¾ÍËÄÖwxW j ÍËÍ Ë ? Í? Ë Í ÄËÁj¬ÖÍ?Í Ë ËÍ jË ~ ÍjÁ ±Ë WÁj?ÄjÄË Ë ÍÖ Í ËwjjÄË j? ÄËÍ ?ÍËÍ jËÄ¬jWÍÁÖ Ë wËÍ ÄjË W Ä ajÁ ~Ëw?Ä Ë?ÄË?ËW?ÁjjÁË ÄË ?ÁÁ Ý ~±Ë ÍjÁ ?Í ? ËW Í jÄË? aË~ ÜjÁ j ÍÄË?ÁjË ~ËÍ Ë ÝË a Ë? aËÍ jË2 Ë ?ÄË ?W jÜjaË ÍÄËÁj¬ÖÍ?Í Ëw ÁË Ü?Í Ë? aË WÁj?Í Ü ÍßË Ëw?Ä Ë? aË?ÁjË ÜjÄÍ ~Ë Ë j Ö ?Í ~Ë ÖÁËw?Ä ËjaÖW?Í ±Ë wËÝjËa ¾ÍË a ËÍ jËÄ? jËÝjË?ÁjË?ÍËÁ Ä Ë wË Ä ~Ë jË wË ÖÁËW Ö ÍÁß¾ÄË jßËW ¬jÍ Í ÜjË?aÜ? Í?~jÄËqË Í jËWÁj?Í Ë wËÍ? j Í±Ë+ Í W ? ÄË ÖÄÍËj ÄÖÁjË Í j ÁË?WÍ ÄËa Ë ÍËa? ?~jËÍ jË?ÄÄjÍÄËÝjË ? Áj?aßË ?Üj±Ë0 ËÁj ? Ë~ M? ßËW ¬jÍ Í Üj^Ë Í jËwÖ a ~Ë wË ÖÁËw?Ä ËW j~jÄË? aË aj¬?ÁÍ j ÍÄË jjaÄË¬Á ÍjWÍ ~±ËË

0 jË aÖÄÍÁßË ÖÄÍËW Í ÖjË ÍÄËjww ÁÍÄËÍ ËwÖ ßË ?¬Ë? Ëw?Ä ËW?ÁjjÁËÁ ÖÍjÄ^Ëj ÄÖÁ ~ËÍ jßË ?ÁjË¬Á wjÄÄ ? ÄjaË?ÍË? ËÄÍ?~jÄËÍ Ë ? jË Í jË ÄÍË wË ÖÁËÍ? j Í^Ë? aËjÄÍ?M Ä ~Ë jÝË¶Ö? xW?Í ÄË? aË ÄÍ ÍÖÍ ÄËÝ jÁjË Áj¶Ö Ája±Ë ËwÁjÄ Ë?¬¬Á ?W ËÍ ËÜ W?Í ? Ë ÍÁ? ~Ëw ÁËw?Ä ËÄ Ö aËMjËajÜj ¬jaËÝ Í Ë . ÄjÍ^Ë W Öa ~ËÍ jË¬ Íj Í ? ËÍ ËjÄÍ?M Ä Ë ?Ë Á Ö¬Ë0Á? ~Ë ÄÄ W ?Í ËÍ ËW Áa ?ÍjË jßËÍÁ? ~ËÁj¶Ö Áj j ÍÄ±Ë0 ÄËÄ Ö aË ? Ä Ë W ÖajËMÖ a ~Ë ËÍ jË ?Ä Ë ÄË ? aËajÜj ¬ ~Ë ÄËMjÍÝjj Ëw?Ä Ë? aË MÖÄ jÄÄËÄW ÄËÍ ËajÜj ¬Ë j?ajÁÄ ¬Ë? aË j ÍÁj¬Áj jÖÁ ? Ë¬Á ~Á? jÄËÍ?Á~jÍjaË?ÍË Ä ? ËMÖÄ jÄÄjÄ± WÁ ÄÄËÍ jËM ?Áa^ËÍ jË¬Á Á ÍßË ÄËÍ Ë Íj~Á?ÍjË Í ¬ ÍW ËMÖÄ jÄÄËjÞ¬jÁÍ ÄjË? aËÍjW W? Ë Ä ÄËÝ Í Ë ÖÁË ~ jÄÍ?M Ä jaËÁj¬ÖÍ?Í Ëw ÁË WÁj?Í ÜjËMÁ ? Wj±

~Á?Í ËÁjÄÍÁ WÍ ÄËÍ ?ÍË¬ÁjÜj ÍË ÍjÁ ?Í ? ËÄÍÖaj ÍÄËwÁ ËMÖ a ~Ë ÄÖÄÍ? ?M jËÁj ?Í Ä ¬ÄËÝ Í Ë2 M?ÄjaË MÖÄ jÄÄjÄ^Ë ÁËÁjÄÍÁ WÍËÍ jË?Ü? ?M ÍßË wËÄÍ?ww^Ë ?ÁjË?Ë¬Á M j Ë ÍË ßËw ÁËÍ jËÄjWÍ Á¾ÄËwÖÍÖÁjË ~Á ÝÍ ËMÖÍË? Ä Ëw ÁËÍ jË~ M? Ë?ÍÍÁ?WÍ Üj jÄÄË wË ÖÁËw?Ä ËW j~jÄ±

“DESIGNERS IN THE UK UNIQUELY COME OUT OF ART COLLEGE RATHER THAN DEDICATED FASHION COLLEGES: THIS MAKES BRITAIN UNIQUE IN THE WORLD.” LOUISE WILSON, DIRECTOR, MA COURSE, CENTRAL SAINT MARTINS 111

Appendix 3 åoËVËFuture of FashionËVË-jÍ?

Retail

112

Future of fashion strategic considerations for growth å ËVËFuture of FashionËVË-jÍ?

One of the strengths of the British fashion industry is the strong links between the designers and retailers. There are responsive feedback mechanisms between the two: the trends and innovations created by the designs shown on the catwalk drive consumer demand and engagement, by reflecting these trends the high street brings fashion sensibility to a broad audience. Through working directly with designers and creating accessibly priced ranges, retailers not only provide the designer with much needed income but also high levels of awareness. In addition to this, many of our high street fashion brands support the overall talent pool through their relationship with the British Fashion Council, support and sponsorship of London Fashion Week and contribution to the talent pathway schemes available to young designers from college upwards. It has been a winning formula in recent years, with London’s and the UK’s retail landscape, including high street, department stores and global luxury brands attracting tourists to the UK, coming specifically to shop. To fully understand the forces at work, and so better be able to exploit them, government needs to accept that retail fashion is an integral part of the creative sector. Thinking of it in this way will incentivise more supportive policies.

113

Appendix 3

¤åËVËFuture of FashionËVË-jÍ?

2.1. Retail impact

+j ¬ jË?ÁjË WÁj?Ä ~ ßËÄ¬j a ~Ë ÁjË Ë Ý ?ÍËÍ jßËÝj?Á±Ë ËÍ jËÔå¤åËÁj¬ ÁÍ^Ë0 jË 7? ÖjË wË ?Ä ^Ë#Þw ÁaË W WÄË? aË Í jË Á Í Ä Ë ?Ä Ë Ö W ËÄ ÝjaËÍ ?ÍËÍ jË Ü? ÖjË wËÍ jËÁjÍ? Ë ?Á jÍËqËMjË ÍËw ÁËW Í ~^Ë jÝj jÁßË ÁËw ÍÝj?ÁËqËÁ ÄjËMßË?Á Ö aË Ïå°Ë ËÍ jË¬ÁjWja ~ËÍj Ëßj?ÁÄ±Ë jÄ¬ ÍjË W ? j ~ ~ËÍÁ?a ~ËW a Í Ä^ËÍ jËÄjWÍ ÁË W Í ÖjÄËÍ ËW ÍÁ MÖÍjËÄ ~ xW? Í ßËÍ ËÍ jË Á Í Ä ËjW ß± # jËÁjÍ? Ë ÄË? Ë?Áj?Ë wË~Á ÝÍ ^ËÝ Í Ë ? ßË Á Í Ä ËMÖÄ jÄÄjÄËÄÖW Ë?ÄË!jÍ ? + ÁÍjÁË j?a ~Ë Ü?Í Ë ËÍ ÄË?Áj?^ËjÄÍ?M Ä ~Ë ? aËajÜj ¬ ~Ë?Ë ß? Ë~ M? Ë ?Á jÍ±Ë0 jË ?Á jÍËÁjÄj?ÁW ËW ¬? ßË Íj Ë ?ÄËÄ Ý Ë Í ?ÍË jËw?Ä ËÄ? jÄËÁ ÄjËMßË¤yÔ°Ë wÁ ËÔååyËÍ ËÔå¤å±Ë ajjaËMßËÔå¤å^Ë jË Ë Í ÁjjË Á Í Ä Ë¬j ¬ jËÝjÁjËMÖß ~ËÍ j ÁËW Í jÄË j^ËÝ Í ËÍ ?ÍË¬Á ¬ ÁÍ ËÁ Ä ~ËÁ?¬ a ß±Ë 2 Ë jËw?Ä ËÄ? jÄË?ÁjËjÞ¬jWÍjaËÍ ËMjË Ý ÁÍ ËÌÈM ËMßËÔå¤y±

“ON-LINE FASHION SALES ARE EXPECTED TO BE WORTH £7BN BY 2015.” MINTEL

0 ÖÁ Ä Ë ?ÄË? Ä ËMjj Ë?Ëw?WÍ ÁË ËÁjÍ? Ë ÄÖWWjÄÄ±Ë Ë¶Ö?ÁÍjÁË wË?Ë ËÍ ÖÁ ÄÍÄËW ÍjË »Ä ¬¬ ~¼Ë?ÄËÍ j ÁË ? ËÁj?Ä Ëw ÁËW ~Ë Í ËÍ jË2 Ë? Ö? ß^Ë?WW Áa ~ËÍ Ë7 Ä Í Á Í? ^Ë Ý ÁÍ Ë?Á Ö aËÌ|¤ Ë ËÄ? jÄËÍ ËÍ jËw?Ä Ë ÄjWÍ Á±Ë ?Ä ËÍ ÖÁ Ä ËwÁ Ë ? ? aË ?Ë ?ÄËÄjj Ë?ËÄ ~ xW? ÍË WÁj?ÄjË ÜjÁËÍ jË ¬?ÄÍËwjÝËßj?ÁÄ^ËÝ Í Ë ? ßË j?a ~ËÁjÍ? jÁÄË ÍÁ aÖW ~Ë ?Ë2 Ë+?ßË? aËÄjj ~Ë ÄÍ?wwËÝ ËÄ¬j? Ë ? a?Á ËÍ Ë ?Þ ÄjË Ë Í ÄË ¬¬ ÁÍÖ Íß± #wËÍ jËo¤É^åååË MÄË ËÍ jËw?Ä Ë aÖÄÍÁßË ËÔåå ^ËÉÉå^åååËÝjÁjË ËÁjÍ? ^Ë ? ßË wË Í jÄjË?ÁjËÍ jËxÁÄÍËÄÍj¬ÄË Í Ëj ¬ ß j ÍË w ÁËß Ö ~Ë¬j ¬ jËqË ÁjËÍ ? Ë ? wË wËÁjÍ? Ë w?Ä ËÝ Á jÁÄË?ÁjËÖ ajÁËÏåËßj?ÁÄË a±Ë

“GOVERNMENT NEEDS TO ACCEPT THAT RETAIL FASHION IS PART OF THE CREATIVE SECTOR.” VALUE OF FASHION REPORT

114

Future of fashion strategic considerations for growth ¤¤ËVËFuture of FashionËVË-jÍ?

2.2. High fashion meets high street

2.3. 2012 Opportunities

Á Í Ä ËÁjÍ? jÁÄËÝjÁjËÍ jËxÁÄÍË ËÍ jËÝ Á aËÍ Ë MÁ ~Ë ? jaËajÄ ~ jÁËW jWÍ ÄË Í ËÍ jË ~ ËÄÍÁjjÍ^Ëaj WÁ?Í Ä ~ËÍ jË ~ Ëj aË wË w?Ä ±Ë0 ÄËßj?ÁË0 ¬Ä ¬ËWj jMÁ?ÍjÄË ÍÄË¤åË ßj?ÁÄË wËÄÖ¬¬ ÁÍ ~Ë! 8 !ËajÄ ~ jÁÄË?ÍË a Ë ?Ä Ë8jj Ë®Í jË Á Í Ä Ë ?Ä Ë

Ö W ¾ÄË ~jÄÍËÄÍ? a ~Ë? aË ~ jÄÍË¬Á x jË j jÁ~ ~ËÍ? j ÍËÄÖ¬¬ ÁÍËÄW j j¯±Ë0 Á Ö~ Ë Í ÄËÄ¬ Ä ÁÄ ¬Ë? aËÁj ?Í Ä ¬ËÝ Í Ë ajÄ ~ jÁÄË0 ¬Ä ¬Ë ?ÄËMjW jËÄß ß ÖÄË Ý Í ËÍÁj aË? aËß Ö ~Ë Á Í Ä ËÍ? j Í±Ë.jÜjÁ? Ë Á Í Ä ËÁjÍ? jÁÄËÄÖW Ë?ÄË ?Á ÄËFË.¬j WjÁ^Ë - ÜjÁË Ä ? aË? aË!jÝË Ë ÝËW ?M Á?ÍjË Ý Í Ë Á Í Ä ËajÄ ~ jÁÄ^ËÍ jË½ jÄ ~ jÁÄË?ÍË

jMj ? Ä¾ËW Wj¬ÍËÄÖ¬¬ ÁÍÄËÍ jËÄÖWWjÄÄË wË ? ßË Á Í Ä ËajÄ ~ jÁËMÖÄ jÄÄjÄ±Ë0 jÁjË ÄË ÝË?ËÄß M Í WËÁj ?Í Ä ¬ËMjÍÝjj ËÍ jË ~ ËÄÍÁjjÍË? aËÍ jËW?ÍÝ? ÄË ËÍ jË2 ^ËÝ Í Ë ÁjÄ¬ Ä ÜjËwjjaM?W Ë ¬ÄËÝ Á ~Ë ËM Í Ë a ÁjWÍ Ä±Ë#Í jÁÝ ÄjË Ý Ë?ÄË?Ë½aß ? WË aj ? aËWßW j¾^ËÝ jÁjË Ü?Í ÜjËWÖÍÍ ~ ja~jË Í? j ÍËwÁ ËÍ jËW?ÍÝ? ÄË ÄË ?ajË?Ü? ?M jËÍ Ë ÁjÍ? ËWÖÄÍ jÁÄË?ÍË?ww Áa?M jË¬Á WjÄ^ËÝ W Ë Ë ÍÖÁ Ë¬ Ö~ ÄËÁjÄ ÖÁWjÄËM?W Ë Í ËÍ jËÍ ¬Ëj aË wËÍ jËÄjWÍ Á±Ë

0 jË a Ë# ß ¬ WÄË? aË ? aË ÖM jjË ËÔå¤ÔË~ ÜjÄË?Ë Wj ? wjÍ jË ¬¬ ÁÍÖ ÍßËÍ ËW ? j ËÍ jË?ÍÍj Í Ë wË Í jËÝ Á a^Ë? aËÍ jË ÄË wËÜ Ä Í ÁÄËÍ Ë Í jË2 ËÍ ÄËßj?Á^ËÍ Ý?ÁaÄË Á Í Ä Ëw?Ä ±Ë 0 jË ÖÄÍÁ? ? Ë¬Á ¬jÁÍßË~Á Ö¬^Ë8jÄÍxj aË . ¬¬ ~Ë0 Ý Ä^ËÝ?ÄË¶Ö W ËÍ ËÁjW ~ ÄjË Í ÄËÝ Í ËÍ jËajÜj ¬ j ÍË wËÍ jË8jÄÍxj aË .ÍÁ?Íw ÁaËÄ ¬¬ ~ËWj ÍÁj±Ë0 jË~ ÜjÁ j ÍË Ä Ö aËÄjj ËÍ Ë ?Þ ÄjËÍ jË ¬¬ ÁÍÖ Í jÄË w ÁË Á Í Ä Ëw?Ä ËwÁ ËÍ jË# ß ¬ WÄ^Ë j ÄÖÁ ~ËÍ ?ÍËÍÁ?Üj ËMjÍÝjj ËÍ jË~? jÄË ? aËÄ ¬ÄË ÄËÄj? jÄÄ±

