Here is the line up of the final six outfits in my assignment one collection. Based off the concept off the mechanical parts of a sewing machine and the influential sixties style.
The backs of the garments were a lot simpler than the fronts, and I don't think they will inspire me in any new ways. I do like these two back views a lot, probably more than their front counterparts actually. I would like to perhaps incorporate the silhouette and exaggerated shoulders and hips into this new collection, but we'll have to see.
n (Clothing & Fashion) a range of clothes made by a top
fashion designer for a high-street retailer
Diffusion lines include: • Marc by Marc Jacobs • D&G by Dolce & Gabbana • Versus by Versace • McQ by Alexander McQueen • Karl by Karl Lagerfeld • DKNY by Donna Karan • Miu Miu by Miuccia
A diffusion line
• is a secondary line of merchandise ie. garments. created by a high-end designer
• retails at more moderate pricing, lower price point
• is separate from a fashion house’s ‘signature line’ which retails at a much higher price
• can substantially increase sales volumes for a designer as products are more affordable to a wider audience
• helps the designer at the same time leverage the desirability of their premium ranges to create a halo effect - refer diagram
• cost an average of 30 percent less than catwalk originals
• helps to form a fashion movement retail analysts call "massclusivity", where mass-market customers feel they are getting something special and prices are slightly higher than the high street
• is made to the same high standard of a designer brand and include details rarely found in throwaway fashion clothes
• has everything there that should be: durable fabric that won't shrink or fade, darts in the right places, pockets and linings
• has nothing there that shouldn't be: threads, holes, missing buttons, broken zips, bulges in seams
• splits a brand giving designers two bites of the cherry: the main range stays exclusive, but the second or third line gives them a greater chance to get their message and name out there
• means that designer clothing such as Karl Lagerfeld for H&M is cheaper than what it would be normally - “never seen crowds quite like the ones that lined up outside the store...fashion had never flown out of a store quite like that before”
• allows designers to make money from their own ideas, people forget how small a designer line is
• makes you question whether fashion has changed to be something for the masses?
Diagram created by me
Alexander McQueen vs. McQ
Alexander McQueen Autumn/Winter 2012
McQ Autumn/Winter 2012
From these two collections, it is clear to see the difference between a designer's main line and their diffusion line. McQ is a lot more wearable and practical. It still has a statement factor but does not have the same 'art piece' quality as the main collection.
Photos by me or sourced from wildfoxcouture.com, forever21.com, asos.com, drmartens.com
Dotti Sweater $60 XS, Made in China, 90% acrylic, 10% metallic I bought this sweater because of the way it looks. I like the repetition of the reindeer pattern and the colour palette. I needed more winter clothing, so this was an easy purchasing choice. Out of all of my clothing, it is the one piece that the most people comment on, so I like wearing it.
Wildfox Crop Top $155 XS, Made in USA, 100% cotton Over the summer I really wanted a crop top because I had a lot of high waisted shorts that looked good with a shorter style top. I chose this one, because I wanted to buy the crop top from Wildfox specifically, because I like the brand. This top was my favourite because of the cross on the front which was a big trend at the time of purchase, and the colour. Black and grey can be paired with anything, so I can wear the crop top with almost any of my shorts or skirts.
Forever 21 Knit Skirt $35 S/P, Made in Vietnam, 85% polyester, 12% rayon, 3% elastane I bought this skirt just under a year ago. I like it's shape and construction, including that it is high-waisted, hangs well and is a good length. The colour is neutral and the skirt goes with most things. It's a heavy fabric so I wear it often in winter as an alternative to pants due to it's warmth.
Asos Tights $12 These tights are similar to any other tights, however I buy these specifically because they fit me better than other tights. I find that the smallest sizes in New Zealand are too loose, however the Asos tights fit perfectly, because the European sizing is different. I wear tights most days because they are warm and versatile.
Doc Martens $200+ UK3, Made in Thailand I got these last Christmas, and I wear them the most out of any of my shoes. They are Doc Martens and are unique in that they are made of velvet and are also a Shoreditch Doc Marten. I like that they are a respected brand which most people can recognise, but they are also unique within that brand, so not many people have them. They are practical for everyday life because they are from the Eclectic collection, and are therefore extremely light and comfortable, while still being very durable.
