Dominique Taylor Concept Development Report Chiaroscuro
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Transcript of Dominique Taylor Concept Development Report Chiaroscuro
1
DOMINIQUE KATINA ANNE TAYLOR TAY10285934BA (HONS) FASHION DESIGN & DEVELOPMENT CONCEPT DEVELOPMENT 4,382 WORDS
CONTENTS
Executive Summary Page 1
1.o Concept Pages 3-4 1.1 Concept Introduction Page 3 1.2 Concept Explanation Page 4
2.0 Brand Pages 5-6 2.1 Brand Unique Seling Point Page 5 2.2 Brand Ethos Page 6
3.0 Consumer Pages 7-14 3.1 Consumer Understanding Page 9 3.2 Consumer Street Survey Page 10 3.3 Domestic Consumer Page 11 3.4 Middle Eastern Consumer Page 12 3.5 Asian Consumer Page 13 3.6 Consumer Demands Page 14
4.0 Market Pages 15-25 4.1 Market Position Pages 15-17 4.2 Direct Competitors Page 18 4.3 Competitors Pricing & Range structure Pages 19-20 4.4 Competitors Shop Comparison Pages 21-22 4.5 SWOT analysis Pages 23-24 4.6 PEST analysis Page 25
5.0 Price Strategy Pages 26-28 5.1 Price Architecture Page 26 5.2 Pricing Chart Page 27 5.3 Range Architecture Page 28
6.0 Experimental Line Up Pages 29-30
7.o Concept Pages 31-33 7.1 Supply Chain Logistics Page 31-32 7.2 Supply Chain Diagram Page 33
8.0 Launching Pages 34-36 8.1 Positioning Page 34 8.2 Online e-tail Pages 35-36
9.0 Conclusion Page 37- 38
BIBLIOGRAPHY Page 39-41
Image Referencing Page 42
Appendix Page 43 Onwards
1
With the onset of the double dip recession in 2012, future forecasting has created a defensive mindset in the general
populace. An overview of the Mintel report, Lifestyles of the Ultra-affluent and HNWIs describes that adults have been more cautious with their spending and investments. Despite this “57% of ultra-affluent and HNWIs indicate that their spending habits
have not changed compared with the year before, whilst only 12% have been spending more, and nearly twice as many (23%)
have been spending less.” (Lifestyles of the Ultra-affluent and HNWIs. 2012)
It is these Ultra-affluent and HNWIs consumers that have the most potential to provide a boost to the UK economy. The values
and expectations of these consumers, however, are showing signs of shifting toward quality rather than quantity. The mission of
this report is to prove the brand concept can redefine consumer attitudes as well as brand attitudes in the luxury market towards
consumption.
By positioning a new brand in the luxury market segment, it will be drawing upon the consumers that have a more considered
view of their investments into fashion. It will offer a premium luxury range that complies with the lifestyles of these consumers,
and cuts down on consumption. At the heart of the brand is the consumers desire for luxury goods that eliminate substantial
waste and are developed as a collection that is built upon and treasured as an investment for life.
EXECUTIVE SUMMARY
2
“Shoppers are beginning to lose their appetite for cheap, throwaway clothing and more are turning towards high quality, investment pieces that will last.WGSN (October 2011) British Lifestyles 2011
”
fig:1 Drapers, 2012
3
Consumer behaviour studies are showing that consumers with high purchasing power generate a lot of revenue within the luxury clothing market, with superior quality materials,
craftsmanship and the buying into investment pieces being the key allure.
Identified by the retail questionnaires conducted, the affluent consumer need the garments to not only be of a superior quality but have durability and high design standards. There is a greater
need for the customer to feel satisfied with the product before parting with their money, with a strong pursuit towards products
that have a unique element and versatility in their function. This report will show through findings of both quantitative and qualitative research that the concept brand’s collection not only has a place on the fashion market, but is one based on need and
desirability.