0 jËW ? j ~jË ÄËx a ~ËÍ jËÍ ÄËÍ ËjÞ¬ ? Ë Í ÄËÍ Ë¬ WßË ? jÁÄ±Ë ÍË¬ÁjÄj Í^ËÁjÍ? Ë w?Ä Ë ÄË ÍË W ÖajaË ËÍ jË~ ÜjÁ j Í¾ÄË ajx Í Ë wËÍ jËWÁj?Í ÜjË aÖÄÍÁ jÄË? aËÄ Ë ÍÄËÍÁÖjË ?ÍÖÁjË ÄË ÍËW?¬ÍÖÁja±Ë0 ÄË ÄË? Ë ? ? ßËrË w^Ëw ÁËjÞ? ¬ j^ËWÁj?Í ÜjËÍ? j ÍË Ë Íj jÜ Ä Ë jaËÍ Ë?Ë¬Á ~Á? jËMj ~ËÝ?ÍW jaË MßË Ä^Ë ÍÄËjW WË ¬?WÍË ÄËW?¬ÍÖÁjaË ?ÄË¬?ÁÍË wËÍ jËWÁj?Í ÜjË aÖÄÍÁ jÄË? aË¬ WßË ?ÍÍj Í Ë ÄËÍ j Ëw WÖÄjaË ËÁj¬ W?Í ~Ë Í ?ÍËÄÖWWjÄÄ±Ë ÖÍË wË?ËWÁj?Í ÜjËÍ? j ÍË Ëw?Ä Ë j?aÄËÍ Ë ?Ë~?Á j ÍËMj ~Ë¬ÖÁW ?ÄjaËMßË Ä^Ë Í jËjW WË ¬?WÍË wËÍ ?ÍË ÄË jÁj ßË W?Íj~ Á ÄjaË?ÄË½ÁjÍ? ¾^ËÝ Í Ë ÍÄË ÄËÍ ËÍ jË ajÄ ~ jÁËÄjWÍ ÁËÖ Í WjaË? aËMj ÝËÍ jË Á?a?ÁË wË?WÍ ÜjË¬ WßËajÜj ¬ j Í±

ÖÁ ~ËÍ jË# ß ¬ WÄË? aËMjß a^ËÍ jÁjË Ä Ö aËMjË Ë ÖÁa jÄËÍ Ë ?Þ Ä ~ËÍ jË Ö MjÁË wËÍ ÖÁ ÄÍËÜ Ä?ÄËÍ ?ÍË?ÁjË ÄÄÖjaËÍ Ë ¬ Íj Í ? ËÄ ¬¬jÁÄ^Ë¬?ÁÍ WÖ ?Á ßËwÁ ËÍ jË Á?¬ a ßË~Á Ý ~Ë jÄjË ?Á jÍ±Ë

“THE OLYMPICS AND THE DIAMOND JUBILEE PROVIDE A REAL SPOTLIGHT ON LONDON AND BRITAIN. TO THE EYES OF THE WORLD THERE WILL BE A FOCUS ON US.” ANNE PITCHER, MANAGING DIRECTOR, SELFRIDGES

115

Appendix 3 ¤ÔËVËFuture of FashionËVË ? Öw?WÍÖÁ ~

Manufacturing

116

Future of fashion strategic considerations for growth ¤ÏËVËFuture of FashionËVË ? Öw?WÍÖÁ ~

Britain’s manufacturing base has shrunk in the last few decades, and within that the demise of fashion manufacturing has been even more acute. But there are still some opportunities for UK fashion manufacturing, such as quality and luxury products. Over half the designers showing at London Fashion Week make some of their collections in the UK. Similarly retailers such as John Lewis and Topman have recently begun to understand the positive consumer response that comes from championing those products that are made in Britain. Designers including Aquascutum, Burberry, Mulberry and Victoria Beckham proudly sew ‘Made in Britain’ into the garments and products they make here. In order to build on these encouraging developments, the industry must come together carrying forward the work of the Fashion Manufacturing Alliance (British Fashion Council, Centre of Fashion Enterprise, Skillset and UKFT). It needs to identify latent demand for UK manufacturing facilities, and work to plug the gaps and build the necessary skills to optimise this opportunity. “WE NEED AS MUCH FOCUS ON THE NEXT GENERATION OF PRODUCTION TALENT AS THERE HAS RECENTLY BEEN ON NEW DESIGN TALENT. WE NEED TO TEACH YOUNG PEOPLE HOW MANUFACTURING WORKS, ATTRACT THEM TO THE JOBS AND TEACH THEM THE SKILLS THAT WILL ENABLE US AS A NATION TO COMPLETE THE JOB — TO DESIGN, MAKE AND SELL. THE FASHION RETAIL ACADEMY HAS PROVEN THAT YOUNG PEOPLE WANT TO COME INTO THE BUSINESS, TO LEARN THEIR TRADE AND GET A JOB, WE NEED TO TRAIN YOUNG PEOPLE IN ALL ASPECTS OF THE BUSINESS” SIR PHILIP GREEN, ARCADIA GROUP

117

Appendix 3 ¤|ËVËFuture of FashionËVË ? Öw?WÍÖÁ ~

3.1. The return of manufacturing

3.2. Barriers to re-industrialisation

3.3. Let’s make it in Britain

0 jË ?ÄÍËxwÍjj Ëßj?ÁÄË ?ÜjËÄjj Ë?ËaÁ? ?Í WË w? Ë Ë2 Ë ? Öw?WÍÖÁ ~Ë?ÄËj jÁ~ ~Ë ?Á jÍÄË ?ÜjËMjW jË ÁjËW ¬jÍ Í Üj±Ë#Þw ÁaË W WÄËjÄÍ ?ÍjËÍ ?ÍËÍ jËÜ? ÖjË wË2 Ë w?Ä Ë ? Öw?WÍÖÁ ~Ë ?ÄËw? j ËMßËÍÝ Í ÁaÄËÄ WjË¤ y±Ë

ËÍ ÄË ~ ßËW ¬jÍ Í ÜjË ?Á jÍ^Ë Á Í? ¾ÄË ?aÜ? Í?~jË ÄË ÍÄËÁj¬ÖÍ?Í Ëw ÁË¶Ö? ÍßË? aË Ü?Í Ë ÜjÁË¬Á Wj±Ë0 ÄËÄÖ~~jÄÍÄËÍ ?ÍËÍ jË wÖÍÖÁjË wË Á Í Ä Ëw?Ä Ë ? Öw?WÍÖÁ ~Ë jÄË Ë Ä¬jW ? ÄÍ^Ë ~ ßËÄ jaË¬Á aÖWÍ ËÝ Í Ë? Ë j ¬ ?Ä ÄË ËÍ jËW Wj¬ÍË wËÄ ? Ê?Íj jÁËÍß¬jË Ö ÍÄËÄjÁÜ ~ËÍ jËajÄ ~ jÁËÄjWÍ Á±Ë Á Í? ¾ÄË jÞ ÄÍ ~ËÁj¬ÖÍ?Í Ë ? jÄËÖÄËÝj Ë¬ ?Wja^Ëw ÁË jÞ? ¬ j^ËÍ ËW?¬ Í? ÄjË? aËajÜj ¬ËjÞ ÄÍ ~Ë Wj ÍÁjÄË wËjÞWj j WjËÄÖW Ë?ÄË ÍÝj?Á^Ë j?Í jÁ^ËÍ? Á ~^ËÝ Üj Ë ?ÍjÁ ? ^Ëx Ä ~ÄË ? aËÍÁ ~±Ë

0 jÄjË¬Á M j ÄË?ÁjË ÍË ÄÖÁ Ö Í?M jÇË Í jßË ÖÄÍË jjaËÍ ËMjË¬Á Á Í Äja±Ë ÁÄÍË wË ? ^Ë?Ë ?¬¬ ~ËjÞjÁW ÄjË ÄË jjajaË wËÍ jË jÞ ÄÍ ~Ë ? Öw?WÍÖÁ ~ËW?¬?M ÍßË ËÍ jË2 Ë w?Ä ËÄjWÍ ÁË? aËÍ jËWÖÁÁj ÍËM ÍÍ j jW ÄË jÞ¬jÁ j WjaËMßËajÄ ~ jÁÄË? aËÁjÍ? jÁÄ±Ë Ë ¶Ö W ËÝ ËW Ö aËMjË?ËÁ?ÍjaËa ÁjWÍ ÁßË wË2 Ë ? Öw?WÍÖÁ ~Ë ¬Í ÄËw ÁËÖÄjËMßËajÄ ~ jÁÄ±Ë ËÍ jË ~jÁËÍjÁ ËÍ jËjÞjÁW ÄjËW Ö aËMÁ ~Ë ajÄ ~ jÁÄË? aË ? Öw?WÍÖÁjÁÄËÍ ~jÍ jÁËÄ ËÍ ?ÍË Í jßËW? Ëw Á~jË jÝËÁj ?Í Ä ¬Ä±Ë ÍË ?ßËMj^Ë w ÁËjÞ? ¬ j^ËÍ ?ÍËÍ jÁjË ÄËÖ jÍËaj ? aËÍ Ë ? jËÄ ? ËÄ? ¬ jËM?ÍW jÄË wË jÝËajÄ ~ ÄË Ë W?Í ÄËÍ ?ÍË?ÁjË¬ ßÄ W? ßË j?ÁËÍ jËWÁj?Í ÜjË Wj ÍÁjÄÇËÍ ÄË ËÍÖÁ ËW Ö aËMjË?ËÖÄjwÖ ËÝ?ßËÍ Ë j ÄÖÁjËÍ ?ÍË Á Í Ä Ë ? Öw?WÍÖÁ ~ËÄ ÄË?ÁjË j¬ÍËÖ¬ Í a?Íj±

ÁjËÁjWj Í ß^Ë ÝjÜjÁ^ËÄ jËW ¬? jÄË ?ÜjËÄÍ?ÁÍjaËÍ ËÄjjËÍ jËMj jxÍÄË wË ? Öw?WÍÖÁ ~Ë Ë Á Í? ^ËM Í Ë ËÍjÁ ÄË wË ÁjaÖW ~ËW?ÁM Ëj ÄÄ ÄËÍ Á Ö~ Ë jÄÄË ÍÁ?Üj ^Ë~Áj?ÍjÁË¬Á aÖWÍ ËzjÞ M ÍßË? aË ¬ Ä Í ÜjËMÁ? aË?ÄÄ W ?Í ±Ë 0 ¬ ? ËÖÄjaË ?ÁÁ ÄË0ÝjjaËÍ ËWÁj?ÍjË?ËÖ ¶ÖjË W jWÍ Ëw ÁËÍ jË ?ÄÍËÍÝ ËÄj?Ä ÄËÝ W Ë ?ÄË Ä aË ÖÍ±Ë0 jßË? Ä Ë ?aË?ËÄÖWWjÄÄwÖ Ë½ ?ajË Ë ~ ? a¾ËÍÁ?a Í ? ËÍ? Á ~ËÁ? ~j±Ë Ë jÝ ÄË ÄË ÍÁ aÖW ~Ë?Ë jÝË½ ?ajË Ë ¾Ë ?Mj Ë? aË ÄËÍÁ? ~Ë ÍÄËMÖßjÁÄËÍ Ë WÁj?ÄjË Í jË Ö MjÁË wË¬Á aÖWÍÄËÍ ?ÍË¶Ö? wßËw ÁË Í±Ë ? ßË wË a ¾ÄËajÄ ~ ËW Ö ÍßË ¬Á aÖWjËÄ jË wËÍ j ÁËW jWÍ ÄË Ë a ±Ë8 ÄÍËÍ jÁjË?ÁjËW ? j ~jÄË?Á Ö aË ¬Á WjË? aËW?¬?W Íß^ËÍ jËW ÄjË ?ÍÖÁjË wË Í jË ? Öw?WÍÖÁ ~Ëw?W Í jÄËj ?M jËj?Ä jÁË ? ?~j j ÍË wË¬Á aÖWÍ ± 0 ËÄÖ¬¬ ÁÍËÍ ÄËÍÁj a^Ë?Ë jÝË jÄ ~ jÁ ? Öw?WÍÖÁjÁË Ü?Í Ë.Ö¬¬ ÁÍË j ÍÁjË ® . ¯ËÝ ËÄ ÁÍ ßË ?Ö W ËÍ Á Ö~ ËÍ jË a Ë

j~jË wË ?Ä ^ËÍ Ë¬Á Ü ajË?aÜ WjË? aË ÄÖ¬¬ ÁÍËÍ ËajÄ ~ jÁÄË? aË ? Öw?WÍÖÁjÁÄË Ë~ M? Ë? aË2 Ëw?Ä ËÄ ÖÁW ~^Ë ÄÖÄÍ? ?M Íß^Ë jÝj jÁßË ? Öw?WÍÖÁjË? aË ajÄ ~ Ë? aËÍjW W? Ë Ü?Í Ä±Ë0 jË2 0Ë ?ÄË? Ë jËa ÁjWÍ ÁßË wË2 ËÄÖ¬¬ jÁÄËÖ ajÁË Í jËÄ ~? Ë½ jÍ¾ÄË ? jË ÍË jÁj¾Ë? aË?Ë jÝË2 Ë ?Ä Ë ÖMË Ë ?ÄÍË a ËÄÍ?ÍjÄË ÍÄË? ËÍ Ë Ö ÍjËÍ jË ? ÄÍÁj? Ë½2 Ëw?Ä Ë? aËÍjÞÍ jË aÖÄÍÁß¾±Ë0 Á Ö~ Ë? jWa Í? ËjÜ aj WjËÍ jÁjË ?¬¬j?ÁÄËÍ ËMjËaj ? aË? aË ¬¬ ÁÍÖ Í jÄË ËÍ ÄË?Áj?^ËÝ Í ËÁjÄ ÖÁWjÄË? aË?Ëw WÖÄjaË ÄÍÁ?Íj~ßËÍ Ë?aaÁjÄÄËÍ jËMÁj?aÍ Ë wËW ? j ~jÄË wÁ ËÄ ÄËÍÁ? ~ËÍ Ë ÜjÄÍ j Í^Ë ÁjËW? Ë WjÁÍ? ßËMjË?W jÜja±

“MAKING IS INNOVATING. WE HAVE REALLY FANTASTIC CREATIVE DESIGNERS IN LONDON WHO RIGHTLY HAVE HAD THE FOCUS, LET’S SUPPORT THEM WITH INNOVATION THROUGH MAKING NOW.” WENDY MALEM, DIRECTOR, CENTRE FOR FASHION ENTERPRISE