From analysing my own clothing choices, I have discovered a few key points which I could think about for my collection. Firstly, the idea of brand recognition, and how one brand can have one signature style or feature thoughout all of it's products. The Doc Marten's yellow stitch and the tag at the back makes the shoes classic. Before I buy a garment I always consider how versatile and practical it will be while also taking into account it's aesthetics. This means that my collection should obviously look attractive to the target market, but also be practical. The collection is for winter, so I should research warm and water resistant fabrics. I shall design this collection with my own purchasing considerations in mind.
From the two given choices I have decided to choose the following point to focus my collection upon. B) Diffusion ranges are helping to form a fashion movement retail analysts call massclusivity, where mass-market customers feel they are getting something special and prices are slightly higher than the high street. Using and modifying my concepts from the previous assignment, I am to design a collection that speaks to the mid fashion market and has its finger on the market pulse.
Consider:
Macro Concept: What story are you trying to tell with your collection? Mood Concept: How does the story feel? Aesthetic Concept: How does this story look?
As I have hit a bit of a crossroads with my collection type, I have decided to refer back to some of the things I learnt last year.
Here are some notes from an interview I conducted with fashion designer Emma Manhart, who last year showed at New Zealand fashion week for the first time. She is very focussed on sustainability, which I do not think I am really. But I agree with some of her beliefs, including the idea that garments can be made locally by local people. I agree that this supports the community while also saving on carbon emissions and unethical practices overseas.
Photo taken by me at Emma's store
What made you want to be a designer?
I have always had an interest in textiles and making things. I actually studied and worked as an engineer before I got into fashion. I did love working as an engineer, but when I sat down and asked myself what I really wanted to be if I could do anything in the world without having to worry about time or money I realised I was more passionate about fashion and clothing. I then studied the costume design course at NMIT and learnt about pattern making and costume. It was a really good course which gave me a solid grounding in fashion, but they’ve stopped doing that course now unfortunately.
Once I graduated I then found a niche in the market, which was making merino felt coats, with possum fur collars. I developed the merino felt, which is a blend of merino wool and felt. These proved to be quite popular as I sold them in boutiques around New Zealand. Although they were very expensive to buy it could have never been enough to make a living as the market for them was there, but it wasn’t that large.
Do you follow current designers and trends, and do these inspire or influence your designs?
I like to keep an eye on current trends and designers that are developing their brands and showing at Fashion Week. I am not really influenced by the designers that I follow though. I am definitely dictated to by the fabric collections that are available each season. The fabric reps pick which fabrics they think will sell based on overseas markets. So I guess I am influenced by overseas designers indirectly, through the fabric reps because they are influenced by overseas fashion markets. I am limited by their fabric choices because New Zealand is small and we only get about two thirds of the supplies. I would not say that I designed for the trends though. Most of the current fashion trends do not suit ninety percent of woman. I prefer to make my designs suit almost all woman, that way they can leave my store feeling confident and pleased.
How do you decide on sizing or shape of designs?
Our designs are standard sizing. The average is for size 12. We grade for the full range of sizes though, from 8-10 to 18. The shape of our fitted dresses and other garments are dictated by the feedback from our clients. We listen and watch them, and their responses then influence the shape of our designs.
What do your clients want from your designs?
I think they want high quality garments, that can be worn as everyday wear, for work, or for an event. I assume they want bright colours for Summer and colourful patterns in Winter to stand out and be a bit different from the norm. Although I don’t think they want to stand out too much, so I don’t go completely out there with my designs or nobody would buy my garments. I am dictated to by the customers and what they want from my designs.
How do people perceive your designs?
Well by asking some of them, I assume they come to my store for good quality items that will last more than a season. I want my garments to last at least 10 years. I also think that they come here because my designs are flattering, I ask women about their figures and what they like and don’t like about them, then I am able to create garments to suit a large range of different sizes and shapes. For example, I have learnt that most woman are smaller just under the bust than around their waist, as is more commonly believed. From this, I can create flattering garments, with perfect cuts for the clients. Having my own shop gives me the opportunity to learn from my clients about what women want. I could not have gained all of the knowledge I now have if I didn’t have this store. NOTE: While in the store I asked one shopper how she perceived Emma’s designs. She said she came to the store for high quality items that last years. She said the patterns and bright colours never go out of season, so she does not have to replace her Emma Manhart garments once the trends changed. She said it was well worth spending the money as the garments last and are unique and stylish. The service is intimate and friendly, which is quite unique compared to other stores these days. Other than high quality and flattering, I hope people perceive my designs as innovative and fun. I don’t want them to think they are too innovative or scary though. I also hope they find my garments to use new design details and a range of fabrics effectively, and realise how environmentally friendly my garments are.