1.0 C
ON
CEPT
1.1 CONCEPT introduction
32.6 million adults in the UK, deem supe-rior quality and craftsmanship as the defin-
ing elements of luxury brands. (Meadows, 2009:71)
“ ”
4
The collection is based on research into shadow art, the juxtaposition that an array of objects and matter can be represented in clear monochromatic forms of silhouette outlines, perspective and lighting. The collection is also based strongly on a need for luxury clothing that is versatile and a long term investment. The lifestyle of the Ultra-Affluent Female, as well as the desire to cut down on waste and make a collection that was sustainable in terms of less consumption and multi function garments, is what gave birth to the ideas behind the design elements and details of the collection.
The designs will feature a modular construction that allows for flexible, fashionable outfits from fewer garments for increased lifestyle scenarios. The garments will have hidden fastenings that allow for the outfit to be constructed by the consumer, a concept titled ‘build your own wardrobe’, providing various options per item bought. The mood of the ‘Core’ collection is minimal, clean aesthetics with innovative approaches to construction and fabrication. This seasons trend collection ‘Chiaroscuro’ will be designed to be more elaborate, targeting the Asian and Middle Eastern consumer and being pieces that are designed to accompany, attach and detach from the ‘Core’ collection and add value to the wardrobe. It is the interconnectivity of the designs that will be the Unique Selling Point of the brand.
Mintel (2012) report states that the demographic of “[35-44s ultra-affluent and HNWIs] are keen buyers of luxury goods and have greater disposable income to make high end purchases... coupled with high brand loyalty, this finding provides great opportunities for brands to establish go-to products and experiences, to capture this lucrative segment.” (Lifestyles of the Ultra-affluent and HNWIs, 2012:6) With this knowledge and ensuring that all development is made with awareness of the brand ethos, mission and economic factors accounted for, creating a brand with a USP that fills a gap in the market should ensure the brands survival and success.
1.2 CONCEPT explanation
“ ”Investment in design and inno-vation is vital to retailers. with continuing market inflation, it is fundimental that an upcoming brand can distinguish itself as unique to sustain growth within the industry. (Nodder, 2012:10)
fig:2 Eerdekens
5
2.0
BR
AN
DThe Dominique Taylor collection will debut with two collections
released simultaneously. The ‘Core’ collection of tailored staple pieces and the seasonal trend collection, of which the first is called ‘Chiaroscuro’ which this season focuses on the
laser cutting trend. Each season a new trend led collection uniquely titled will be released. The two collections will be
interchangeable and have features that allow them to multi function.
To create a true and loyal following of the brand, Dominique Taylor will be offering alterations, tailoring and size modification
options online and in-store. Data in the mintel report for clothing size shows “Non standard-sized consumers are some of
the least likely to shop at high street retailers, thus the internet is allowing niche retailers of non standard clothing to establish
themselves within the market.” (Mintel, 2012:5) Added to this the fact that “enjoyment of the shopping experience and expenditure
are intrinsically linked” (Mintel, 2012:15), meaning that a well thought out, planned and developed concepts to enhance the
fun factor, and minimize sizing issues of the in-store retail environment will lead to brand loyalty as well as word of mouth
sales.
2.1 BRAND unique selling point
Bran
d Lo
yalty
6
According to shop questionnaires the luxury consumer shows little to no interest in ethical, vegan and fair trade fashion. Nevertheless, 77% of consumers are interested in environmental sustainability when dealing with lifestyle choices (Fig.2). Despite the conscious theme of sustainability, consumers are not willing to compromise buying habits for fashion. The collection that Dominique Taylor is proposing will be offering a low maintenance, low consumption idea that is not yet seen in the luxury segment or fashion market at large. The proposed ‘Core’ collection will have an estimated 15 looks that are versatile and interactive while also having the trend collection ‘Chiaroscuro’ that compliments and enhances the aesthetic of the brand.
By having the core collection permanently as the staple pieces, it cuts down on a drastic amount of waste that would normally occur with seasonal collections. The luxury consumer then has the choice of their level of consumption, as well as being involved with a more sustainable fashion option and will be investing in pieces that will be lifelong items in their wardrobe.