118

ÖÍËÝ Á Ë ÄËÁj¶Ö ÁjaË wËÍ ÄË¬ Íj Í ? Ë ÄËÍ ËMjË Áj? Äja±Ë0 jÁjË ÄË?Ë¬Á M j ^Ëw ÁËjÞ? ¬ j^Ë Ë Í jËW?¬?W ÍßËÄ aj±Ë jÄ ~ jÁÄË? aËÁjÍ? jÁÄËa Ë ÍË? Ý?ßÄË ?ÜjËÍ jËW xaj WjËÍ ?ÍË ÁajÁÄË W? ËMjËwÖ x jaËÍ ËÍ jËÁj¶Ö ÁjaËÄÍ? a?ÁaË ËÍ jË 2 ^Ë ÁËÍ ?ÍËÍ jËW?¬?W ÍßËjÞ ÄÍÄËÍ ËÖ ajÁÍ? jË ?Á~j ÄW? jË¬Á aÖWÍ ±Ë0 ÄË ÄË?ËÜ W ÖÄË W ÁW j±Ë wËÍ jË ÁajÁÄË~ Ë?MÁ ?aËÍ j ËÍ jË Á Í Ä Ë Ä ÄËMjW jË MÄ jÍj^Ë ? ~Ë ÍËjÜj Ë jÄÄË j ßËÍ ?ÍËwÖÍÖÁjË ÁajÁÄËÝ ËMjË¬ ?WjaË jÁj±Ë ËÄ ~ xW? ÍË Ö MjÁË wË ? Öw?WÍÖÁjÁÄËÁj¬ ÁÍË ÄÄÖjÄË?Á Ö aË ÜjÄÍ j ÍË? aËW?Ä z ÝËÍ ?ÍË ÁjÄÍÁ WÍËÍ j ÁË~Á ÝÍ ËajÄ¬ ÍjËÍ jËaj ? aËw ÁË Í j ÁË¬Á aÖWÍ± 0 jËÄ ÄËÁj¶Ö ÁjaËÍ Ë ? Öw?WÍÖÁjË?ÍËÍ jË ~ jÄÍË jÜj Ë jWjÄÄ Í?ÍjÄËÍÁ? ~Ë?ÍË?Ë jÜj Ë ÍË¬Á Ü ajaËw ÁË ËÍ jËjÞ ÄÍ ~Ë?¬¬Áj Í WjÄ ¬Ë ? aË¶Ö? xW?Í ËwÁ? jÝ Á ±Ë ÄË?ËÁjÄÖ ÍË ? ßË Ä ? Ë ? Öw?WÍÖÁjÁÄË?ÁjË ~Ë?ÍË ?ÄÍjÁ Ë ÖÁ ¬jËÍ ËÄ ÖÁWjË ?M ÖÁËÍ Ë jjÍË~Á ÝÍ ±Ë 0 ÄË jjaÄËÍ ËMjË?aaÁjÄÄjaËÝ Í Ë. ÄjÍ± Í jÁË ÄÄÖjË ÄË?Á Ö aËÍ jË ?~jË wË MÄË wËÍ ÄËÍß¬j±Ë0 jËWÖÁÁj ÍË ?M ÖÁËw ÁWjË ËÍ jË ÍjÞÍ jË ? Öw?WÍÖÁ ~ËÄjWÍ ÁË ÄË?~j ~ËqË ÉåË¬jÁËWj ÍË?ÁjË ÜjÁË|åËßj?ÁÄË aËqËÝ Í Ë ÍÍ jËj Í ÖÄ ?Ä ËwÁ Ëß Ö ~jÁË¬j ¬ jËÍ Ë j?Á ËÍ j ÁËÄ Ä±Ë ? Öw?WÍÖÁjÁÄËÍ j Äj ÜjÄË?ÁjËwÁ?~ j ÍjaË ? aËÝ Ö aËMj jxÍËwÁ Ë~Áj?ÍjÁËW Áa ?Í ^Ë Ä jÍ ~ËÍ ?ÍËÍ jË ?Ä Ë ? Öw?WÍÖÁ ~Ë ? WjË ?ÄËÄÍ?ÁÍjaËÍ Ë?aaÁjÄÄËÍ Á Ö~ Ë Äj ?ÁÄËÝ jÁjË ? Öw?WÍÖÁjÁÄËW? Ë~jÍË Í ~jÍ jÁËÍ Ëa ÄWÖÄÄË jßË ÄÄÖjÄ± ? ß^ËÍ jÁjË?ÁjË¬Á M j ÄË wË w Á ?Í ±Ë

jÄ ~ jÁÄËajÜj ¬ ~Ë aj?ÄË ?ßË ÍË ÝË Ý ?ÍËW? ËMjËa jËÝ Í ËÍ jË2 ^Ë? aË ¬Á aÖWÍ ËÖ ÍÄË ?ßË ÍË ÝËÝ jÁjËÍ j ÁË ?Á jÍË jÄ±Ë #Þw ÁaË W WÄË ?ÜjËÍ? j Ë?Ë Ë?ÍË 2 Ë ? Öw?WÍÖÁ ~ËÍÁj aÄË ËÍ ÄËÄjWÍ ÁË ÜjÁËÍ jË¬?ÄÍËÍ ÁjjËßj?ÁÄË? aËÖÄ ~Ë#!.Ë a?Í?^Ë? jWa Í? ËjÜ aj WjËwÁ ËÁjÍ? jÁÄË? aË ajÄ ~ jÁËMÖÄ jÄÄjÄ^Ë ?ÜjË?¬¬ jaË?Ë ?WÁ Ë aj ËÍ ËWÁj?ÍjË?ËW ÄjÁÜ?Í ÜjËÄWj ?Á Ë wË Ý ?ÍËW Í ÖjaË WÁj?ÄjÄË Ë2 ËÄ ÖÁW ~Ë ?ßËW ÍÁ MÖÍjËÍ Ë +±

ËÄjWÍ ÁÄËÝ jÁjËÝjË? Áj?aßË ?ÜjË?Ë W ¬?Á?Í ÜjË?aÜ? Í?~j^ËÍ jÁjË jjaÄËÍ ËMjË ?ÄË ÖW Ëw WÖÄË ËÍ jË jÞÍË~j jÁ?Í Ë wË ¬Á aÖWÍ ËÍ? j ÍË?ÄËÍ jÁjË ?ÄËÁjWj Í ßËMjj Ë Ë jÝËajÄ ~ ËÍ? j Í±Ë ?Ä Ë¬Á aÖWÍ Ë jjaÄË? Ë ?~jË ? j ÜjÁ^ËÝ Í Ë ÁjË j ¬ ?Ä ÄË ËW?ÁjjÁÄË ËWÁ?wÍË? aË?ÁÍ Ä? Ä ¬^Ë ? aË jÄÄË ËÍÁ?a Í ? Ë ? Öw?WÍÖÁ ~±Ë ÄË?Ë xÁÄÍËÄÍj¬^ËÍ jË aÖÄÍÁßËÄ Ö aËÝ Á ËÍ Ë¬Á Ü ajË W j?ÁËÁ ÖÍjÄË Í ËWÁ?wÍË?¬¬Áj Í WjÄ ¬ÄËqË ?WWjÄÄ M jË Ë ? ßËa wwjÁj ÍËÝ?ßÄËqËÍ ?ÍË wwjÁËÍjW W? ^ËajÄ ~ jÁ^Ë ?Á jÍ ~^ËÁjÍ? Ë ? aË¬Á aÖWÍ ËjÞ¬jÁ j WjË? aËÄ Ë j ¬Ë ¬Á wjÄÄ ? ÄjËÍ jË½ ? ~¾ËÄ ajË wËÍ jË w?Ä Ë aÖÄÍÁßËÝ ÄÍËÄÍÁj ~Í j ~ËÍ jË Ý jËÄÖ¬¬ ßËW ? ËÝ Í Ë Á Í? ±

“OUR ‘MADE IN ENGLAND’ RANGE OF TRADITIONAL TAILORING SOLD REALLY WELL, THE SPEEDY DELIVERY AND OPPORTUNITY FOR SMALL RUNS IS A REAL BENEFIT TO UK PRODUCTION. IF THERE WERE MORE MANUFACTURING SOURCES IN THE UK, WE WOULD LOOK TO USE THEM.” DAVID SHEPHERD, BRAND DIRECTOR, TOPMAN

Future of fashion strategic considerations for growth ¤yËVËFuture of FashionËVË ? Öw?WÍÖÁ ~

Oxford Economics Manufacturing Data Regional breakdown of UK fashion industry manufacturing in 2011

Manchester 7 ®Ì Ä¯ ÍÝj?Á

MÄ

Leeds 7 ®Ì Ä¯

Northampton MÄ

7 ®Ì Ä¯

MÄ

Scotland

London

MÄ

7 ®Ì Ä¯

MÄ

7 ®Ì Ä¯

¤ ±|

oÈo

0.3

¤È

Ï±È

ÔÏo

j Ä

3.4

¤ Ô

13.0

Ïo¤

0.4

ÔÈ±Ï

¤^||

¤o±É

¤^¤oÏ

8 j Ä

È±|

420

±å

ÔÉ|

1.5

45.2

Ô^Ï Ï

É¤±

Ï^ Ï|

aÁj Ä

1.5

0.3

0.2

yÔÈ

4.0

253

Ä jÍ WÄÊ j?ÖÍß

0.1

¤È±

| |

0.2

¤È±É

|ÉÏ

¤o±y

341

¤±o

ÔÉ

jÝj jÁßËFË8?ÍW jÄ

å±È

0.1

12.0

Ï y

oy±

¤^ÉÏÔ

WWjÄÄ Á jÄ

0.4

0.3

3.5

¤oÉ

4.1

ÔÉÔ

Ö~~?~jËFË ?~Ä

0.1

Ëq

å±

Ô±o

ÉÏ

15.4

Ô|

? Á

0.5

¤È

1.4

4.2

±o

Ô É

11.2

¤ É

~jÁ j

0.1

0.3

¤È

Ï±É

ÔÔ

Total

14.2

776

44.2

1,211

27.4

1,078

128.8

5,806

226.9

8,516

UK Clothing and Footwear

£mns

Jobs 1,000’s

2,500

Forecast

2,000

GVA (LHS) Employment

70 60 50

1,500

40 1,000

30 20

500

10 0

0 2009

2010

2011

2012

2013

2014

2015

Key Findings qË ?Ä ¾ÄËÄ ?ÁjË wË ? Öw?WÍÖÁ ~ ÖÍ¬ÖÍË ?ÄË~Á Ý ËÄ WjËÔåå ±Ë ÍÄËÄ ?ÁjË wË ? Öw?WÍÖÁ ~Ëj ¬ ß j ÍË ÖÍ¬ÖÍË ?ÄË ~Á Ý ËwÁ ËÔ±å°ËÍ ËÔ±y°ËMjÍÝjj ËÔåå Ë ? aËÔå¤åË? aËÝ?ÄËjÄÍ ?ÍjaËÍ Ë~Á ÝËÄÍ Ë wÖÁÍ jÁËÍ ËÔ±È°Ë ËÔå¤¤± qË ?Í?Ë a W?ÍjÄËÍ ?ÍËÍ jË2 Ëw?Ä Ë ? Öw?WÍÖÁ ~ËÄjWÍ ÁËw?WjaËjÞÍÁj j ßË Í Ö~ ËÍÁ?a ~ËW a Í ÄË ËÔåå ± 8 jËÍ jËÍÖÁ ÜjÁË wËÍ jËÝj?Á ~Ë?¬¬?Áj Ë ? Öw?WÍÖÁ ~Ë aÖÄÍÁßËwj ËMßËo°Ë ®W ¬?ÁjaËÍ Ë?Ë¤å°Ëw? Ëw ÁË ? Öw?WÍÖÁ ~Ë ?ÄË?ËÝ j¯ËÜ? ÖjË?aajaË¬ Ö jÍjaËMßË ÔÈ°Ë a W?Í ~Ë?ËÄjÜjÁjËÄ¶ÖjjãjË Ë ¬Á xÍË ?Á~ Ä± qË0 jË~ aË jÝÄË ÄËÍ ?ÍËw?Ä Ë ? Öw?WÍÖÁ ~Ë ÄËÁjW ÜjÁ ~ËW ¬?Á?Í Üj ßË ¶Ö W ß^ËÝ Í ËajÄ ~ jÁËMÁ? aÄË? aËÍ jË ~ ËÄÍÁjjÍË¬Á Í ~Ë Á Í Ä Ë¬Á Üj ? Wj^Ë jÁ Í?~jË? aË ÖÞÖÁß±Ë#Þw ÁaË W WÄË jÄÍ ?ÍjËÍ ?ÍËw?Ä ¾ÄËÄ ?ÁjË wË ? Öw?WÍÖÁ ~Ë 7 ËÁ ÄjËwÁ Ë¤±Ï°Ë ËÔåå ËÍ Ë¤±È°Ë ËÔå¤¤±

qË0 jËx~ÖÁjÄËw ÁËÔå¤Ô Ôå¤yË?ÁjËM?ÄjaË Ë WÖÁÁj ÍËa?Í?Ë? aË? jWa Í? ËwjjaM?W ËwÁ Ë ÁjÍ? jÁÄË? aËajÄ ~ jÁÄËÁj~?Áa ~ËÍ j ÁË WÁj?ÄjË Ë2 ËÄ ÖÁW ~Ë ÜjÁËÍ jË¬?ÄÍË ¤ÔË Í Ä±Ë#Þw ÁaË W WÄËÖÄjaËÍ ÄË a?Í?ËÍ ËWÁj?ÍjË?ËÄWj ?Á ËÍ ?ÍËÄ?ÝËÍ ÄË ~Á ÝÍ ËÁ?ÍjËW Í ÖjËßj?ÁË Ëßj?ÁËÖ Í Ë Ôå¤y±Ë ?ÄjaË ËÍ ÄËÄWj ?Á Ë? aËWÖÁÁj ÍË ~Á ÝÍ ËÁ?ÍjËÍ jË2 ËW Ö aËÄjjËw?Ä Ë ? Öw?WÍÖÁ ~Ë® ÁjË ?ÁÁ Ý ßËajx jaË Í Ë W ÖajË ÖÄÍËW Í ~Ë? aËw ÍÝj?Á¯Ë W ÍÁ MÖÍjËÌÔ±¤M ËÍ Ë +Ë? aËÉo^ ååË MÄ^Ë? Ë WÁj?ÄjË wËÈ °Ë? aË|È°Ë ÁjÄ¬jWÍ Üj ßË Ë ÖÄÍËw ÖÁËßj?ÁÄËwÁ ËÌ¤±ÔM Ë +ËW ÍÁ MÖÍ Ë? aË|É^ ååË MÄ±

qË0 jÁjË ÄË? Ä Ë?ËÁ Ä Ë jÁj^ËÝ Í Ë? Ë?~j ~Ë ¬ ¬Ö ?Í Ë Ë ? Öw?WÍÖÁ ~^Ë wË Ë?WÍ Ë ÄËÍ? j ËÍ ËÍÁ? Ë? aËajÜj ¬Ë ?M ÖÁË w ÁWjÄË ËjÞ ÄÍ ~Ë ? Öw?WÍÖÁ ~ËÖ ÍÄ^Ë ~Á ÝÍ ËÝ ËMjË ÍjaË? aËÝ ËajW jË ËÍ jË ~jÁËÍjÁ ± qË0 jË~Áj?ÍËÍ ~Ë?M ÖÍË2 Ëw?Ä Ë ? Öw?WÍÖÁ ~Ë ÄËÍ ?ÍËÍ jÁjË?ÁjË¬ W jÍÄË wË jÞWj j Wj^ËjÞ¬jÁ j WjË? aËÄ ÄËÍ Á Ö~ ÖÍË Í jËW Ö ÍÁß±Ë#Þw ÁaË W WÄËÁjÜ jÝjaË Ä jË wËÍ jÄjË jßË?Áj?ÄË aj Í xjaË ËÍ jË Ôå¤åË7? ÖjË wË ?Ä Ë-j¬ ÁÍ±

qË8 Í Ë WÁj?ÄjaË ÜjÄÍ j ÍË? aËÄÖ¬¬ ÁÍË w ÁËÍ jË ? Öw?WÍÖÁ ~ËÄjWÍ ÁË ÍË ÄË¬ ÄÄ M jË Í jÄjË~Á ÝÍ ËÁ?ÍjÄËW Ö aËMjË?W jÜjaËÝ Í Ë ¬ Íj Í ? Ëw ÁË?Ë ÁjËÄ ~ xW? ÍË ¬?WÍ±

119

Appendix 3 ¤ÉËVËFuture of FashionËVË0? j ÍË Áj?Í Ë? aË jÜj ¬ j Í

Talent Creation and Development

120

Future of fashion strategic considerations for growth ¤ÈËVËFuture of FashionËVË0? j ÍË Áj?Í Ë? aË jÜj ¬ j Í

The priority is to build a global market for British fashion talent. Not only does that generate strong economic benefits for UK plc but it also strengthens our international reputation for creative excellence. The industry understands the role that top-end talent plays in engaging consumers and driving sales both at the designer end and throughout the fashion retail business. Indeed design innovation is in many ways the R&D department for the entire industry. Everyone benefits when a young designer is supported from college all the way through to establishing and expanding a global business. We have much to be proud of in the creation and nurturing of UK talent. The challenge going forward is to protect our existing strengths, ensuring for example that London Fashion Week remains a world-class event, whilst accelerating the pace at which that success is translated into the creation of sustainable businesses. London is now known globally for ideas, creativity, and commerciality — we must build on that. “MUCH HARD WORK HAS LED TO BRITAIN BEING TAKEN SERIOUSLY AS A FASHION BUSINESS HUB AS WELL AS A CREATIVE HOT HOUSE.” CAROLINE RUSH, CEO, BRITISH FASHION COUNCIL

121

Appendix 3 ¤oËVËFuture of FashionËVË0? j ÍË Áj?Í Ë? aË jÜj ¬ j Í

4.1. Showcase Success

4.2. BFC Talent Pathway

4.3. Building on our Success

a Ë ?Ä Ë8jj Ë ÄËÍ jËÁ ÖÍjËÍ Á Ö~ Ë Ý W Ë Á Í Ä Ëw?Ä ËajÄ ~ ËÍ? j ÍË ÄË jaË Í Ë ?Á jÍ±Ë ÍË ÄË?Ë¬ j j ? ËÄÖWWjÄÄ^Ë jÄÍ?M Ä ~Ë a Ë?ÄË jË wËÍ jËw ÖÁË ? Ë w?Ä ËW?¬ Í? ÄË ËÍ jËÝ Á a±Ë0Ý WjË?Ëßj?ÁË ÍË?WÍÄË?ÄË?Ë ?~ jÍËw ÁËÍ jË ÄÍË zÖj Í ? Ë ~ M? Ëw?Ä ËW j Í?Í ÁÄ^Ë?ÍÍÁ?WÍÄË ÜjÁË Ì¤åå Ë wË ja ?ËW ÜjÁ?~j^ËM ÄÍ ~ËÍ jË MÁ? aË wË Á Í Ä ËajÄ ~ jÁÄË? aË Á Í? ^Ë? aË MÁ ~ ~Ë ÄË wË¬ Ö aÄË wË?aa Í ? Ë Ä¬j aËÍ ËÍ jË a ËjW ß±

j aËÍ jËW?ÍÝ? Ä^Ë Ö~jËjww ÁÍÄË ?ÜjË~ jË Í Ë ÖÁÍÖÁ ~ËÍ? j ÍËÍ Ë?Ë jÜj Ë wË¶Ö? ÍßË Ý jÁjË ÍËW? Ë aË ÍÄË Ý Ë ËÍ jËÝ Á aË ÄÍ?~jË? aËÍ j ^ËWÁÖW ? ß^ËÍÁ? Ä Í Ë Í Ë?Ë ÄÖÄÍ? ?M jËMÖÄ jÄÄ±Ë0 ÄËÝ Á Ë ?ÄË¬? aË ww]Ë Á Í? Ë ÄË ÝËÍ? j ËÄjÁ ÖÄ ßË?ÄË?Ëw?Ä Ë MÖÄ jÄÄË ÖMË?ÄËÝj Ë?ÄË?ËWÁj?Í ÜjË ÍË ÖÄj±