Do you have a theme or idea that you would like your clothing to be?
I think an important idea that I follow is that my garments are made locally, using local people, with local materials, for the local people to buy. I like to keep things in New Zealand and improve the New Zealand industry. On a small scale I hope to make the fashion industry last longer and be of a high standard. By keeping my business local I employ local people and use local goods, which helps the community.
What inspires your designs?
I believe if you can be independent you should be. That is why I try and do everything locally. I want to give back to society not take away from it. I am also inspired by the people that come into my store. Without them I wouldn’t have a store, I wouldn’t have survived the recession. They are important and I listen and learn from them. For instance, through my clients I know that only about 10% of women have a bigger bust than hips, therefore my clothing is designed to suit the 90%. If I designed in the opposite way, that ninety percent would leave my store dressed in something that just didn’t suit them as much as it could. That’s not what I aspire to, and that’s why my clients inspire my garments.
What do you value about your designs?
I have a sense of complete freedom. I make my own designs and sell them. It’s sustainable. The thing that I value most though is the fact that I have fulfilled my ethical beliefs and vision statement. I wanted to use quality materials that are locally made. I wanted it to be a local business, that does everything locally. I believe I have achieved this. I love how my garments are New Zealand made and I am supporting my own country. My business does not depend on anything global, it’s all New Zealand reliant. It’s a very nice feeling.
What are your beliefs about fashion?
I always had strong beliefs about what I wanted for my own fashion label. I operate with the quadruple belief, which is social, community, economical, and something else, consideration, where you think about all these factors. I want to work in a good way, that is ethical. I do not want to adversely effect or negatively impact on society, I don’t think fashion should do that. In my fashion shows I use real woman, not skinny models. I strongly believe in making local and affordable garments for local women. I believe fashion should be sustainable and fun.
Do you exclude from creating things that may be controversial, e.g. animal fur?
I don’t think I really create anything that would be outwardly controversial. I’m not that edgy. The most controversial thing I have used is possum fur, which is often used on our garments, and was used in my first coat designs. But that fits with our environmental philosophy because possums are classified pests and by using possum fur we are helping to save our environment, on a small scale. Some people don’t get that.
What responsibilities do you have to your customers?
Well, we need to make sure the quality of garments is high, they can’t just fall apart. The Consumer Guarantees Act covers that. We also pride ourselves on being nice to the customers so that they can have a positive experience in the store. We treat a person as a person. We definitely don’t mention anything about size or shape, as that could really hurt someone. Even saying something like ‘actually you might be a size 12’ could be taken in a really offensive way. We wait for customers to mention size and shape if they need help with something.
How does the Fair Trading and Consumer Guarantees Act effect you?
Of course if there’s any problem with a garment we will take it back and exchange it for the customer. Or if the paper advertises the wrong price for a garment we would honour the price. But there’s only one or two returned, out of hundreds and hundreds that are sold each year. If there is something wrong with a garment we genuinely hope that the customer comes back, as we cannot learn from our mistakes if we don’t know, and the client would not return to our store either.
Does anyone check your work to make sure you are doing a good job? Does someone appraise your practice?
There are no independent checks done. But we are very good at quality assurance. I check the garments and then Cheryl does quality checks too when we have created a garment. Before the final product, we check the patterns and make changes when needed. We check each others work internally, and it works really well.
How do you make sure you follow legal codes and acts?
All of the legal codes and acts that I need to know I have found out through my accountant. Other than that I have found out a lot about the legal requirements and practices through courses that I have taken. Apart from the obvious following laws in the making and selling of the garments, we also have to make sure we pay tax and bills.
Without laws and codes would your designs be different?
My responsibilities aren’t just about laws and codes. I have an ethical need to make my garments as good as possible. The customers control my business, if the garments were created badly they wouldn’t come back, even if there were no laws controlling quality. I would feel bad as well. We’re not streamlined. I pay my employees a decent wage because I value them. If there was no minimum wage I would still pay them as much, because I see what they do for my business and I recognise that their contributions have to be valued. I believe if people know that they are valued they will enjoy their work and do a quality job.