2.2 BRAND ethos
The British clothing and textiles sector currently produces around 3.1 million tonnes of CO2, two million tonnes of waste and 70 million tonnes of waste water per year- with 1.5 mil-lion tonnes yearly of unwanted clothing and textiles ultimately ending up in landfill. (Minney, 2011: 20)
”“
Sustainability
Interest In
42%
16%
20%
18%
5%
Consumers would pay more for:
fig:3 Survey Results
7
3.0
CON
SUM
ER
8
9
3.0
CON
SUM
ERIn a constantly evolving world, where definitions of fashion,
identity and belief are expanding and transforming, it is essential to know the customer and understand how to create a product
that the cliental can identify with. “Brand identity must be ingrained in the entire production process, from initial design to shop-floor delivery to meet the ever-demanding expectations of
luxury consumer.” (McKee, 2012: 30) Consumer understanding and research, therefore, is fundamental to the shaping of the
Dominique Taylor brand. To know the luxury consumer, a street survey was conducted of 29 female luxury consumers
and 1 male. A questionnaire was also conducted into 37 luxury brands, department store concessions and boutiques. These were
targeted at potential customers and competitors and as a result key findings and common threads emerged. The most important
finding is that there are three target consumers that will be interested in the concept brand’s ideas and designs.
The Domestic ConsumerThe Middle Eastern Consumer
and The Asian Consumer
3.1 CONSUMER understanding
43%British
27%Asian
30%Middle Eastern
fig:4, Drapers, 2012
10
3.2 CONSUMER street survey results
DOMINIQUE TAYLOR CONSUMER QUESTIONNAIRE DATE LOCATION DEMOGRAPHIC
Job Title:
Status:
Residence:
Dependence?
BUYING HABITS How do you shop?
Where do you shop?
Favorite brands?
Do you have brand loyalty?
Do you see your closet as an investment?Are you Interested in sustainability?Would you pay more for:
How often do you recycle your closet?How do you discover trends?
Who in the public eye do you admire most?
What would you change about fashion?
COMMENTS
32% Creative, 26% fashion industry, 23% Corporate and Charity, 19% housewife/unemployed50% Married, 40% single, 10% partner43% West London, 17% London/Overseas, 17% North London, 13% Overseas, 10% east london45% None, 17% 1 child, 17% 2 children, 10% Pet only, 3% 3, 4 and 5 children each
19% Scheduled / 22% Seasonally / 30% Impulsive / 15% Bargain Hunt / 15% For Trend 38% Department stores / 16% Online / 26% Boutique / 20% AllLuxury Brands currently in the media eye
77% Yes, 23% No
73% Yes, 27% No
40% Yes, 23% No, 37% In one aspect of life (at home and with food)18% Eco-friendly, 20% Fair Trade, 16% Organic, 5% Vegan, 42% None of the options39% Don’t know, 32% Never, 16% bored of clothing, 13% 1ce a Year49% Magazines, 16% street style, 13% Fashion show, 23% Other 63% Industry professionals, 25% family Member, 8% charity figure, 2% political figure
32% Eliminate waste, Slow it down. 19% Unique,luxury, couture techniques 16% Nothing, 13% Make it more accessible, 10% Get rid of seasons, 10% Labour laws across world
The questionnaire has proven valuable in information provided, particularly for insight into shopping habits, opinions on
ethical fashion topics, current industry insight and philosophy of luxury purchases. The Demographics of the luxury
consumer is better analysed with the use of the store questionnaire.
11
DO
MES
TIC
3.3
cons
umer
Invests in her wardrobe, recycles and is aware of ecological issues facing the world.
Endeavors to change the amount of waste produced by the fashion industry and to slow fashion down. “Have a greater spending potential than their younger counterparts” Mintel 2012:3
Sesonal boutique shops, aversitility, fearsly loyal
Working to get to the top of the career ladder.
45+, Married, West London, has a child and a pet.
Sustainability is important at home. Will not pay more for ethical fashion
Magazines and street style inspire the trends
Cautious about frivilous spending but fashion is priority.
“Regular clients that live
in the area, Profesionals, looking for
stylish staples” Matches, Westbourne Grove,
Notting Hill.
“
“
12
MID
DLE EA
STERN
3.3 consumer
Competition between women for luxury goods
Travel for shopping, shopping when travelling. 35+, Married, Multiple dependents. Lives between London and the Middle East. Chooses not to work.