! ÝËÍ ?ÍËÝjË ?ÜjË j?Á ÍËÝ ?ÍËÝ Á ÄËÝ j Ë MÁ ~ ~ËajÄ ~ ËÍ? j ÍËÍ Ë ?Á jÍ^Ë ÍË ÄËÍ jË Í Ë¬ÖÍË ÖÁËw ÍË ËÍ jË?WWj jÁ?Í Á±

a Ë ?Ä Ë8jj Ë ÄË?ÍËÍ jËw ÁjwÁ ÍË wË Ü?Í ËqË ÍËÝ?ÄËw ÁËjÞ? ¬ j^ËÍ jËxÁÄÍË ?Ä Ë8jj ËÍ Ë ÜjËÄÍÁj? ËW?ÍÝ? ËÄ ÝÄË ? aËWÁj?ÍjË?Ëaja W?ÍjaËa ~ Í? Ë Ü?Í Ë ÄÍÁ?Íj~ß±Ë0 jË Á Í Ä Ë ?Ä Ë Ö W ^Ë Á~? ÄjÁÄË wË a Ë ?Ä Ë8jj ^ËWÁj?ÍjË jÝËw WÖÄjÄË Ë Á Í Ä ËMÖÄ jÄÄjÄËj?W Ëßj?ÁË Í Á Ö~ ËÍ jËWÁj?Í Ë? aËajÜj ¬ j ÍË wË Í? j ÍËÄÖ¬¬ ÁÍË Í ?Í ÜjÄË ËÁjÄ¬ ÄjËÍ ËÍ jË w?ÄÍË Ü ~Ë jjaÄËw ÁËMÖÄ jÄÄjÄËÍ ËaÁ ÜjË ¬Á x jË? aË~Á ÝÍ Ë ËÍ ÄË~ M? Ë aÖÄÍÁß±Ë 0 ÄËßj?ÁËÍ jË Á Í Ä Ë ?Ä Ë Ö W ËjÞÍj aÄË ÍÄË Í ?Í ÜjÄËÍ Ëj MÁ?WjËx jË jÝj jÁßË ®- W 7?Ö Í¯Ë? aËw?Ä Ëx Ë® ?Ä Ê# Ë ¯±Ë ÍË ?ÄË? Áj?aßË? Ö WjaËÍ jËWÁj?Í Ë wË?Ë MÁ? aË jÝËÄ ÝW?ÄjËw ÁË Á Í Ä Ë j ÄÝj?Á^Ë WÖ ÍÖÁjË? aËÄÍß jË® a Ë jWÍ Ä]Ë j ¯Ë Ý W ËÝ Ë ?Ö W Ë Ë Ö j± aË ÍËÍÁ?Üj ÄËÝj ±Ë0Ý WjË?Ëßj?ÁËÍ jË Á Í Ä Ë ?Ä Ë Ö W ËÍ? jÄË?ËÄj jWÍ Ë wËajÄ ~ jÁÄË Í Ë jjÍË¬Á Ä¬jWÍ ÜjËMÖßjÁÄ^Ë ja ?Ë? aË Í jÁË ¬ Íj Í ? Ë¬?ÁÍ jÁÄÊ zÖj WjÁÄË Ë+?Á Ä^Ë!jÝË : Á ^Ë ÄË ~j jÄ^Ë ~Ë ~^Ë? aËw ÁËÍ jË xÁÄÍËÍ jËÍ ÄËßj?Á^Ë ? ? aË ?± ÄË?ËÁjÄÖ Í^ËÄ? jÄË?ÁjËÖ¬±Ë#Þw ÁaË W WÄË jÄÍ ?ÍjÄËÍ ?ÍËÄ? jÄË wË2 ËajÄ ~ jÁËW Í ~Ë ?ÜjËMjj ËÁ Ä ~ËMßË?Á Ö aËÔå°Ë?Ëßj?ÁË Ë Í jË ?ÄÍËajW?aj^Ë? aË?ÁjËWÖÁÁj Í ßËÝ ÁÍ Ë Ä jÝ jÁjËMjÍÝjj ËÌÔ±yË? aËÌÔ± ËM ±Ë

“THE BRITISH FASHION COUNCIL IS COMMITTED TO ASSISTING DESIGNER BUSINESSES TO GROW AND THE SECTOR TO FLOURISH, SEEKING OUT AND DEVELOPING NEW WAYS TO BUILD PROFILE, AUDIENCE AND OPPORTUNITY” HAROLD TILLMAN, CHAIRMAN, BRITISH FASHION COUNCIL

122

0 jË Ë! 8 !Ë¬Á ~Á? j^Ë ÝË Ë ÍÄË ¤yÍ Ëßj?Á^Ë? aËÄ¬ Ä ÁjaËMßË0 ¬Ä ¬Ëw ÁË Í jË ?ÄÍËÍj Ëßj?ÁÄ^Ë¬Á Ü ajÄËx ? W ? ËÄÖ¬¬ ÁÍË w ÁËÍ jËW ÄÍÄË wËÄ Ý ~Ë?ÍË a Ë ?Ä Ë 8jj ^Ë?ÄËÝj Ë?ÄËMÖÄ jÄÄË j Í Á ~±Ë jÞ? ajÁË W,Öjj ËÝ?ÄË jË wËÍ jËxÁÄÍË ajÄ ~ jÁÄË ËÍ jË¬Á ~Á? jÇË ? ßË Í jÁË ÄÖWWjÄÄjÄË ?ÜjËw Ýja± 0 jË Á Í Ä Ë ?Ä Ë Ö W Ë ÝË¬Á Ü ajÄË ?Ë¬?Í Ý?ßË wËÄÖ¬¬ ÁÍËw ÁËÍ jË ÄÍËÍ? j ÍjaË MÖÄ jÄÄjÄËÍ Á Ö~ ÖÍËÍ jËj?Á ßËßj?ÁÄË wË ajÜj ¬ j Í±Ë Ë¬Á ~Á? jËÝ Í Ë j^ËÍ jË Ê jË0? j ÍË ?Ö W Ë+?a^ËÄÖ¬¬ ÁÍÄË ajÄ ~ jÁÄËÍ ËMÖ aËÁj ?Í Ä ¬ÄËÝ Í Ë ÁjÍ? jÁÄËÍ Á Ö~ ÖÍËÍ jË2 ±Ë Ë ?Ä Ë ÁÝ?ÁaËÄÖ¬¬ ÁÍjaËMßËÍ jË ?ß ÁË wË a ^Ë¬Á Ü ajÄËÄÖ¬¬ ÁÍËw ÁËajÄ ~ jÁÄË¬ ÄÍË ! 8 !ËÍ ËW Í ÖjËÍ ËÄ ÝË? aËajÜj ¬Ë Í j ÁËMÖÄ jÄÄjÄË Ë a ±Ë8 Á ~ËÝ Í Ë 7 ~Öj^ËÍ jË Ê7 ~ÖjË jÄ ~ jÁË ?Ä Ë Ö a^ËajÜj ¬ÄË~ M? Ë¬Á x jË? aË¬Á Ü ajÄË wÁ?ÄÍÁÖWÍÖÁjËÄÖ¬¬ ÁÍ±Ë .j¬?Á?Íj ßË Í jÁË Á~? Ä?Í ÄË W Öa ~Ë ?Ä Ë Á ~jË? aË ?Ä Ë ?ÄÍË Ö ÍË w ÁË jÝËÍ? j ÍË? aËÄÖ¬¬ ÁÍË a Ü aÖ? ÄËÍ Ë ajÜj ¬Ë¬ ÁÍw ÄËÍ ?ÍË?ÁjË~ aËj Ö~ ËÍ Ë Ä ÝË?ÍË a Ë ?Ä Ë8jj ±Ë0 jË j ÍÁjË w ÁË ?Ä Ë ÍjÁ¬Á ÄjË ÄË? Ë WÖM?Í ËÖ ÍË Í ?ÍË¬Á Ü ajÄËÄÍÖa ËÄ¬?WjË? aË j Í Á ~Ë w ÁËajÄ ~ jÁÄË»Ý Ë? Áj?aßË ?ÜjËÍ jË¬ÁjÄÄË MÖãã ~¼^ËÄÖ¬¬ ÁÍ ~ËÍ j Ë?ÄËÍ jßËajÜj ¬Ë Í ËÄÖÄÍ? ?M jËMÖÄ jÄÄjÄ±Ë0 jÁjË?ÁjË? Ä Ë ?Ë Ö MjÁË wË Í jÁË Á~? Ä?Í ÄËÍ ?ÍË Ä ÝW?ÄjË? aËÄÖ¬¬ ÁÍËw?Ä ËÍ? j ÍË Í Á Ö~ ÖÍËÍ jË2 ±

““NINE YEARS AGO THE DESIGNERS IN OUR STABLE WOULD SHOW ON THE CATWALK FOR TWO SEASONS THEN GO BUST, NOW SUSTAINABLE DESIGNER BUSINESSES ARE SEEING THEIR TURNOVER GO UP AND UP AND UP.” WENDY MALEM, DIRECTOR, CENTRE FOR FASHION ENTERPRISE

0 jËxÁÄÍË¬Á Á ÍßË ÖÄÍËMjËÍ ËÄjWÖÁjËÍ jËwÖÍÖÁjË ~Á ÝÍ Ë? aËajÜj ¬ j ÍË wË ÖÁË ~ ßËjwwjWÍ ÜjË Ä ÝW?ÄjÄ±Ë0 jË Á Í Ä Ë ?Ä Ë Ö W ^Ë Ý Á ~ËÝ Í ËÍ jË aÖÄÍÁßË ÖÄÍËa Ë ÍÄË¬?ÁÍËÍ Ë Áj ? ËWÖÍÍ ~ ja~j±Ë ÖÍË¬ Í W ? ÄË ?ÜjË?Ë Á jË?ÄËÝj ±Ë.¬jW xW? ß^ËwÖ a ~Ëw ÁË a Ë ?Ä Ë8jj Ë®Í jË2 ¾ÄË~ M? ËÄ ÝW?ÄjËw ÁË Í? j Í¯ËwÁ ËÍ jË ?ß ÁË wË a Ë ÖÄÍËMjË ¬Á ÍjWÍja±Ë a^ËÍ jË~ ÜjÁ j ÍË?~j WßË2 Ë 0Á?ajË? aË ÜjÄÍ j ÍË®2 0 ¯Ë ÖÄÍËMjËÄÖÁjË Í ËW Í ÖjËwÖ a ~ËÍ jË~ÖjÄÍË¬Á ~Á? j^Ë Í ?ÍËj ?M jÄË ¬ ÁÍ? ÍË zÖj WjÁÄËÍ ËW jË Í Ë a Ë? aËjÞ¬jÁ j WjË ?Ä Ë8jj Ë Ý W Ë ËÍÖÁ Ë~j jÁ?ÍjÄË ÄË wË¬ Ö aÄË wË ja ?ËW ÜjÁ?~jËÁ? Ä ~ËÍ jË¬Á x jË wË Á Í Ä Ë MÖÄ jÄÄjÄ^Ë? aË ÄË wË¬ Ö aÄË wË ÁajÁÄË ÄÖ¬¬ ÁÍ ~Ë~Á ÝÍ ± !jÞÍ^ËÝjË ÖÄÍËjÞ¬? aË ÖÁË ÍjÁ ?Í ? Ë Ä ÝW?ÄjÄË¬?ÁÍ WÖ ?Á ßË Ë jÝË? aËj jÁ~ ~Ë ?Á jÍÄ^ËÄjWÖÁ ~ËM Í Ë¬ÖM WË? aË¬Á Ü?ÍjË ÄÖ¬¬ ÁÍË?ÄËÁj¶Ö Ája±Ë0 jË ÖÁ ¬j? Ë-j~ ? Ë

jÜj ¬ j ÍË Ö aË? aË2 0 Ë ?ÜjËj ?M jaË Í jË Á Í Ä Ë ?Ä Ë Ö W ËÍ Ë W ÄÍ?ÁÍËÍ jË ~ ßËjwwjWÍ ÜjË¬Á ~Á? jË wË a ËÄ ÝË - ÄËÝ Í ËÄÍÁ ~ËÄÖ¬¬ ÁÍËwÁ Ë aÖÄÍÁßË ? M?ÄÄ?a ÁÄË.?Á? Ë ÝjÁË? aË0 Ë ? Ä±Ë 0 ÄË Í ?Í ÜjË ÄË ÝË?Ë¬Á Üj Ë jÍ aË wË ÄÖ¬¬ ÁÍ ~Ëj jÁ~ ~ËÍ? j ÍËÍ Ë~Á ÝË? aË Í jË Á Í Ä Ë ?Ä Ë Ö W ËÍ Ë¬Á ÍjËÍ jË MÁj?aÍ Ë wË Á Í Ä ËÍ? j ÍË ÍjÁ ?Í ? ß±Ë ÍË jjaÄËÄÖ¬¬ ÁÍËÍ ËajÜj ¬ËwÖÁÍ jÁË? aËÍ Ë j ÄÖÁjË ÍËMjW jÄËÄÖÄÍ? ?M jËqË? Ý ~Ë ÍËÍ ËÄÖ¬¬ ÁÍËwÖÍÖÁjË~j jÁ?Í Ä± 0 jË Á Í Ä Ë ?Ä Ë Ö W ¾ÄËjÞ ÄÍ ~ËÍ? j ÍË ¬?Í Ý?ßÄË ÖÄÍËMjËÄÍÁj ~Í j ja^Ë j?Á ~Ë wÁ ËÝ ?ÍËÝ Á Ä^ËÝ Í Ë? Ö Ëj W ÖÁ?~jaË Í Ë~ ÜjË?Ë j ¬ ~Ë ? aËÍ ËwÖÍÖÁjËÍ? j Í±Ë 0 jË Á Í Ä Ë ?Ä Ë Ö W Ë? ÄËÍ ËMÁ ?aj Ë ?WWjÄÄËÍ Ë ÍÄË Ý ja~jËÍ Á Ö~ ËÍ jË Áj ?Ö W Ë wËÍ jË jÄ ~ jÁË ?WÍË j^Ë¬Á Ü a ~Ë ? Ë j^ËÖ¬ËÍ Ëa?Íj^ËjaÖW?Í ËÁjÄ ÖÁWjË ? aË w Á ?Í Ë ÖMËw ÁËj jÁ~ ~ËÍ? j ÍË ? aËajÜj ¬ ~ËMÖÄ jÄÄjÄ± aËx ? ß^ËÍ jË¬Á ~ÁjÄÄËÍ ?ÍË ?ÄËMjj Ë ?ajË ËÄÖ¬¬ ÁÍ ~Ëß Ö ~ËajÄ ~ jÁÄËÍ Ë MÖ aËÄÖÄÍ? ?M jËMÖÄ jÄÄjÄË jjaÄËÍ ËMjË ?WWj jÁ?ÍjaË? aËÁj¬ W?Íja±Ë#ÖÁË? M Í Ë ÄË Í ?ÍË a ËÄ Ö aËW Í ÖjËÍ ËMjËÍ jËMjÄÍË ¬ ?WjË ËÍ jËÝ Á aËÍ Ë WÖM?ÍjË? aË~Á ÝË?Ë w?Ä ËMÖÄ jÄÄËÝ Í ËÄÖ¬¬ ÁÍËÍ Ë~ ËwÁ Ë ÄÍÁj ~Í ËÍ ËÄÍÁj ~Í ±

Future of fashion strategic considerations for growth ¤ ËVËFuture of FashionËVË0? j ÍË Áj?Í Ë? aË jÜj ¬ j Í

BFC Talent Pathway

Designer Support

Events and celebration

Education and Industry Insight

MARKET REPORTS

BUSINESS SUPPORT NETWORK

123

Appendix 3 ÔåËVËFuture of FashionËVË+ ? Í Á ¬ß^Ë.¬ Ä ÁÄ ¬Ë? aË ?M Á?Í Ë

Philanthropy, Sponsorship and Collaboration

124

Future of fashion strategic considerations for growth Ô¤ËVËFuture of FashionËVË+ ? Í Á ¬ß^Ë.¬ Ä ÁÄ ¬Ë? aË ?M Á?Í Ë

Fashion is not just an important contributor to our country’s prosperity; it is also a highly accessible art form. It contributes to our cultural wellbeing as well as our economic lives. British fashion is iconic, capable of capturing the prevailing mood and uniting whole generations. Its ability to engage makes it one of the most democratic of art forms. It allows freedom of expression and encourages experimentation. This not only opens the potential for exciting collaborations between designers and artists but gives opportunities to attract corporate and private funding into the sector. Fashion is shorthand for innovation and dynamism. These are positive brand associations that open the way to sponsorship opportunities. And the brand of Britain itself can benefit from being associated with a strong, youthful and vibrant fashion industry.