I could look into this, but I think that I still want to have more of a focus on how my products are made. I would like to research new and high tech ways to create garments, as I find that a lot more relevant to my collection's idea/theme.
I want to find out about: • New ways of apparel manufacture • High-tech fashions and the use of technology • Garments with a purpose • Innovative and practical materials • Ways to save money by using technology
Rather than focussing on fast fashion how I had originally thought, I now think that I would like to look into innovative and high tech fashion design.
There are many ways to go about creating garments, including both fast and slow fashion systems. My focus will be on fast fashion, as I feel it is more relative to my concept of mechanics, technology and the future. Fast fashion focusses on everything moving and changing quickly, just as technology does.
Fast fashion is a term used to acknowledge the move of garments from catwalk to store in the fastest time to capture current market trends. Fast fashion collections are based on the most recent fashion trends presented at Fashion Week. These trends are designed and manufactured quickly and cheaply to allow the mainstream consumer to take advantage of current clothing styles at a lower price.
The primary objective of the fast fashion is to quickly produce a product in a cost efficient manner. This efficiency is achieved through the retailers’ understanding of the target market's wants, which is a high fashion looking garment at a price at the lower end of the clothing sector.
Key points from reading The Value of Fast Fashion by Cachon and Swinney
in support of fast fashion
• (Quick Response, Enhanced Design, and Strategic Consumer Behaviour. April 2011, pp. 778-795)
• Quick response to consumer desires • Enhanced product design capabilities • Minimal production lead time to match supply with uncertain demand • Generally speaking, a fast fashion system combines at least two components: 1. short production and distribution lead times, enabling a close matching of supply with uncertain demand 2. highly fashionable (“trendy”) product design • Short lead times are enabled through a combination of localized production, sophisticated information systems that facilitate frequent inventory monitoring and replenishment, and expedited distribution methods. For example, Zara, primarily a European retailer, produces the majority of its designs in costly European and North African factories (rather than outsourcing to less expensive Asian facilities) • The second component (trendy product design) is made possible by carefully monitoring consumer and industry tastes for unexpected fads and reducing design lead times. Benetton, for example, employs a network of “trend spotters” and designers throughout Europe and Asia, and also pays close attention to seasonal fashion shows in Europe (Meichtry 2007) • Enhanced design capabilities result in products that are of greater value to consumers and hence elicit a greater willingness to pay. Consequently, firms may exploit this greater willingness to pay by charging higher prices on “trendy” products than on more conservative products. Enhanced design capabilities are costly, however: there are typically fixed costs (a large design staff, trend spotters, rapid prototyping capabilities, etc.), and there may be greater variable costs (e.g., because of more labor-intensive production processes or costly local labour) • Quick response reduces the chance that inventory will remain to be sold at the clearance price (because quick response more closely matches supply and demand) •Enhanced product design, on the other hand, gives customers a trendier product that they value more • Postponement creates variants from a base model (e.g., different color panels for the same phone), whereas enhanced design creates significantly different product variants from component inventory (e.g., a skirt or dress from the same material) • According to the reading, there are four operating systems: 1. A traditional system, represents a typical firm with long production lead times and standard product design abilities 2. A quick response system, does not employ enhanced design capabilities, but does yield significantly reduced production lead times 3. An enhanced design system, employs enhanced design capabilities (and hence greater consumer willingness to pay) but maintains long production lead times to avoid the kind of radical supply chain overall necessary to achieve lead time reduction 4. Finally, a fast fashion system, employs both quick response and enhanced design capabilities. The fast fashion system resembles the mode of operations increasingly found in retailers such as Zara, Benetton, and H&M
After researching fast fashion, I'm not actually sure if this is what I want to focus on anymore. I thought that it would be relevant, but in essence, it appears to focus on the sole idea that stores cheaply copy and reproduce designer's garments for the low end market. I am designing for the middle market from my original (more expensive) designs, and therefore my garments do not need to be quickly made or copied. Fast fashion garments are also frowned upon due to their disposable and unethical practices.