Desire for luxury overrides ethical boundries. No desire to change the world of fashion
Life revolves around family and community.
“The rich ones have homes in London, but live in another country, they don’t have jobs but I wouldn’t say they were housewives either. They just live a luxurious life style and do not need to work or worry about funds.” McQueen, Selfridges, Mayfair
Chooses to shop in department stores for prestige and convenience Wears a larger size than the UK standard
Strivesto be
constantly immaculate, looks for the
extravagant and identifiable.
“
“
Tom Ford, Harrods
13
ASI
AN
3.3
cons
umer
A desire to make fashion more unique
Strive for success in business
Honour family
No brand loyalty
Likes street cred Colour and unconventional style
No Age Specification Student or Management
No dependents
Shop impulsively, online, in-store, everywhere
Wears a petite sixe in comparisson to UK standard
Sustainability is not of great concern, definitely not in fashion
Looking for the art based pieces of fashion
“They are usually from China or East Asia, Females over the age of 20 with no cut off limit, they are elegant and smart” Yves Saint Laurent, Bond Street, Mayfair
“Asians are really funky, they want unique
items.” Balmain, Harrods,
Knightsbridge
“
“
14
The dynamic structure of the collection enables it to reach a broad audience, deifying pre-catagorised demographics such as age. Be that as it may the design process of the Dominique Taylor brand has been actualised in conjunction with the intent to satisfy the three target consumers, previously listed.The consumer surveys (see appendix page: ) identified that the target audience is most likely to shop in department stores and boutiques, where shopping would offer the most variety and convenience. For this reason the majority of shop questionnaires (see appendix) were conducted in just such locations. The data analyzed revealed that most consumers discover trends through print media such as magazines.
These consumers will approach the label in different ways and for different needs to be met. Whether the consumer is interested in the sustainable factor, the trendsetting fashion or the innovative design the target groups transcend boundaries of age, location and ideals, they are grouped instead by the research done into the luxury lifestyle and their desire for quality and unique fashion. “Luxury consumers are keen to find novelty. They’re paying more attention to their spend, to differentiation and distinction” (Sole, Drapers, 2012: 32)
The store manager of Yves Saint Laurent stated “The consumer wants something extraordinary and can’t find it. Fashion has been looking the same for the past 5 years and they are hungry for a change for an evolution of the look.” Yves Saint Laurent, BondStreet, Mayfair. Added to this evidence of what the luxury consumer is looking to gain from fashion is the fact that the AB consumer in the UK is “inclined to prefer good-quality clothing that they can wear for several seasons and opt to invest in fewer items of superior-quality clothing” (Mintel 2012:4) This information is backed up by the evidence collected in the survey that the consumer sees their fashion purchases as investments.The following pages will therefore demonstrate how the concept brand will provide a unique and novel fashion concept for the luxury market.
3.1 CONSUMER demands
32%
19%
13%
10%
10%
16%
consumers would change fashion by:
consumers discover trends by:
7%
7%
7% 15%
16%49%
The majority of luxury consumers also stated that given the chance to change anything in the fashion industry it would be to cut down on waste and slow down new trends emerging.
15
The proposed market level will be the luxury sector, this is supported by various findings in the report so far and as reports such as Mintel
and Drapers Magazine suggest the AB Woman and the Luxury consumer are spending less on fast fashion and are more likely to
spend more money on quality over quantity. Mintels Consumer attitudes towards Luxury brands report informs the reader that “there
is a sizable opportunity for more premium fashion outlets to grab a slice of this expanding- and still relatively untapped -market of
mature and non-standard size fashion retail.” (Mintel, 2012:8)
Through the analysis of the competitive luxury market, it is clear that whist many brands offer a collection that looks at the desires of the consumer in terms of trend and style (such as Tom Ford, Haider
Ackermann and Yves Saint Laurent) and other brands offer the consumer options of non conformity and ethical garments (such as
Stella McCartney, Yoji Yamomoto and Maison Martin Mergella) there are none that offer the concept of ‘build your own wardrobe’ that
Dominique Taylor is proposing.