125

Appendix 3

ÔÔËVËFuture of FashionËVË+ ? Í Á ¬ß^Ë.¬ Ä ÁÄ ¬Ë? aË ?M Á?Í Ë

5.1. Fashion as an art form

5.2. Dedicated followers of fashion

5.3. Rejuvenating Britain’s Brand

?Ä Ë ÄË jË wË ÖÁË ÄÍËaj WÁ?Í WË?ÁÍË w Á ÄÇË? Ë wËÖÄË?ÁjËÄ?ß ~ËÄ jÍ ~Ë?M ÖÍË ÖÁË¬jÁWj¬Í Ë wËÍ jË Ö ? ËW a Í ËÝ j Ë ÝjËajW ajËÝ ?ÍË ÍË ÄËÝjËÝ? ÍËÍ ËÝj?Á±Ë0 jË ÖÍ¬ÖÍÄË wËÍ jËw?Ä Ë aÖÄÍÁßË ?ÜjË?jÄÍ jÍ WË Ü? ÖjËÍ ?ÍË?wwjWÍËÍ jËÝj Mj ~Ë wËÍ ÄjËÝ ÄjË ÜjÄËÍ jßËÍ ÖW ±Ë

!jÝË?Öa j WjÄË?ÁjË ÝË ~Ë?ÍË Á Í Ä Ë w?Ä ËMÖÄ jÄÄjÄËw ÁË ? ßËa wwjÁj ÍË Áj?Ä Ä±Ë ÜjÄÍ ÁÄË?ÁjË?ÍÍÁ?WÍjaËMßËÍ jË W M ?Í Ë wËWÁj?Í Ü Íß^Ë Ü?Í Ë? aË W jÁW ? ÍßËÍ ?ÍË ÄËW ~Ë ÖÍË wË a Ë Í Á Ö~ ËajÄ ~ jÁË? aË jËMÖÄ jÄÄjÄ±Ë 0 ÄË ÍjÁjÄÍËÄÖ¬¬ ÁÍjaËMßËÍ jË~ ÜjÁ j ÍË .ËÄW j j^Ë ?ÄËÍ jË¬ Íj Í ? ËÍ ËÄjjË?Ë jÝË Ý?ÜjË wË ÜjÄÍ j ÍË Í ËÍ jËÄjWÍ ÁËÍ ?ÍË W Ö aËÄÖ¬¬ ÁÍË~Á ÝÍ ±

0 jËw?Ä Ë aÖÄÍÁßË ÄËÁ ~ Í ßË¬jÁWj ÜjaË?ÄË aß ? W^Ëß Ö ~^ËÜ MÁ? Í^Ë? aË ¬jwÖ ±Ë0 jÄjË ?ÁjË ~ ßËÜ? Ö?M jËW ?Á?WÍjÁ ÄÍ WÄËwÁ Ë Ý W Ë Í jÁËMÁ? aÄËMj jxÍËMßË?ÄÄ W ?Í ±Ë 0 ? ÄËÍ Ë ÍÄËW Íj ÍË? aË Ä¬ Á ~ËWÁj?Í Ü Íß^Ë w?Ä Ë¬Á Ü ajÄË ? ßËMj jxÍÄËw ÁËÄ¬ Ä ÁÄË ®¬?ÁÍ WÖ ?Á ßËÍ Á Ö~ Ë?Ë~ M? Ë¬ ?Íw Á Ë ÄÖW Ë?ÄË a Ë ?Ä Ë8jj ¯±Ë ÍËÁj?W jÄË ÖÍËÍ ËW ÄÖ jÁÄËÝ Í Ëßj?ÁËÁ Ö aËÜ ÄÖ? ßË ?ÁÁjÄÍ ~ËW Íj Í^Ë w Á ?Í Ë ËÍÁj aÄË? aË ?WWjÄÄËÍ ËajÄ ~ jÁÄË? aË Í jÁË ~ Ë¬Á x jË zÖj WjÁÄË Ë? Ëj Ü Á j ÍËÝ jÁjËÍ jßË ?ÁjËÁjWj¬Í Üj±Ë0 jËw?Ä Ë aÖÄÍÁßË ËÍ jË 2 Ë ?ÄË?a?¬ÍjaË¶Ö W ßËÍ ËÍ jË~Á ÝÍ Ë Ë a ~ Í? Ë ja ?^Ëj MÁ?W ~ËÄ W ? Ë ja ?^Ë ÜjË ÄÍÁj? ~^Ëw?Ä Ëx ^Ë? aËÍjW ~ßËÄÖW Ë ?ÄË ÖÁ?Ä ?ËÍ Ëj ? WjËÖÄjÁËjÞ¬jÁ j Wj^Ë? aË Í Á Ö~ ËÍ ÄË WÁj?ÄjË¬Á x jË? aË zÖj WjË ÍjÁ ?Í ? ß±Ë ?ÄjaË Ë#!.Ëa?Í?^Ë#Þw ÁaË W WÄË ?ÜjËjÄÍ ?ÍjaËÍ jËÜ? ÖjË wË Í jË2 Ëa jÄÍ WËMÁ? aËj¶Ö ÍßËÍ ËMjË ?Á Ö aËÌÔåå ±ËË

jW?ÖÄjË wËÍ Ä^ËÍ jÁjË?ÁjË?Ä¬jWÍÄË wËÍ jË w?Ä ËÄjWÍ ÁËÍ ?ÍËMj?ÁË ÁjËÁjÄj M ? WjË Í ËÍ jË?ÁÍÄËÍ ? ËÍ Ë aÖÄÍÁß±Ë8 Í jÄÄ^Ëw ÁË jÞ? ¬ j^ËÍ jË¬ ¬Ö ?Á ÍßË wËw?Ä ËjÞ M Í ÄË ÄÖW Ë?ÄËÍ ÄjË?ÍËÍ jË7 WÍ Á ?Ë? aË MjÁÍË ÖÄjÖ ËÝ W Ë ÄÍÄË?Ë Ë ÍjÁ ?Í ? Ë Ü Ä Í ÁÄË¬jÁËßj?Á± 0 jË Á Í Ä Ë ?Ä Ë Ö W Ë ?ÄËjÄÍ?M Ä jaË Í jË Ê ?ã??ÁË ?Ä Ë ÁÍÄË Ö a?Í Ë Í ËÄ¬ÖÁËW ?M Á?Í ÄËMjÍÝjj Ëw?Ä Ë? aË Í jÁËWÁj?Í ÜjËa ÄW ¬ jÄ±Ë0 ÄË¬ÖÄ jÄËÍ jË M Ö a?Á jÄË wËj?W Ë?ÁÍËw Á Ë? aËMÁ ~ÄË Ë?Ë MÁ ?ajÁËM?ÄjaË?Öa j WjËÍ Á Ö~ ËÍ jË ?ÄÄË ?¬¬j? Ë wËw?Ä ±Ë0 ÄËÝ Á ËÝ Ë? aËÄ Ö aË MjË?WWj jÁ?Íja±Ë 0 ÄËßj?Á^Ëw ÁËjÞ? ¬ j^Ë?ÄË¬?ÁÍË wËÍ jË a Ë Ôå¤ÔË jÄÍ Ü? ^ËÍ jË Á Í Ä Ë ?Ä Ë Ö W Ë ?ÄËW ÄÄ jaË jÝËÝ Á ÄËwÁ ËÜ ÄÖ? Ë ?ÁÍ ÄÍÄË? aËw?Ä ËajÄ ~ jÁÄËÝ Á ~Ë Í ~jÍ jÁËw ÁËÍ jËxÁÄÍËÍ jËÖ ajÁËÍ jËMÁ? aË wË Á Í? Ë Áj?ÍjÄËÔå¤Ô±

Áj?Í Ü ÍßË? aËW ?M Á?Í Ë ËÍ jËÄjWÍ ÁË ?aaËjÞÍÁ?Ëaj¬Í Ë? aË?¬¬j? ËÍ ËW ÄÖ jÁË ?Öa j WjÄË? aË?aajaËÜ? ÖjËÍ ËÍ ÄjË Ä¬ Ä Á ~Ë? aËÄÖ¬¬ ÁÍ ~Ë?WÍ Ü ÍßË ËÍ jË w?Ä ËÄjWÍ Á±

Wj¬ÍÖ? Ä ~Ëw?Ä Ë?ÄË? Ë?ÁÍËw Á Ë ¬j ÄËÖ¬Ë jÝË ¬¬ ÁÍÖ Í jÄËÍ Ë j ¬Ë ÍË~Á Ý±Ë ËÍ jË?ÁÍÄ^ËÍ jËW Wj¬ÍË wË¬?ÍÁ ?~jË ÄË Ýj ËjÄÍ?M Ä ja^ËÝ Í Ë a Ü aÖ? ÄËMjW ~Ë ½¬?ÍÁ ÄË wËÍ jË?ÁÍÄ¾Ë?ÄË?Ë j? ÄË wË~ Ü ~Ë x ? W ? ËÄÖ¬¬ ÁÍËÍ Ë a Ü aÖ? Ä^Ë~Á Ö¬ÄË ÁË Üj ÖjÄ±Ë0 jÁjË ÄË ÝË~Á Ý ~Ë ÍjÁjÄÍË Ë MjW ~Ë?Ë½¬?ÍÁ Ë wËw?Ä ¾Ë?ÄË?Ë ¬?Á? j Ëw Á Ë wË¬ ? Í Á ¬ WË~ Ü ~ËÍ Ë WÁj?Í ÜjË?WÍ Ü Íß±ËË 0 ËW?¬ Í? ÄjË ËÍ ÄË ÍjÁjÄÍ^ËÍ jË Á Í Ä Ë ?Ä Ë Ö W Ë ÄËWÁj?Í ~Ë ÍÄË Ý Ë¬?ÍÁ ?~jË ÄW j j±Ë Í Í jaËÍ jË Ë ?Ä Ë0ÁÖÄÍ^Ë ÍË W Áa ?ÍjÄË?Ë~ M? Ë jÍÝ Á Ë wË¬?ÍÁ ÄË Ý Ë wwjÁËx ? W ? ËÄÖ¬¬ ÁÍ^Ë j Í Á ~Ë? aË ?Ë~ M? ËÄÖ¬¬ ÁÍË jÍÝ Á Ëw ÁËajÄ ~ jÁÄ±Ë0 ÄË Ý Ë W ÖajËÍ jË ¬¬ ÁÍÖ ÍßËw ÁËajÄ ~ jÁÄË Í Ë jjÍË¬ Íj Í ? Ë ÜjÄÍ ÁÄ±Ë0 ÄËÄW j jËÝ Ë MjË wxW ? ßË ?Ö W jaË ?ÍjÁËÍ ÄËßj?Á±Ë

7 a?w j^ËÍ jË jÝË¬Á W ¬? ËÄ¬ Ä ÁËw ÁË a Ë ?Ä Ë8jj Ë? aËÍ Í jËÄ¬ Ä ÁË wË 7 a?w jË a Ë ?Ä Ë8jj j aË ?ÄË ?ajË?ËxÁ ËW Í j ÍËÍ ËÍ jËw?Ä Ë aÖÄÍÁß±Ë0 Á Ö~ ËÍ ÄË¬?ÁÍ jÁÄ ¬^Ë7 a?w jË ÄË?M jËÍ Ë¬Á Ü ajËÖ ¶ÖjË?WWjÄÄËÍ Ë ~ Ë ¬Á x jËw?Ä ËjÜj ÍÄËw ÁË ÍÄËWÖÄÍ jÁÄË Í Á Ö~ ËÍ jË7 a?w jË7 +Ë¬Á ~Á? j^ËMÖÍË ÄË? Ä Ë¬Á Ü a ~Ë?ËÄÍÁ ~Ë¬ ?Íw Á Ëw ÁËajÄ ~ Ë Í? j ÍËÍ Á Ö~ ËÄÖ¬¬ ÁÍË wË a Ë ?Ä Ë 8jj ±Ë ËÍÖÁ ËÍ jË Á Í Ä Ë ?Ä Ë Ö W ¾ÄË Ü?Í Ë¬Á ~Á? jË ÄËj ? WjaËÍ Á Ö~ Ë 7 a?w j¾ÄË Ý ja~jË? aËÁjÄ ÖÁWjÄËÍ Ë ?ÄÄ ÄÍË ËaÁ Ü ~ËMÁ ?ajÁË?Ý?Áj jÄÄË wËw?Ä Ë ¬¬ ÁÍÖ Í jÄËMßË ÍÁ aÖW ~ËWÖÄÍ jÁÄËÍ Ë w?Ä ËMÖÄ jÄÄjÄ±Ë a Ë ?Ä Ë8jj Ë ÝË?ÍÍÁ?WÍÄË~ M? ËMÁ? aÄËÍ ?ÍË?ÁjË ÍË ßË Ä¬ Ä ÁÄËMÖÍË ~ËÍjÁ Ë¬?ÁÍ jÁÄËÍ ËÍ jË Á Í Ä Ë ?Ä Ë Ö W ^Ë j ¬ ~Ë ÍËÍ ËajÜj ¬Ë? aË ¬Á ÍjË Á Í Ä Ëw?Ä ±Ë0 jË aÖÄÍÁßË ËÍÖÁ Ë ÖÄÍËW Í ÖjËÍ ËajÜj ¬Ë ¬¬ ÁÍÖ Í jÄËÍ ?ÍË W M jË?ËÖ ¶ÖjË?WWjÄÄËÝ Í Ë ?ÄÄË?¬¬j? ^Ë Í ÄËÝ Ë? ÝË ÍËÍ Ë?ÍÍÁ?WÍË jÝËW jÁW ? Ë ¬?ÁÍ jÁÄËÍ ËÄÖ¬¬ ÁÍËaj ÜjÁßË wË aÖÄÍÁßË Í ?Í ÜjÄË? aË?WÍ Ü Íß±Ë 0 jÁjË ÄË? Ë ¬¬ ÁÍÖ ÍßËw ÁËÍ jËW Ö ÍÁßË?ÄË ?ËÝ j±Ë ßËW ? ¬ ~ËÍ jËÄÖWWjÄÄË? aË ¬ Íj Í ? Ë wË Á Í Ä Ëw?Ä ^ËM Í Ë?ÄË? Ë?ÁÍË w Á Ë? aË? Ë aÖÄÍÁß^Ë ÍÄË¬ Ä Í ÜjË?ÄÄ W ?Í ÄË ? aËW ?Á?WÍjÁ ÄÍ WÄËW? ËÁÖMË wwË Ë ÝË Á Í? Ë ÍÄj wË ÄË¬jÁWj Üja±Ë0 jÁjË ÄË?ËÁj? Ë ¬¬ ÁÍÖ ÍßË w ÁË¬ Í W ? ÄËÍ Ë~jÍËMj aËÍ ÄËaß ? WË ÄjWÍ ÁË? aËÍ Ëaja W?ÍjËW Ü ËÄjÁÜ? ÍÄËÍ Ë j ¬Ë aÁ ÜjË ÍËw ÁÝ?Áa±Ë! ÍË ßËa jÄË ÍË j ¬ËÍ ËÄ¬ÖÁË ? Ë ¬ ÁÍ? ÍËÄjWÍ ÁË wËÍ jËjW ßËMÖÍË ÍË W? Ë? Ä ËM ÄÍË Á Í? ¾ÄËMÁ? aË?ÄË?ËÝ j±

126

Future of fashion strategic considerations for growth ÔÏËVËFuture of FashionËVË+ ? Í Á ¬ß^Ë.¬ Ä ÁÄ ¬Ë? aË ?M Á?Í Ë

THE FASHION INDUSTRY IS RIGHTLY PERCEIVED AS DYNAMIC, YOUNG, VIBRANT AND HOPEFUL. THESE ARE HIGHLY VALUABLE CHARACTERISTICS FROM WHICH OTHER BRANDS BENEFIT BY ASSOCIATION.