High End • Limited sizes available, only small • Excellent quality fabrics and manufacturing • Boutique atmosphere and clean look • Garments located at eye level with no mess • Limited sales, usually not in store but instead held as an event • Trend setting, where low end market imitates design elements • Personal service • Advocates an individual experience
Middle Market The middle market is essentially the market between the low and high end stores. • Classic styles • Smaller sizes available only • Nice atmosphere with space to move • Often multiple brands are available within middle market stores • Multiple choices • Personal service • Good quality fabrics and construction, however very minor flaws can be found • Cheap enough to be accessible to many people • Prices from $100 to $500
Mass Market
• Various stock in multiple colour, if you don't like the colour of a garment, it is likely to come in another • Mass produced therefore if you cannot get a specific style at one store you will likely be able to get it at another • Affordable, with garments under $150 • 'Fast fashion' • Products discounted year round, with sales often throughout the year • Less tailoring than more expensive garments • Less time and care taken • Copies all current trends, but are clearly seen to be cheaper imitations • Cheap fabrics, fastenings and embellishments • Busy and crowded atmosphere • Nothing unique, garments only change in minor details between low end stores • Minor damage and imperfections can be found on garments often • Large range of sizing available, however shape will often not suit some body types
What is their focus?
High End • Perception of the brand • Styling • Value, garments will last a long time • Brand imagery • Personal customer service • Quality • Being true to the brand's identity • Originality • Creating the 'ideal', smaller sizes
Mass Market • Accessible to everyone • Competitive pricing • Fast fashion • Advertising and promoting the brand • Fast product movement • Mass selling
By far one of the most successful New Zealand fashion designers, Karen Walker has made a name for herself worldwide. According to the brand's website, the collections are high casual, with a reoccurring theme of taking two extremes and pushing them together. This leads to collections that are both feminine and masculine, tailored and street, as well as dark and cute. In addition to Karen Walker's main womenswear collection there is a jewellery label alongside an eyewear label. Uniquely, Karen Walker also has a diffusion label, Hi There, created to make her label more affordable to such consumers as students, who would otherwise find the brand inaccessible.
Photos karenwalker.com
Surprisingly, the Karen Walker store in Wellington Central was one of the stores with the most decor. I usually associate high end stores with a very simple and fresh aesthetic, whereas the boutique had pale walls contrasted with framed photographs and a number of brightly coloured decorations. This was not a bad thing however. I feel that it personified the store, making it represent the Karen Walker brand very well. It was very true to the brand, and did not look cheap or tacky in any way. It was unique and interesting, and set the scene for the clothing perfectly. Karen Walker's collection was displayed at the front of the store and each garment could easily be seen and reached, as they were on ground level racks. Near the back of the store, there were several racks of Topshop clothing, which I thought was interesting. I feel that the Karen Walker brand would have collaborated with such a company to further the brand, as new cliental would be attracted into the store.
The clothing was of an extremely high standard, the best we visited. Unlike all of the other stores we visited, the garments we looked at had no loose threads or imperfections. The quality of construction, the fabrics used and the recognisable style of Karen Walker makes each garment true to the brand and means that the customer gets what they desire when visiting the store.
Along with being the best in quality, Karen Walker is also the most expensive store that we visited. Prices range from the low hundreds up to $1,190.00. Sizing was again small, with limited sizes available.
Karen Walker's brand is featured in magazines and worn by celebrities worldwide. Featured in: Frankie, Harper's Bazaar, Lula, Nylon and Vogue.
Karen Walker featured in Lula magazine. Photos by me
Kate Sylvester's collections embody intelligence, witty irreverence, sophistication and modern femininity according to her own website. The elegant brand, started in 1993, has since become a well known name in New Zealand fashion. With stores located in Auckland and Wellington, Kate Sylvester also has her garments stocked in numerous Australian stores as well as an online store.
Photos katesylvester.com and myself
The Wellington boutique is modern and bright, and resembles Kate Sylvester's own style and garments perfectly. With pale neutral tones, a light blue contrasts with shades of grey. Wooden racks and shelving look sophisticated, as opposed to plastic hangers and tables found in low end retail stores. Garments were hung on racks that were located around the exterior walls of the store, meaning that no garments were obscured from view when entering the store.