Whilst Stella McCarney has monopolised on the vegan fashion that is ethical in the luxury sector and Yoji Yamomoto offers the western
consumer a view into Asian perceptions and practicality of functional luxury wear, Dominique Taylor views Haider Ackermann as both
inspirational and the best representation of direct competition.
4.1 MARKET position4.
0 M
AR
KET
Much of what influences the value of a brand lies in the hads of its competitors.
(Sherrington, 2003:70)
“ ”
16
The Haider Arckermann concession sales assistant at Dover Street market
explains how “Haider Ackermann’s pieces incorporate both high fashion and street-wear, feature couture details rendered in materials like jersey
and leather. They are impeccably tailored and fastidiously constructed but also romantic and sensual.” (DSM, 2012) They utilise high quality fabrics as well as having a sense of multi function. The aspirations of the concept
brand Dominique Taylor is to give poise and self-confidence to the women wearing the garments. Garments that allow them to feel empowered as well
as feminine and elegant. Achieved by offering well designed products that consumers appreciate.
By developing this brand within the luxury sector, it will stand out amongst the competitors by providing functional, good quality clothing with well
sourced fabrics as well as fashionable and innovative designs. The luxury consumer will be more inclined to purchase a product that has longevity,
that is made of premium quality fabrics. Designing a collection that is marketed as a multi functional collection to withstand years of trend and fast fashion evolution, will mean the perceived value will increase, as will
the desirability.
HighEndLuxury
LowEndLuxury
MidMarket
MainstreamHighstreet
Market Positioning And Retail Positioning Diagram
17
MARKET position axis
Price : Low
Design: Experimental
Design: Classic
Price: High
4.0
MA
RK
ET The market positioning axis shows where the concept brand
Dominique Taylor would be posi-tioned amongst the top end of the
luxury sector and the indirect high street competitors that are used
by consumers for fast fashion and staples. All price points are based
on analysis of each brands women’s white shirt (staple item).
fig: 5 Market axis
18
The direct competitors were chosen because of a criteria set out by the designer that included design elements, finishings and
fabric choice. Attempting to launch an innovative design brand it would have been simple to look at Japanese designers in the
UK for their market strategies, however, Dominique Taylor felt that Yves Saint Laurent, Tom Ford, Haider Ackermann and
Stella McCartney were a better reflection of the concept brand being developed. They share a good understanding of western
culture, the allure of elegance combined with detailed design elements that keep the collections interesting and have the
skills of good tailoring and fit.
4.2 DIRECT competitors
high versitility
low versitility clas
sic
tren
d se
tter
low pricepoint
high pricepoint
The graph highlights the four direct competitors to the concept brand and their positioning of price, design and versatility. Each axis highlights the degree in which the brand utilises these factors when showing a collection and when it is being marketed and sold. (Versatility based on runway looks)
fig: 6 Competitors axis
27% Tops 21% Dresses 19% Outerwear 18%Trousers 11% Skirts
4%
Jum
psu
its
19
4.3 COMPETITOR pricing & range structure4.
0 M
AR
KET
Further analysis of the direct competitors, reflects the diverse pricing and range structure of their products. The graphs
give good insight into how the concept brand’s pricing might look as well as the units per product manufacture.
Rig
ht a
re th
e pe
rcen
tage
s of
uni
ts in
the
rang
e st
ruct
ure
of th
e co
mpe
tito
rs c
olle
ctio
ns, c
olle
ctiv
ely.
fig: 7 Competitors pricing
fig: 8 units
20
fig: 9 Price bracketing table
21
Promotion: Status: Celebrity Endorsement : Shows in: Owned by:
Design: Product: Price: Place: Promotion:
4.4 COMPETITOR shop comparison4.
0 M
AR
KET Androgynous, Tailored to Per-
fection, Avant-garde, Edgy, Master of colour, drapping
and tailoring
Up and coming
Being established
Tilda Swindon: Labbeled as fashion forward, a risk taker,
androgynous dresser
Paris Fashion Week BVBA “32”
Privately OwnedLondon Fashion WeekDaphne Guiness: Takes risks and likes to be the centre
of attention, is emotive and sensual.