127

Appendix 3

Ô|ËVË ÖÍÖÁjË wË ?Ä ËVË W ÖÄ Ë? aË.Ö ?ÁßË wË-jW j a?Í Ä

Conclusion and Summary of Recommendations Á Í Ä Ëw?Ä Ë ?ÄË ÖW ËÍ ËMjË¬Á ÖaË w±Ë#ÜjÁËÍ jËßj?ÁÄËÝjË ?ÜjËMÖ ÍË Ý Á aËW ?ÄÄËjÞ¬jÁÍ Äj^Ë¬?ÁÍ WÖ ?Á ßË ËÍ jËajÜj ¬ j ÍË wËÍ ¬ ÍW Ë ajÄ ~ jÁËÍ? j ÍËÍ Á Ö~ Ë ÖÁËW j~jÄ^Ë? aËÍ jË?M ÍßËÍ ËÄ ÝW?ÄjËÍ ?ÍË Í ËÍ jËÝ Á aËÍ Á Ö~ Ë a Ë ?Ä Ë8jj ±Ë aË? ËÍ ÄË ?ÄËMjj Ë a jË Ë?ËÝ?ßËÍ ?ÍËÝ Á ÄËÝ Í Ë? aËj jÁ~ ÄjÄËÍ jË ~ ËÄÍÁjjÍË? aËÁjÍ? Ë ÄjWÍ ÁËÍ Ë?W jÜjË~Á ÝÍ ^Ë?ÍÍÁ?WÍ ~ËÄÖMÄÍ? Í ? ËÍ ÖÁ ÄÍËÍÁ?aj±Ë 0 jË2 Ë ?ÄËMjW jË Ý Ëw ÁË ÍÄË Ü?Í ÜjËajÄ ~ Ë? aËÍ jË Ü?Í Ë? aËÁjÄÖÁ~j WjË wË ÍÄË jÁ Í?~jËMÁ? aÄ±Ë0 jËajÄ ~ jÁËÄjWÍ ÁË W? Ë j?Á Ë?Ë~Áj?ÍËaj? ËwÁ ËÄÖWWjÄÄwÖ Ë Á Í Ä ËMÁ? aÄËÝ W Ë ?ÜjËÄjj Ë ÄÖWWjÄÄËÍ Á Ö~ ËÄÍÁ ~Ë j?ajÁÄ ¬^ËW jÁW ? Ë Ý Ý^ËWÁj?Í Ü Íß^Ë Ü?Í Ë? aËj ~?~j j ÍËÝ Í ËÍ jËMÁ ?ajÁËWÁj?Í ÜjËÄjWÍ Á± ?Ä ËÁjÍ? ËW ÍÁ MÖÍjÄËW Ä ajÁ?M ßËÍ Ë2 Ë¬ W^Ë ÍË ÄËÍ jËx ? W ? Ë Wj ÍÁjË wËÍ jËÄjWÍ ÁË? aË ËÍÖÁ ËÄ ~ xW? Í ßËÄÖ¬¬ ÁÍÄËÍ jËwÖ ËÄ¬jWÍÁÖ Ë wËajÜj ¬ j ÍËwÁ ËW j~jÄËÍ Á Ö~ ËÍ ËajÄ ~ jÁ±Ë0 jË¬ ÝjÁË wË MÁ ~ ~ËÍ ~jÍ jÁË ÖÄÍË jË?Áj?Ë wËÍ jË aÖÄÍÁßË ?ÄËMjj ËÄjj ËÍ Á Ö~ Ë Í jËÄÖWWjÄÄË wËÍ jË ?Ä Ë-jÍ? Ë W?aj ß±Ë! Ý^Ë ÁjËÍ ? ËjÜjÁ^ËÍ jË aÖÄÍÁßË ÖÄÍËW jËÍ ~jÍ jÁË?ÄË?ËÝ j^ËÁjÍ? jÁÄ^ËajÄ ~ jÁÄ^ËW j~jÄ^Ë ? Öw?WÍÖÁjÁÄ^Ë¬ÖM Ä jÁÄË? aË? ËÍ ÄjËÝ Í Ë?ËÜjÄÍjaË ÍjÁjÄÍ^Ë W Öa ~Ë~ ÜjÁ j Í^ËÍ ËÄÖ¬¬ ÁÍËÍ jËwÖÍÖÁjË~Á ÝÍ Ë wËÍ ÄËÄjWÍ Á±ËË 8jË?ÁjËÝ Á aË j?ajÁÄË Ë ? ßË?Ä¬jWÍÄËÄÖW Ë?ÄËajÄ ~ ^ËÁjÍ? Ë? aË jaÖW?Í ^ËÝjË ÖÄÍË¬Á ÍjWÍËÍ jÄjË? aËajÜj ¬Ë Áj±ËË 0 ÄËa WÖ j ÍË ?ÄË aj Í xjaË?Áj?ÄË wËjÞ¬jÁÍ ÄjË? aË?Áj?ÄËÍ ?ÍËÁj¶Ö ÁjË ÖÁ~j ÍË?ÍÍj Í Ëj~±ËÍ jË jjaËÍ Ëj ÄÖÁjË ÖÁËw?Ä ËMÖÄ jÄÄËÄ ÄË?ÁjË ?ÄËWÖÍÍ ~ ja~jË?ÄË ÖÁËWÁj?Í Ü Íß^Ë? aËÍ ËMÖ aË ËÍ jËÁjWj ÍË ÍjÁjÄÍËÍ Ë jÞ¬? aË ÖÁË W jË ? Öw?WÍÖÁ ~ËW?¬?M ÍßË ËÍ jË2 ±Ë.¬jW xW? ß^ËÝjË ÁjW j aËÍ jËw Ý ~Ë?WÍ ÄËMjËÍ? j Ë Ë ÁajÁËÍ ?ÍË Á Í Ä Ëw?Ä Ë W? ËÁj? ÄjË ÍÄËwÖ Ë¬ Íj Í ? ± The British fashion industry must: 2 ÍjËÍ ËÍ?W jË? aË ÜjÁW jËW ? j ~jÄ^ËÍ ËÜ Ä ËÝ ?ÍË ÄË jjajaË ÝË? aËÝ ?ÍËÝ ËMjËÁj¶Ö ÁjaËÍ ËW ¬jÍjË~ M? ßË ËÍ jËwÖÍÖÁj .Ö¬¬ ÁÍËW j~jÄË? aËÄW ?ÁÄ ¬ÄËÍ Ë j?a ~ËjaÖW?Í ? Ë jÄÍ?M Ä j ÍÄË? aË?WWjÄÄ M ÍßËÍ Ë Á Í Ä ËÄÍÖaj ÍÄË® ?¬ÍjÁË¤¯

jÜj ¬ËÄ¬jW xWË¬Á ~Á? jÄËÍ Ë?aaÁjÄÄËÄ ÄË? aËÍÁ? ~Ë jjaÄ^Ë Ý Á ~ËÝ Í Ë~ ÜjÁ j ÍËaj¬?ÁÍ j ÍÄËÝ jÁjË jWjÄÄ?ÁßËÍ ËÄÖ¬¬ ÁÍË MÁ ?aË?WWjÄÄË? aË?Ý?Áj jÄÄË wË ¬¬ ÁÍÖ Í jÄË ËÍ jËÄjWÍ ÁË® ?¬ÍjÁË¤¯Ë 0? jË?aÜ? Í?~jË wË? Ë ¬¬ ÁÍÖ Í jÄË ËÔå¤ÔË® ?¬ÍjÁËÔ¯

jÜj ¬Ë2 Ë¬Á aÖWÍ Ë? aË¬ÖÁÄÖjË ¬¬ ÁÍÖ Í jÄËÍ ËMÁ ~ËÍ ~jÍ jÁË ajÄ ~ jÁÄ^ËÁjÍ? jÁÄË? aË¬Á aÖWjÁÄËÍ ËWÁj?ÍjËÍ jË jWjÄÄ?ÁßËÄ ÄË ËÍ jË 2 Ë® ?¬ÍjÁËÏ¯

jÜj ¬ËÄ ÄË? aËWÁ?wÍËÍ ËÄÖ¬¬ ÁÍËÍ jËWÁj?Í Ë wË ÖÞÖÁßË¬Á aÖWÍÄË Ë Í jË2 Ë? aË~ ÜjËw?Ä Ë¬Á aÖWÍ Ë? Ë ?~jË ? j ÜjÁ^Ë?ÍÍÁ?WÍ ~Ë Í? j ÍË Í ËÍ ÄË?Áj ?Ë® ?¬ÍjÁËÏ¯ 2 ajÁÄÍ? aË? aË ¬Í ÄjËÍ jË¬ ÝjÁË wË½ ?ajË Ë Á Í? ¾Ë® ?¬ÍjÁËÏ¯ .Ö¬¬ ÁÍË a Ë ?Ä Ë8jj Ë? aËÍ jË Á Í Ä Ë ?Ä Ë Ö W ËÍ Ë ajÜj ¬Ë ¬¬ ÁÍÖ Í jÄËÍ Ë~ M? ßË¬Á ÍjË Á Í Ä ËajÄ ~ jÁËMÖÄ jÄÄjÄ^Ë ¬Á Ü a ~Ëj ? WjaËÁj¬ÖÍ?Í Ëw ÁËÍ jËÄjWÍ ÁË? aË Á Í? Ë?ÄË?ËÝ jË ® ?¬ÍjÁË|¯Ë WÖÄË Ë ? Í? ~Ë a Ë?ÄËÍ jËMjÄÍË¬ ?WjËÍ Ë WÖM?ÍjË? aË~Á ÝË ?Ëw?Ä ËMÖÄ jÄÄ^Ë W Öa ~Ë ? ~Ë ÁjËÁjÄ ÖÁWjÄË?Ü? ?M jË jË Í Ëw?Ä Ëj ÍÁj¬Áj jÖÁÄË® ?¬ÍjÁË|¯ 0 jËÄjWÍ ÁË? aË~ ÜjÁ j ÍËÄ Ö aËÝ Á Ë ? aË Ë ? aËÍ Ë?ÍÍÁ?WÍË ÜjÄÍ j ÍË? aË¬?ÁÍ jÁÄËw ÁË Á Í Ä Ëw?Ä ËMÖÄ jÄÄjÄË® ?¬ÍjÁËy¯ .¬ Ä ÁÄ ¬Ë ¬¬ ÁÍÖ Í jÄË ËÍ jËw?Ä Ë aÖÄÍÁßËÄ Ö aËMjË ?Þ ÄjaË® ?¬ÍjÁËy¯

128

Key areas for government focus identified in this document include: Ö a ~Ëw ÁËw?Ä ËW j~jÄË ÖÄÍËMjË¬Á ÍjWÍjaË® ?¬ÍjÁË¤¯ 0 jËj?Ä ~Ë wËÍ ÖÁ ÄÍËÜ Ä?ÄËÝ Ë?ÄÄ ÄÍËÍ jË2 Ë ËW ¬jÍ ~ËÝ Í Ë Í jÁË ÍjÁ ?Í ? ËÄ ¬¬ ~ËajÄÍ ?Í ÄË® ?¬ÍjÁËÔ¯ -jÄ ÖÁWjËw ÁËÄ Ä^ËÍÁ? ~^Ë w Á ?Í Ë? aËMÖÄ jÄÄËajÜj ¬ j ÍË Ë w?Ä Ë ? Öw?WÍÖÁ ~Ë® ?¬ÍjÁËÏ¯ +ÖM WËwÖ a ~Ëw ÁË a Ë ?Ä Ë8jj Ë? aËÍ jË ÍjÁ ?Í ? Ë ¬Á Í Ë wË Á Í Ä Ëw?Ä ËajÄ ~ ËÍ? j ÍË jjaÄË¬Á ÍjWÍ ~Ë® ?¬ÍjÁË|¯Ë 0 jË~ ÜjÁ j ÍËÄ Ö aËÄÍÁ ÜjËÍ ËW ? ¬ Ë Á Í Ä Ëw?Ä ^Ë ÍË ßËÍ Ë j ¬Ë ÍËÄÖWWjja^ËMÖÍË? Ä ËÍ ËÁj?¬Ë ÍÄË¬ Ä Í ÜjËMÁ? aË?ÄÄ W ?Í ÄËw ÁËÍ jË W Ö ÍÁßË?ÄË?ËÝ jË® ?¬ÍjÁËy¯

Future of fashion strategic considerations for growth ÔyËVËFuture of FashionËVË0 ? Ëß Ö

BFC Industry Patrons and Corporate Partners ÁW?a ?Ë Á Ö¬ ¶Ö?ÄWÖÍÖ ÖÁ Á?Ë ?Ä Ä WjÄÍjÁË7 ?~j ÖÁMjÁÁß

ajË!?ÄÍË+ÖM W?Í Ä

jMj ? Ä + ?ÁÁ aÄ ÖÄjË wË Á?ÄjÁ HSBC ?j~jÁ Ë jÝ Ä ?MjM ÖÞ Ë ÖÁ ¬j ?ß ÁË wË a ?Á ÄËFË.¬j WjÁ Ö MjÁÁß j?ÁÄÍË ?~?ã jÄË2 !jÞÍ .j wÁ a~jÄ 0jÄW -?a jßË? aË - ÜjÁË Ä ? a London Fashion Week Sponsors 7 a?w jËrË+Á W ¬? ËÄ¬ Ä Á

? DHL F Ë?ÍË0jÄW ?Wk?ÖË7 Í? Ë8?ÍjÁ ÍjÁ ?Í ? Ë+? ?a Ö Ë ?Áa ?Ü?ãã? LG a Ë Üj ~Ë.Í? a?Áa ± ±

?ß ÁË wË a jÁWjajÄ j ã Ä 0 jË ?ßË ? Á 0 F Öß 0 ¬ ? 0 ¬Ä ¬ 2 Ë0Á?ajË? aË ÜjÄÍ j Í London Fashion Week Contributors jÁ W? Ë Þ¬ÁjÄÄ a Á? Ë.W?ww a ~