The clothing matches the boutique in the sense that all of the garments were neutral and feminine, and fitted perfectly into the essence of the store. The majority of the clothing was impressively made in New Zealand, with only a few garments being made in China. Therefore the quality was high, as expected, yet there was more loose threads around the hem and on buttons than I would have thought. However, still the garments were of a higher quality than that of low to mid market stores. I noticed that although Kate Sylvester may be influenced by trends, her garments do not follow what is happening in the retail industry as much as the low to mid market sectors do. Her garments are inspired by an idea or theme, while cheaper garments are created to meet a current trend, which has been originally created by a designer.
Area 51 is a boutique middle market store selling numerous brands, both online and in several stores around New Zealand including the Area 51 store on Cuba Street, which we visited. The store was surrounded by glass on two sides making the store bright against the remaining two white walls. It had a boutique feel and modern decor, including a central rack with items displayed on top of it. The store features 28 middle to high end brands including Huffer, Ksubi, Stolen Girlfriend's Club, Standard Issue and Sass & Bide. The target market would be young professionals and people (both male and female) late teen to late twenties with money.
Photos area51store.co.nz
Prices range from $30.00 to $885.00 between all of the brands. Because there was such an extensive variation in brands, sizes were varied. E.g. Several pairs of jeans were sizes 27, 28, 29 versus 6, 8 and 10. Just like Ruby, only several sizes were on display and they ranged from size 6 to size 10.
Area 51's layout was open and ordered, with women's apparel on one side and men's apparel on the other. The garments were organised by brand which made it easy to find specific items or price points. The store was smaller than Glassons, however considering that it did not have nearly the amount of clothing that Glassons does, it seemed much more spacious and open.
I feel that the types of clothing found in Area 51 are the kinds that I am suppose to be emulating in this project. The clothing has far surpassed the quality and style of low end stores, meeting the needs of consumers who care about current trends as well as quality. But it has not become unaffordable to many people, such as high end stores tend to be. The clothing was a very high quality. The fabric, tailoring and cut looked very professional, however there were still several loose threads to be found. A pair of jeans in a similar style to some found at Glassons, was a much higher quality than that of low end stores. It's colouring was more unique and the style looked more appropriately fitted for each individual size. The fabric was also very smooth and was obviously a much higher quality than that of similar cheaper garments.
Ruby is a middle market designer boutique with stores in Auckland, Wellington and Christchurch, along with an online store. The store sells both clothing and accessories. Ruby sells numerous apparel brands including Lonely Hearts, One Teaspoon, Liam and Something Else. The store is very aesthetically pleasing, with clear white walls and a sealed concrete floor. Located in the Old Bank Arcade the historic building also adds context to the boutique styling of the store. Clothing was used in such a way that the clothing became the decor. They were used as features in store rather than something for sale, and made for interesting viewing. Every piece of clothing was easily viewable and accessible. Compared to the lower end stores there were fewer garments. Only two or three of each garment was displayed on the rack, and therefore only a couple of sizes (size 10 usually) were on display, showing that generally the fashion industry (especially higher end designers - and in this case mid market stores) support the belief that skinny women are the 'ideal' consumer. Ruby sizing only included sizes 6, 8, 10 and 12.
Photos rubynz.com
The store layout was open and spacious. The majority of the clothing was displayed along the back wall giving the customer a lot of space to move about the small store. The store was a lot smaller than Glassons or Farmers, and had a lot less clothing filling that space, hence the prices of the garments are much higher, as the store must make a profit from only a limited number of garments.
The clothing was beautiful. As this store does not promote one brand only, there were numerous brands and styles. This means that the cliental is broadened as women with discerning tastes can shop not just one specific brand but numerous varied brands. The garments themselves were well made with excellent quality and unique fabrics that would be difficult to source in New Zealand. There were still several loose threads to be found on many of the garments however. The garments were very on trend with the current season, perhaps even beyond New Zealand's current season. Exploration of unique materials and techniques seemed to be a key factor. Pushing the boundaries of what is expected in fashion was clearly a component of many of the brand's latest garments. Many of the garments were exploring quilting and the use of metallic, almost PVC-like fabrics. Garments also used more expensive material than the lower end stores. A quilt vest coat was made of 60% wool and 40% viscose. These types of garments require extreme care to be taken when washing, with many of the garments being 'dryclean only' therefore attracting a wealthier cliental, who care enough about the brand and product to put effort and money into it.