Versitile, Demi-couture, Avant-garde, Elegant
Womenswear Ready-to-WearSingle Menswear Ready-to-
Wear
Womenswear Ready-to-Wear
Entry level price: £300 wool skirt
Exit level price: £3,665 leather jacket
Entry level price: £120 laser-cut accessory
Exit level price: £4,050 cashmere coat
Sells at Dover Street Market, Harvey Nichols, Saks Fifth Avenue, Seven New York,
Excelsior Milano, China World Mall
Selfridges: Younger and more hip than Harrods
Dover Street Market: Avant-garde and more ‘in-the-know’
consumers
Print Media, Website, Celebrity endorsement,
Word of mouth
Print Media, Website, Social Networking,
Advertising Word of mouth
22
Design:
Product:
Price:
Place:
Promotion:
Status:
Celebrity Endorsement :
Shows in:
Owned by:
Sensual, Feminine, Tailored, Clean,
sophisticated, “uber-luxury”
Womenswear RTW, Menswear RTW
Frangrance, Beauty, Eyewear
Tom Ford, New YorkHarrods
Selfridges (menswear)Bergdorf Goodman
Las Vegas: said to be the best store interior 2012
Yves Saint Laurent, Bond street, Harrods,
Selfridges, On-line retail, Flagship stores in 6
countries
Stella McCartney, 60 Cuntries, 4 flagships,
on-line, Harvey Nichols, Seldfridges, Harrods,
Liberty
Print Media, Advertising, Instore lookbook, Web-site, Celebrity Endorse-ments, Ethical Forums
Womenswear RTWWomenswear Resort
Beauty, Fragrance, Eye-wear, Lingerie
Red Craper, Power dressing, French high
society, Elegance, Clas-sic
Commercial Success, Ve-gan, Feminine, Tailored,
British
Womenswear RTW, Womenswear Resort,
Childrenswear, Collaborations, Fragrance, Eyewear, Beauty
Lingerie
Risque Advertising campaigns, Print Media, Website, Social Network, Celebrity endorsements,
Word of mouth
Established, House hold name,
Critics’ favorite, Estab-lished.
Established, Top of the ladder in Vegan Fashion
Inhouse lookbook, Adver-tising campaigns,
Print Media, Website
Kate Hudson, Gweyneth Paltrow: Elegant yet Hip,
both mothers.
Privately Owned Gucci Group/PPR Gucci Group/PPR
London Fashion Week Paris Fashion Week Paris Fashion Week
Cathrine Deneuve, Chloe Sevigny: classic beau-ties, have natural style
Kate Moss, Natalie Portman: Young
mothers with a con-science
Market analysis of these competitors and Haider Ackermanns brand clearly outlines the reasons for which these companies have all been successful. Whether just starting out or being established there is a place in the market for forward thinking fashion that has a USP . Celebrity endourcements are beneficial to the success of the brand as are the use of social media and instore look books, however they are not vital.
Entry level price: £249 scarf
Exit level price: £4,329 cape dress
Entry level price: £146 ring
Exit level price: £4,879 silk dress
Entry level price: £104 beanie
Exit level price: £3,760 lace top
23
SW
Growing consumer awareness of ethical considerations and how people are treated in supply chains.Consumers have been educated about the treatment of workers
Longevity of sustainable and fair trade fashionThere are intangible benefits attached to being a ‘sustainable’ brand
Prices of goods may rise and affect sales, sales may be encouraged by the brand being sustainableAccess to target market through internet
Select merchandise designed for the consumer and their needsCreative design ideas and concepts
Offering free body scanning in via webcams around the world linked with online advice about style and fit.Collaborations with designers and celebrities is possible
High Trend and needs awarenessGarment price matches the quality
Garment quality matches price
Most merchandise targets a very specific demographic of female clienteleOther labels (competitors) are highly successful brands with established brand identity
Not enough marketing and or word of mouth advertising.Ethical merchandise is often more expensive and does not look as aesthetically pleasing as genuine
leathers and furs. Little to no face time with actual consumer online
Little to no add campaignsEthical Fashion could be a fad trend, soon to loose its popularity and standing in the community
Less profit and shareholder dividends if merchandise is not sold.To be truly sustainable consumers need to consume less.
If consumers start buying less company profits will be affected.