.Ë#ÖÍa Á Ë ? j Ë ~ Í? Ë ?Á jÍ ~ Ö MjÁÁß

129

Appendix 4 (1) Interview with M- Director of strategy in Dubai Design District Date: 2016.06.18 S: Can you share a little information about D3 with me? M: Yeah Sure, so basically I start the discuss the vision of Dubai Design District, where we start this journey. So D3 was announced in June 2013 so approximately (as time past quickly) 3 years ago. So, the thing is that D3 was announced by 1:52 as intention to create Du-bai as a hub for design for the Middle East and North Africa Region we refer to the MENA region. The thing is to consider is that when D3 was announced, it was also to strength the positioning of Dubai as candidate the city of export 2020. So the export was award in November 2013 and the announcement came a few months earlier to strength the positioning of Dubai especially look-ing at the (you know).. 2:22 the ecosystem into the design 2:25forcing talent and keep the voice of the Arabic traditional in the design itself. So since then, since we launched 2013, we start being operational.....(that's say) from Q1 2015 and basically the goal for D3 is cre-ate the community where all the presenters from the design segments we come together usually they will set up their headquarter (the international company, their headquarter 3:00 marketing activities )here. But over the last three years, we are enable to secure the mix of region international designers and we longer key designers segments including fashion, architectural, interior, product design, weara-ble design and art. So we are enable to attract the mix of both international company as well as regional and local designers compa-ny. Because of D3 also to move away from (you know like) the end of the value chain with 3:40 marketing activities but do-ing more (you know like) the full design value chain. So we are actually looking at company that they are doing their design stage here. (you know) We know that some of the challenges are about manufacturing and even internationally they are already some manufactur-ing 3:56 absorb they are been established. So we know that manufacturing is not always the case but what we want to do is make sure that the (you know like) we have a ecosystem from material supply to .....(manufacturing from sourcing ma-terial). And this is something the line with visional creating Dubai as the emergent capital in the fashion and design ecosystem. So what I would say is like the D3 is clearly an effort and we did start back in 2013 with4:51 is called Dubai fashion 2020. And we are the 4:55 key ele-ments to be successful in this arena. So most of all the courses creating like a government support for fashion and this is why we created and launched the Dubai and Fashion Council that we also represent the elements from the government sector to facilitate the 5:19 DDFC. The council is really to support the talent so to nurture the talent and you will be surprised that there is a lot of creativity here. So basi-cally what happen is we look at the talent here so some of the designers they are especially Couturiers so meaning that they are advanced in creating unique pieces. For example, 6:36 ......... some of designers are also based in D3. So what happen is these designers cre-ate unique pieces so it mostly Couturier so they do like workshop (you know) with a few tailors and they create unique piec-es. Why we want to launch (also the industry to create more ready to wear collection) and what we think the cooperation of accesso-ry designer 7:11 (you know like jewellery designers, bags designers) those are part of D3 for example 7:17 Big Arabic, she is a 7:20 jewellery designer. Natale7:30 she is handbag designer so both of those are located in D3. S: So, D3 is not only looking for local designers but also trying to attract more international designers. M: Of course, among the international companies 7:54 like 7:56, Hugo boss for example Reffara, architecture firm including the design sector a part of the project for D3. S: So, is any challenge for D3 to attract more international designers since the cultural differences Europe and Dubai? M: OK, I think the Middle East particularly Dubai is been consider as a hub by international companies especially from Europe for a long time. Some of the companies they are actually part of D3 they are locate their office from other free zone here in Dubai. So some of those they are already present in the Middle East. I would said that the for big companies the Middle East presented cre-ate opportunity because some of the clients are already based here. You know like Chanel, their buyer, clients is from the region. Many their clients are from the region. I would say that the more challenges are for the more median price that 9:25 to this market. Be-cause this market requires 9:29 development activities before securing the project. So I think the most of the challenges are for the small and median price because why the Free Zone allow you to have a 9:42 set up but there are many regulations especially for the trade. (you know like) the distribution chain that require to have a local partner. So there are a lot of complicities especially for brands that small to median to be set up here. S: So, like small brands and median brands are hard to access here. M: Yeah. S: So, now as we known that Dubai is already fashion hub which for people come here for shopping. So, in your opinion, what is the transformation between fashion hub and fashion capital since it is still a long and complicated process. M: So,11:46 I would said that moving from a fashion hun to fashion capital require to look at some of the elements of value chains. So we realised the most important thing is to create a platform. (Ah) There are few elements: One: being a events 12:04 and showcase platform that are crucial especially for the fashion industry. The second one is being a education(er) institute. And the third one is nurture and support talent. So you know that to create a fashion capital we need to look at these three elements because we know that we already have the international brands present. So what we are doing is 12:39 showcase platform. So this is why D3 to work with Fash-ion Forward to make sure that we help local designers to have a platform to showcase and to attract international buyers that com-ing to Dubai to experience the new designers and during Fashion Forward we have seven seasons on this fashion for-ward. We help those designers to capture more international audiences. So some of those will be able to sell their collection in Harrods or Galeries Lafayette or Harvey Nichols and this the GOAL is to make sure that the brands from Dubai become also interna-tionally. In terms of education, the announcement has already been done we are in plan of launch a design school here in D3 and this school will be this hub you know especially in the fashion and design education where (there is requirement) for students to be trained (you know) how to make pattern, cutting how to 14:00price their products so we are filling this cap. And in terms of supporting tal-ents, to the council we are organising mentorship programs, prices and awards that we make like a platform for design-ers to grow their business and also media platform to expanse more international. S:I also saw UAL now has a cooperation with D3. They provide some short courses for local students in Dubai. So this design school will launch in nearly future? M:It plan to be launched at end of 2018. S:I think this is very important to have a strong education background to create talent just like UK and Italy there are so many fashion schools. And I have been to some malls in Dubai and I found that there are already some local brands. So, you think as a fashion capi-tal how to balance the rate for the international brands(for attracting tourism) and local brands?

130

Transcripts

M:The current situation in the market 15:50 ,so the malls are create the contribution to the Dubai tourism and 15:59 traffic especial-ly Dubai Mall that attract 750 million tourist in 2015. So it's a incredible number and they are also cash cow (you know) like peo-ple are going to shopping is like national sports especially in this culture in this country. Usually the big designers they are taking ad-vantages of this because they are also present in the mall. 16:26 emergent designers is difficult to secure its space in the mall first of all because they are 16:32 end exrebiten for especially emergent fashion designers and because currently especially Dubai Mall is un-dergoing a exbanching 16:42 bran that will be ready in the next couple of years and so all of the spaces is currently start. What happened is that even Dubai Mall realised the importance of supporting local designers so they created this platform is called 'in design 1971'(sth like this). So they are located like popup shops for designers where they can showcase their collection for I think three to six months. And based 17:10 their location. As I mentioned before, the majority of designers here are couturiers means they do unique pieces only. So the majority of those, they are not looking for the the point of sell but more to strength their positioning with their clients. D3 is al-so plan to create the popup shops actually during our irregular events this called mid-D3 , we have pop up shops together with Not Just A Label, Not Just a Label is a online platform based out of London actually the founder is a Italian guy Stefan Siegel. So the objective is to cre-ate a platform (brick and mortar or online) where the designers can showcase. So I strongly believe that online will greatly develop 18:13 but also like initiative like Dubai Mall and our initiative with popup shops and example as collaboration with Not Just a Label we facili-tate the local designers to have a new platform. 18:31 E-commerce is very important. 18:33 CEO and Founder 18:35 he bought 4 percent of Net-a-Porter. This is important element to have online platform where designers can showcase in the platform so we have cooperation with 19:04 so it is important to have provide an online platform because those designers can reach out to more international clients. S: Yes, I read one article said that the Couturier system might be dead in other dead in other cities but it is blooming in Dubai. So is couturier also an element for fashioning a capital? M: Look, we have to go back to the tradition and to see what is going on in this region. So here , there is a strong demand for unique pieces and collections. Because these ladies mostly are like loyalty so lady within the local society they have to attend a lot of weddings. They are pacific tradition in Muslim culture to dress up. So something very marching 20:32 with tradition on these socie-ty. And to the factor that the disposable income here are quite high especially for fashion and especially for unique pieces. So I be-lieve (you know like) and there is one case (the news), Michael Cinco is one of the local couturiers and he is going to showcase Par-is couture fashion week. The most important thing is that couture is not for everyone is for a limited number of people but these design-ers they seem as 21:12 they are venturing into Ready-to-wear collection (they) are more affordable and they can sustain their cou-ture collection. Because we know especially with the economy crisis that effecting also Middle East that the number of peo-ple they are willing to spend 10 thousands and above dollars on a gown are becoming smaller and smaller. So I believe couture can 21:47 sell in dedicated market that in many cases is the small one. In this region is link with their tradition like ceremonies, even-ing dress and cultural related events but it's not sustainable to create a fashion capital only on couture. This is my point of view. S:Yes, we still need to care about the mess market. I think maybe this is a chance for Dubai because in other counties the couture pieces are not affordable. M: Here, some clients as mentioned is link with local populations so like ladies. So consider the disposable income here is higher but unique pieces are also very important and then international brands like Chanel and Dior. Because they associate fashion with luxury, with experts. S: 23:12 Yes, so is there any interconnection between top-tier fashion capitals and Dubai? For example, London, Milan, Paris.. M: 23:24 OK, so we have to consider that Dubai is very innocent when it comes to the fashion industry. The council has been estab-lished less than two years ago. So, officially I am not aware of any formalise partnership. Of course our (as an example as I mentioned) some designers like Michael Cinco is going to showcase in Paris but this is more of (you know) it's success story that you want to celebrate but it's more like personal achievement for designer that bases in Dubai 25 years. That made his name famous internationally because La-dy Gaga is wearing some of his cloths or J-Lo is choosing his couture pieces for international award ceremony. So, the idea I think it's part of vision of the council to support emergent designers to participate in exchange programs maybe to other more established design-ers or to cooperate into showroom and (you know like) usually during fashion week there are showrooms where designers can meet the buyers. So maybe the government can support some of these prominent designers to participate some of these events but it's not something that is being done shortly. 24:51 S:Yes, so it still need time. M:Yeah, it's very innocent. 2013 the D3 was established, 2013, Fashion Forward launched their fashion week and previous attend we are not so successful. Designers are also not ready enough. Now we see a lot of 25:15 revelations of designers and those they are from D3, Du-bai fashion council. We also come for a researcher so we already publish a report called MENA Design Outlook where fashion al-so included. You can download from our website: www.dubaidesigndistrict.com This is important reading because it provides an overview of market size and classification of different design segments. 26:26 So, we are also going to release an education report to ac-cess the start the education in the design sector experts today. And we are going to expand this offering so this is something we are al-so very much interested. And (you know like) in the next few years we also make sure (you know like) we look at the trends, what's going on just to make sure that we can track what's going on in the industry. S:So, according to the weather, the fashion week always be hold as biannual but is any difference or change in Dubai? M:Ok, look. We are continuing having a discussion with Fashion Platform organiser (you know like) Fashion Forward. Also, we are be-ing very support with them also because we believe that they are doing a fantastic job in Dubai. Nothing is been done to promote be-fore the council established. Nothing much was done to support the designers so we are very collaborated with them. So what we are saying is that they are insist (in the way I would say) they are insisting of two seasons. Because to build the creditability with in-ternational fashion weeks you need to have two seasons. And at the same time, for couture we are going to work a single season. Be-cause couture requires a lot of time for designers develop their collection. And also their market is not so big as ready-to-wear. So, hav-ing say that, 29:28 Dubai we are lucky that we have 360 days of summer per year but at the same look at this region as people they travel quite extensively. So of course, you have small number of designers going into venturing in 29:49 the fur design but it's some-thing (you know like) there is the need also for winter clothes for people that are traveling. In any case, (you can) especial-ly like ready-to-wear here is evening dress so you have to follow the international calendar of being two seasons but also people use winter and summer clothes at the same time. So, I think 'two season' is more important to 30:26 with international calendar.

131

Appendix 4 S: Because I also saw the research which say like in the 2020, there are more Islamic population. So do you think this is also the chances or opportunities for local designers? M: 31:18 Look, you are asking a very important question because we discuss a lot about Islamic fashion and personally after look-ing the trend through international and what's going on with the designer year. We decided to move away from this categorisa-tion for few reasons. First of all, there is not one Muslim way to interpret fashion and if you look especially from GCC (Gulf Cooperation counties) North Africa, Malaysia, Indonesia many different ways. So, we identified this 31:54 Muslim is also mentioned as Islamic or conserva-tive fashion but some of the designers themselves they don't want to be label like that. So we move away from this categorisation espe-cially in Dubai. I would say that in terms of conservative fashion there are buyers and designers and most of them they are only for 32:17 buyers but buyers are use some countries in GCC like in Saudi, UAE, Oman. Why these buyers are more relate to certain countries. Other countries we think like North Africa; they don't have these dress codes. So this why we move away from these concepts. But we know we started this Islamic fashion. We are seen like Indonesia.... but it's tricky to define what is Islamic fashion or conservative fashion so our designers here they careful more targeted market. They try to careful to respect the needs of the indus-try but they are they are different types of designers. So we go from buyerdesigners to ready-to-wear designers. Longer dress, longer sleeves. We are trying not to categorised as Islamic fashion. At least here in Dubai. S: How would you describe "Dubai fashion style"? M: It's difficult to describe it as one style. I would said that the a lot of emphasises here. If I look at Dubai based designers. Lot of empha-sises is going to the tradition of embroidery. So I would said that the features of Dubai fashion or Middle East fashion is very feminine with lot of embroideries and also sometimes there is a lot of elements in pattern and also dramatic design that you can see in some of this design-ers. You can see embroidery and lace. I think designers are trying to move away from the bling bling big shine design and create some-thing is more link with their tradition of embroidery and birds. S: Who is the key customer now in Dubai nowadays? M: That was just today there was an article on Business of Fashion discussing the expend luxury goods is declining also in the MENA region and what are the key factors that are affecting this. First of all is the drop of oil prices especially like Saudi is very depending on oil. And the factor is that the Russian currency is been devaluated and the International Chinese market is also suffering. So of course, we are been affected. The number of inflow like Qatar we have a lot of inflow from Qatar, from Saudi, GCC and India be-cause there are many populations live here. I don't have right statistics to proof that but I think Russian and Chinese are decreasing.

(2) Interview with 智智智 (abbreviation as C) shopping experience in Taipei Date:2016.07.24 S: Approximately how much will you spend for shopping in Taipei for one month? C: Around 100 pounds. S: Where do you go for shopping in Taipei? C: Eastern and Xinyi District. S: Which kind of stores is your preference, individual store or department store? C: Individual stores. S: So is Individual store with multi brands or mono brands? C: Multi brands. S: What do you feel about the shopping atmosphere and environment in Taipei? C: If compare with other cities, the density of shops in Taipei is not really high. And the design of the urban shopping area. There are too much cars in Taipei shopping areas and is lack of pedestrian lanes. However, many pedestrian lanes of shopping areas can be seen in London and Shanghai. S: So do you prefer shopping area with high density of shops and brands with pedestrian friendly shopping environment? C: Yes. It is too messy in Taipei. S: Do you have any prefer brands or shops while shopping in Taipei? C: 10. Deep, Black and Filson which are all American brands. It is hard to find my big size in Taipei. So even though I purchase some goods in Taipei, I mainly choose American brands. However, I would not choose to shop in Taipei once I have other chance to explore something in somewhere else because I kind of feel that every thing is quite similar in Taipei. S: So in your opinion, what are the top five fashion capitals? No matter you have been there or not. C: New York, Tokyo, London, Paris and Milan. S: There are many brands choosing to put its city base after its brand name. So if there is London name after a new brand, will you have any

132

different first inspiration for the brand?

Transcripts

C: No.... I do not have much feeling of this. Maybe I would feel something is cooler if it is from London. S: How will you describe Taipei Fashion Style? C: I think that it is more casual.

(3) Interview with Cora (abbreviation as O) shopping experience in Taipei Date:2016.07.24 â&#x20AC;˘ S: So how many times will you go for shopping in Taipei for one month? O: I think it is once a week. S: Approximately how much will you spend for shopping in Taipei for one month? O: I will control to spend within 200 pounds per month. S: Where do you go for shopping in Taipei? O: Eastern, Xinyi and Zhongshan District. S: Which kind of stores is your preference, individual store or department store? O: Both but actually I spent more in department stores. S: Do you have any preference brands while shopping in Taipei? O: Um. Mostly Zara and one of my friends' brand. My friend's shop. S: What kind of style is your friend's collection. O: It is more like for office worker. The colour is simple more black and white. It is a Taiwanese designer label. I like the style. S: OK, what do you feel about the prefer areas which you mentioned in Taipei? O: I feel that these areas are a little bit messy. The brands and shops are quite separated so if I would like to buy two items, I have to go to somewhere completely opposite. Moreover, I feel that some stores are too complicated as well because you can find clothing shops and restaurant in the same floor. I do not like it. On the street, I feel the streets are not pretty enough. I mean the signboards of shops in Taipei are too messy. Some boards are long, some are short. Looks messy. S: There are many brands choosing to put its city base after its brand name. So if there is London name after a new brand, will you have any different first inspiration for the brand? O: I feel it is not real. It can be faked. I will not be influenced by that and I do not think many people will be influenced by that either. S: How will you describe Taipei Street Style? O: Generally, it is more casual. S: Will fashionable pedestrian encourage or influence your shopping behaviour? O: No, I will take a look of them but I will not be influenced by them. S: So in your opinion, what are the top five fashion capitals? No matter you have been there or not. O: New York, Paris, Seoul, Tokyo and London. S: Why do you feel Seoul is more fashionable than London and Tokyo? O: I feel that Seoul (Korean) culture is not only popular in Asia but also the world. Moreover, there are many luxury brands cooperating with Korean cultures. So I think Korea is already there. S: So in your opinion are there any shortages for Taipei as a fashion capital? O: Of course, urban design is one of the key things and brands I think. There are many select shops in Taipei but not much direct-sale stores. In select shops, buyers normally choose few pieces but as a shopper I would like to explore the designers' collection a little bit deeper. I think fast fashion is too popular for Taiwanese as well. Overall, Pricing, Products selecting, fast fashion and urban design are the key things for me.