4.5
SWO
T an
alys
is
A SWOT analysis is the Strengths Weaknesses, Opportunities and Threats that the Micro market (the concept brand) faces.
24
TO
Introduction of concession stores world wide or in select countries where the brand is selling particularly well.Improve website for simple transaction processPossible to open a flagship store if brand does well and has a good profit.Potential for further globalisation of brandCollaborations with new up and coming artists and environmentalists is a possibility for the futureDeveloping new services and products continuously that add value to the original staple pieces.Potential to franchise the brandConsumers are becoming increasingly aware of the ethical issues but the market lacks ethical ranges that are in the luxury market.Sustainable brand values can be promoted by the retailer to add value to the products they are sellingEthical and sustainable fashion has traditionally held less fashionability than mainstream fashion ranges. This brand will not make this mistake.Fast Fashion does not make ethical ranges that are stylish and sustainable.Recession adding need to fashion that previously was not necessary.
Lead times will vary and be delayed, more so than fast fashionBrand loyalty is sporadic, consumers will go to fast fashion for trend if it isn’t availableEthical could be a trend that is discarded in the future.Companies who have invested in an ethical supply chain could lose out financially.Consumers are influenced by trends and expect constant awareness in stores.Less new products arriving in store due to less need when looking at sustainability.Competition from other cheaper storesCompetition from other luxury brands that do and do not do sustainable fashionTechnology to make ethical fashion as luxurious as non ethical fashion not being available.More online stores entering the workplace.Being a global retailer could mean being exposed to political problems in the countries that you operate in.Potential for copy cat brands.Recession making people more wary about what they spend their money on.
fig: 10 Photo/illustration
A PEST analysis is the Strengths Weaknesses, Opportunities and Threats that the Macro market (the competitor) faces.
25
4.6
PEST
anal
ysis
P
E T
S
Tax policiesPolitical stability
Competition regulationConsumer protection
Environmental regulationsInternational trade regulations
Employment lawsRegulation/ De-regulation trends
Social employment legislationGovernment grants and fiscal incentives
Free Internship laws changing
Economic growth due to current popularityCredit crunch
Consumer budgetConsumer confidence
Import Export Taxes of shipping goodsHigh profit margin from production costs
Government spending decrease for artsExchange ratesInflation Rates
Business cycle changeUnemployment, labour supply, labour costs
GlobalisationLikely economic change after recession
Fashion TrendsFast fashion turnaroundBrand LoyaltyMouth to Mouth marketingDemographics and population growthAgeing population/age profileLifestyle ChangesLower spendable incomeWork/Career attitudes, entrepreneurial spiritEducationIncome distributionLiving conditionsSocial concerns such as environmental issues. Health consciousness, welfare
New technological fabricsImpact of emerging technologiesIndustry focus on technologyTechnology that helps sustainabilityNew inventions and developmentRate of developmentLife cycle of technologyEnergy use and costChanges in IT, Internet, Mobile usage: Reduced communication costsTrend based technologyGlobal distribution systems
fig: 10 Macro Market
26
Due to the luxury consumers expectations of premium fabrics and expensive taste, the collection will be made using the finest cashmere from Italy, and highest quality silk from India. Doing this will inevitably drive prices of sourcing and production up as in all areas of the process the upmost quality is required. The client has been identified as one that is prepared to pay for these services and in accordance pay a premium for the product they are purchasing. In the longterm profits of the business should reflect this.
Taking into account the mix of the three consumers that are targeted by Dominique Taylor, the collection will be composed of a full product selection, offering the staple pieces in the ‘Core’ collection at luxury entry level prices alongside the selection of trend led pieces in the ‘Chiaroscuro’ collection at a higher premium price point. The collection will be intended to be worn as a mixture of core and trend with the use of layering, attaching and detaching via use of various fastening and magnets.
Cost price of a garment is determined by the following:
Wholesale prices are the prices sold to retailers. They have a smaller mark up as the store will also add a mark up to cover and make profit from the final price. When products are sold in a flagship store owned by the brand, the mark up price would be higher to cover the store costs.