133

Appendix 4 (4) Interview with Daniel (abbreviation as D) Fashion Designer in London Date:2016.07.26 S: How long have you worked on fashion industry? D: Approximately 2.5 years. S: What kind of platforms are you using for selling your collections? D: At the moment, I am not selling my collections, I am just creating. So the collection what I am creating now is probably going to be putted into shops after I finished. S: What kind of shops? D: Probably boutiques in London. I am not really quite sure that. Once I have been this collec-tions done and it's ready to be pushed out. It is quite hard. S: Do you think the platform is enough for you? D: I think we need more help. New designer definitely need more help, need easier ac-cess to funding or someone who can mentor you properly about the business sides of fashion cause when you in university don't learn about outside of it. And now I'm trying to learn about it. So now I am working in Bridle now with someone. I am learning how to sell, how to work with clients and everything. S: Did you get any support from industry or any organisation such as British Fashion Council? D: I have looked at them. But it have requirement so have to require to that. And it is quite dif-ficult because some of them want at least two stacked so you have to be in two shops for under two years but I have not done that yet so I can really ap-proach to them. But they do offer, the free advices, classes you can download online and you can read about everything that might help you about business building. So I am look-ing into that but it takes into my time. S: As a British fashion designer, is there any advantages for you? D: It is a full capital in fashion world. I always work in London or associate with it. I think London more creative, push the boundaries a little bit more and Paris for me is more about cou-ture side of fashion, Japan is more construction based so all of them are very differ-ent. I prefer London because this environment is very free and I think in the London fashion sense, people are very open to what new fashion is. Every season you can do whatever you want. S: Can you share about your future plan? D: Near future is that working on my collections. If talk about more distance, I am hop-ing possibly go down to London to work for big company. And then hopefully af-ter that I will be able to push my own work properly with all these experience I have and set up my own label and get it selling. It is a long journey. S: What kind of stores will you consider to showcase your collections? D: My work is not high-street is very high-end and more expensive side of the industry. So I think it will be more of the Harrods, Selfridges these stores I will be go-ing to work and Individual stores or boutiques. (5) Interview with Kuo-Hao - Fashion student in Central Saint Martins Date:2016.07.01 S: When did you come to UK for these courses? K: 2014 until now. S: Generally, what's the most differences for the education you have got in Taipei and in London? K: I think it will be 'teaching methods' and 'brief'. In Taipei, 'Brief' presents a very clear out-line explaining to you what to do and the direction of your learning. However, the 'brief' of CSM is not so clear. There are more spaces and freedom for students in CSM. There is no limitation to restrict students how to preform and showcase your work. Moreo-ver, the teachers in CSM will not tell you what is 'Good' and 'Bad'. They discuss with you and encourage you to think. They would not tell you like: this is ugly. S: In your opinion, which teaching methods helps you more? K: It's really different. If considering about 'skill', the division of work of London is clear-cut, everyone is charged with specific responsibilities. For instance, if you are designer, you on-ly have to do designer's works. You should only be professional in your part. However, in Taiwan (Taipei), you have to learn everything. S:I n your future plan (for working in the fashion industry), which city might give you bet-ter platform. K: Definitely not Taiwan(Taipei) because the fashion market in Taiwan is too small. Howev-er, this question is relative to many different aspects such as policy and my mother lan-guage. S: Do you think you get any advantages while studying fashion in one of the top-tier fashion capitals- London?

134

Transcripts K: I think there are definitely some advantages such as I can visit all the galleries and exhi-bitions in London; moreover, not to mention, there are thousands of different exhibi-tions be hold in London every year. And celebrities' 'Talk'. The resources of museum and key persons in Taipei is hard to compete with that in London. Moreover, the industry in Tai-pei is very people-oriented. Who you know is more important than what you done. However, if your works are good enough, you must get the chance to showcase. S: So, if today there is branch of CSM in Taipei. Will you consider to study there? K: Of course not. The teachers and resources are all different. For my experience, some-times, the branch is just like a office building. It feels like you are go-ing to 'work'. It's hard to experience as much as you can get in a real campus such as a rich resources of library. The atmosphere is very different. So I don't think that will be attracted for me. S: In your opinion, do you have any advantage if you based in Taipei? K: If that I should consider about who (which nationality) is my competitors. I might say 'creative' for now I guess. But I don't think we own it a lot or for how long since I feel Taiwanese is quiet easy to feel satisfied. S: So in your opinion, what's the biggest advantage for you to base in London. K: There are more platforms to showcase my works. Moreover, "London" itself is al-ready a added valued for me. Moreover, the distance between London and oth-er top-tier fashion capitals are much closer. As a CSM student, I can feel that the teach-ers and the London fashion industry are inextricably linked. So if you are good enough, you can link with the industry very quick. However, this will not happen in Taiwan at least for now. S: So do you think the platform to showcase your works is the most important thing? K: Platform is really important. It's not only about the platform of CSM but also the plat-form of Internet such as Instagram, Facebook and YouTube. For instance, the show of CSM and LCF will be presented in VOUGE but the show of my college in Tai-pei will not. I mean the influences of these fashion school.... as well as the support of school can be seem. S: In another aspect, how will you describe the London style? K: I would say it's "Be yourself". OK, if I only talk about CSM, nobody will judge your out-fit here and you can do whatever you want such as you can wear garbage bags, pajam-as or high-heels every day. I think it is very important to do whatever you want. From your outfits, works to even your thinking since teachers here are more engage to give you advic-es rather than saying 'no' or 'you have to do this'. There are more possibilities for creat-ing something new. S: So do you think the 'Degree of Freedom(DOF)' is important for creating a fashion city? K: I would say it is Inclusiveness.... S: Do you mean that Inclusiveness in the different art cultures? K: Yes.. Because there are too many different nationalities... S: how will you describe the Taipei style? K: I feel that Taiwanese is too follow 'Fashion trend' they think the newest is the best such as fast fashion. From food to outfits, we are always chasing the trend. Moreover, Korean and Japanese cultures (especially Korean culture) are very influential for Taiwanese. I kind of feel that everyone looks the same in Taiwan. In some degree, it shows that the majori-ty of Taiwanese (of course not everyone) are lack of their own opinion. S: So will you say the reason is about the inclusiveness of Taiwan. K: I would say that inclusiveness of Taiwan is enough. But they will judge it at the same time accepting your opinion. Shortly, the majority of aesthetics is trend will judge the rest of aesthetics in some degree, the rest of aesthetics can be disap-peared. Fashion 'trend' seems too important for Taiwanese.

(6) Interview with Meong Ru Lee- shopping experience in London and Taipei Date:2016.07.25 S: How many times have you visited London for shopping purpose? L: At least twice a month. S: Where do you go for shopping in London normally? L: Mainly Brick Lane, Oxford Circus and Covent Garden Market. S: Do you feel any differences while shopping in London and other cities?

135

Appendix 4 L: Stores in London are main gathered in one place. For example there are more second hand, Vintage and local designers' collection in Brick Lane. On the other hand, in terms of luxury brands and mass market brands we can see in city centre such as Oxford Circus. S: Approximately how much would you spend one time? L: I think within 250 pounds around there. S: Could you name any London based brands? L: If talking about accessory, I would say Crazy Pig, The Great Flag and MK2UK. S: There are many brands choosing to put its city base after its brand name. So if there is London name after a new brand, will you have any different first inspiration for the brand? L: I will think that there is certain quality of the brands and the price would not be too low. S: So will it influence your shopping behaviour? L: Yes, a little bit positive image of the brands. If you say this item which is London based brand, somehow people will think it is better. S: So why you like to shop in London? L: Because there are many sample sale in London so you can get something good with good price. S: What will you describe London fashion style? L: There are two styles for me; style of Brick Lane and Centre, the more creativity outfits can be seen in Brick Lane more colourful and mix and match style. In centre, there are more classic garments with mono colour and suits with trainers. S: Do you mean that people you have seen around Brick Lane who dress braver and are willing to try something new? L: Yes, maybe there are more office workers in city centre. S: So in city centre, is there any detail of street fashion which are noticeable for you? L: Colourful socks definitely since the colours are so different with their trousers or tops but they are matched together. Socks turn to be the key point or main actor of their outfits. S: In your opinion, what are the top five fashion capitals? No matter you have been there or not. L: Paris, London, New York, Milan and Seoul. S: OK, because you have lived in Taipei, as a Taipei citizen, do you feel any difference while shopping in Taipei? L: The price of international brands in Taipei is really to high so I prefer to shop online. For physical stores, the shopping areas are mainly located in Eastern and Xinyi District. S: What will you describe Taipei Street Fashion? L: I think there are more people who can accept different styles (overseas); however, it hard to see their own style and own taste. It is more like following someone maybe actor or fashion blogger rather than taking them as inspiration and create their own style. Korean is the successful example for this I think. They take other styles as inspiration but you can distinguish it is Korean style for sure.

(7) Interview with (abbreviation as A) shopping experience in London and Taipei Date:2016.07.25 S: How many times have you visited London for shopping purpose? A: Twice. S: Ok and where will you go for shopping in London? A: Oxford St., Brick Lane and Covent Garden. Mainly Oxford St. S: Approximately how much would you spend one time? A: Around 100 pounds. S: Do you feel any differences while shopping in London and other cities? A: I feel the brands in London are gathered in several areas. Even though the brands and stores in Eastern District in Taipei are gathered, the feeling is quite different. London is more international since there are many different people from different coun-tries and there are many different international brands which you cannot see in Tai-pei. Compare with Paris, I do not feel the shops and stores in Paris which are

136

Transcripts gathered, it is more like separated in different areas. London is more obvious I think. S: So which kind of shopping environment you might prefer? A: I prefer London since it is much easier for shopper. I can walk to any shops I want to go. S: How will you describe London Street style or London Fashion? A: I would say that London is a city with diversity. You can see the classic England style such as suits with Oxford shoes for men and modern coats or trench coats with high heels and leather bags for women. S: Could you name any London based brands? A: To be honest, I did not really pay attention of that. But if you ask, it recalled my memory of Radley. S: So the city will not influence your shopping behaviour right? A: It depends on where am I. If I live in London, it is not really influential for me. However, if I back to Taipei, when I realise the brand is coming from London which might influ-ence me. S: What kind of influence, positive or negative? A: Positive. Because personally, I prefer British style, there are more imaginations for me. S: In your opinion, what are the top five fashion capitals? No matter you have been there or not. A: Paris, London, Milan, New York and Tokyo. S: So except the density of brands, and more choices in London is there any reasons for you to go to London for shopping purpose? A: Because there are many people in London so I will like to observe how other peo-ple dress on the street. Furthermore, I will think about whether the item is suitable for me or not. It is like the concept of inspiration. S: So do you mean the atmosphere will arise your willing for shopping? A: Yes. Because you might think how can I did not get something when almost everyone get shopping bags. And the street style is what I like. Compare with Taipei, there more peo-ple's outfits in London streets can surprise me and boost my shopping desire. (8) Interview with Victoria Liao- shopping experience in London and Taipei Date:2016.07.24 S: How many times have you visited London for shopping purpose? V: In terms of shopping purpose, I think it's around 6 times this year and usual-ly it's one-day trip. S: Ok and where will you go for shopping in London? V: For shopping, I usually go to Oxford St., Selfridges, Harrods, Brick Lane and Covent Gar-den Market. S: Which one is your favourite place? V: Because I do not really pursuit luxury. So I would choose Oxford Circus be-cause there are some affordable price brands such as Uniqlo. S: Approximately how much would you spend one time? V: If it is shopping purpose, normally it will be 100 pounds. S: Do you feel any differences while shopping in London and other cities? V: I feel that there are many brands and shops in London. Even though there is on-ly one main street (Oxford Street), it is long enough for same brands to lo-cate in few blocks distance which is quite convenient for shopper. More choices, quick con-venient. Moreover, we can see both luxury and fast fashion brands on the street which can fulfil different people's needs. S: There are many brands choosing to put its city base after its brand name. So if there is London name after a new brand, will you have any different first inspira-tion for the brand? V: If it emphasises London, I would like to take a look of it because there are many good images and products of London based brands. So I would like to know more about the new brand if it is from London. S: So will you have more attention on it? V: Yes, I will expect it a little bit more. S: So if we said about New York and London. If there is a new brand launch nowadays, will you feel any difference for its came from New York or London?

137

Appendix 4 V: I would have said that these two cities own different images for me. For example, Lon-don means more classic while NY means more "street" and vivid for me. So I will have dif-ferent expectation for them but I would like to know both of the brands since I do not have preference for anyone of them. S: So will you say that you care about designs of a brand more rather than its original city. It's original city is more like first inspiration? V: Yes, that's it! S: So which style will you prefer, classical or vivid? V: I would like to see something more colourful but for my own usage I would choose something more classical. Because it is easier for mix and match different out-fits together. S: Could you name any London based brands? V: TED BAKER, Burberry, Cath Kidston, Vivian Westwood and Jack wills. S: So except the connivance, and more choices is there any reasons for you to go to Lon-don for shopping purpose? V: I think that it really because the diversity of choices because even though the most of stuffs I can buy online, I still prefer to purchase clothes in physical stores be-cause I can try them on. Moreover, I think London is very suitable for shop-ping since there are many fashionable pedestrians who you can find on the street. So this environment will inspire your shopping desire. S: So London street style will inspire you to buy more ? V: Yes, this atmosphere will arise my desire of shopping. S: How will you describe London fashion style? V: If you talk about street style, Brick Lane will first come into my mind because the graffi-ti and street images of Brick Lane. And Punk..I think. Moreover, I think 'winter coat' is real-ly typical item of London. It is like the classical item of London style. And London con-tains the diverse cultures and faces which is why it is so attractive I think. S: In your opinion, what are the top five fashion capitals? No matter you have been there or not. V: Paris, New York, London, Milan and Tokyo. S: OK, because you have lived in Taipei, as a Taipei citizen, do you feel any differ-ence while shopping in Taipei? V: In Taipei, the majority of people will gather in department stores. Moreover, of course, the choices in Taipei are less than that in other international cities. In terms of in-ternational or luxury brands, their prices are more expensive than in other cities. And peo-ple are crazy about fast fashion. S: So how will you describe Taipei fashion style? V: There is no typical Taipei (or Taiwanese) fashion style for me I think. It real-ly like one item is trendy, you might see almost everyone wears it on the street no matter old or young people. You will feel kind of they are wearing the same outfits. Too fol-low the trend I think. S: As a fashion capital, do you think the diversity and many faces of city is important? V: Yes, a fashion capital should present its many styles from different people mix and match different outfits. It will be more "creativity"! S: There are many individual stores in Taipei nowadays. What are the differences of stores in Taipei and London for you? V: The majority of individual stores in Taipei, the owners choose to import or bring clothes overseas; moreover, the most of clothes are brought from Korea. So even though you buy something different, the patters are still similar. However, individ-ual stores in London, you can see more emergent or individual designers' works so the cut-ting, pattern and design will be so different. I think the influences of Japanese and Ko-rea cultures in Taiwan are too much. S: So will you say that a fashion capital should find its own culture rather than follow-ing other cities? V: Yes, the Taipei (and even Taiwan) fashion industry is not really care about the develop-ment of designers. So it is hard to see the creativity or new stuffs in Taipei. In Taipei, you might feel that 'fashion' is not too important for government, industries and even citi-zens which is a shame. Overall, It is lack of attention for fashion industry.

138

Transcripts (9) Interview with YiChun, Sun - Fashion designer in Taiwan Date: 2016.07.28 S: How long have you worked on fashion industry? E: Approximately 7 years. S: Is there any challenge for you to start up your business and how did you overcome it? E: There are a lot of challenges for Taiwanese designers I think. Firstly, I feel there is little of supports by the whole fashion indus-try. From Government to citizen, the fashion design sectors is not an important thing for them to consider. Even though there is Taiwan Textile Federation, the emergent designers like me is hard to find a place to showcase my collections. The platform is not really for us I think. S: So what are your main selling platforms? E: Online and my own studio. Sometimes my clients will visit my studio since I also customise clothing for clients. I am also looking for a location for my future store since I would like to make ready-to-wear collections. S: So is there any advantage for you as a Taiwanese designer? E: It is hard to say one... because you have no confidence of this market. The reason I said that is.. Taiwanese customers pre-fer fast fashion such as ZARA. They do not really care or support about local designers. It is Customers' habit... I think. S: So would you try to meet the customers' habits or do something you like? E: The balance is hard. Definitely, I hope that I can make something I like but as an entrepreneur I should meet their needs be-cause I am not popular enough. S: What kind of environment is you prefer? E: Even though there is Taipei In Style event every year, you hardly to see any emergent Taiwanese designers' works there. It is al-ways same old person. Besides, the event is too.... I prefer to showcase my collections in Hong Kong or somewhere else. I think the fash-ion weeks in HK, Korea and Shanghai are much better. I have visited Thailand, the environment of design sector is very attracted, I can feel that the Thai Government is very care about its design industry. So there is whole floor which displaying on-ly new and emergent designers' collections in one department store in city centre. Overall, the Taiwanese government does not real-ly care about design sectors, fashion market in Taiwan is too small and the shortage of platform to showcase. S: How will you describe the Taipei (Taiwan) fashion industry? E: The industry in Taiwan is very depend on "who you know", the platforms for designers to showcase is too less. Even though you are talented, there is hard to find a place for you. In Taiwan, it is like you must to know somebody first otherwise usual-ly you are still nobody.

139

Appendix 5

140

Interview Guide

with notes

141

Appendix 5

142

Interview Guide

with notes

THE END

143