Online there are less overheads to cover so whilst markup will be the same (prices are the same online as they are in store) profit for the markup margin should be larger. Postal delivery costs must be taken into account with online pricing.
5.1 PRICE architecture
Fabric + Trims + Production in Factory + Shipping + Import Taxes = Cost Price
5.0 Price strategy
27
5.2 Price bracketing chart
To the Left is a rough overview of the pricing architecture. It show the range of price in each sector for both the ‘Core’ and ‘Chiaroscuro’ Collections. The prices will be revised throughout the costing and manufacture process as fabric choices, trims, fastenings, innovation and processes as well as unforeseen oversights may occur to drive up cost price. Shipping, sourcing and further processes will also affect the price architecture of the range.
Core Collection
Chiaroscuro Collection
5.0
Pric
e str
ateg
y
28
By looking at the three competitors collections in terms of price architecture and range makeup, the Dominique Taylor brand was able to predict the needs and expectations of the luxury consumer in regards to new season collection unit numbers per product. These predictions will be particularly helpful when cre-ating the trend pieces each season and will help eliminate waste, and cost through out the supply chain, especially of holding, shipping and exporting excess stock.
5.3 RANGE architecture
Produc
t Un
its
29
6.0 DOMINIQUE taylor experimental line up
30
31
7.1 Supply chain logistics 7.
0 SU
PPLY
The supply chain and logistics management for any company is critical for success. Logistics is concerned with the management of the physical flow, begining with the sources of supply and
ending at the point of consumption. For the Dominique Taylor brand it is essential to have the supply chain as well as logistics managed well in both time and monetary terms. As the fabrics
and materials are being sourced from various locations, the time management and reliability of all parties involved is crucial. There must be time allowance for unpredicted issues arising
along the supply chain. Failure to coordinate any of these activities is certain to upset the equilibrium of forces which means efficient distribution.
Premium quality fabrics will be sourced especially with reputable companies manufacturing these fabrics. The cashmere and wool fabrics will be sourced from Italy where the mill is
located, the manufacturors name is Duca di Valtorota Cashmere, and the Silk, Silk blend and Leather fabrics will be sourced in India by Jaypore Prints and Fabrics. Contact has been made with these two textile manufacturing companies and samples have been requested but not yet
received. Attendance at Premier Vision and trade shows such as the London Textile Fair will also help in sourcing additional fabrics. (it is possible to order directly from the mill or the
companies UK agent at the trade show and order for initial sampling.) Sampling and toiling will be done alongside the design process, right up until all designs have been decided upon and flat patterns are ready to be passed along to the factory together with
all specification sheets.
The right product in the right place at the right time, at the least cost. Is precisely the
objective of logistics management (Christo-pher, 1986:4)
“ ”
32
Manufacturing overseas in India will be considerably cheaper than in the EU or the UK and will be beneficial in terms of delivery of the fabric that is sourced there, in India. The fabric that is sourced elsewhere will be sent by courier to the factory directly, as will the CAD designs and flat patterns. The concern for manufacturing overseas is the shipping, longer lead times and the consumers interest in location of manufacture. Cost will vary depending on the quantity of garments produced, the design, specific finishings and whether or not it has to have elements completed at a different location, such as laser cutting. All of this will vary depending on style and product type. Design and manufacture are not the only costs that brands established and new will have to take into account when doing costing. Not to be overlooked are the total distribution cost which are worked out with this formula:
TDC=TC+FC+CC+IC+HC+PC+MC
TDC = Total distribution costs TC = Transport costs FC = Facilities costs (depots, warehouses etc.)CC = Communications costs (order processing invoicing etc) IC = Inventory costHC = Material handling costs PC = Protective packing costsMC = Distribution management costs
33
7.0
SUPP
LY DESIGN DEVELOPMENT
•Inspiration•Colour Scheme •Silhouette•Fabric and Material Sourcing•Trend Forecasting •Market Analysis
PLAN AND DESIGN RANGE
•Design •Laser-cutting•Printing •Fastenings
PATTERN GRADING
IN HOUSE SAMPLINGCOSTINGSPECIFICATIONS
•Flat Patterns •Fit •Sew•Exterior manipulations •Cut•Press •Amendments
place orders for :
•Fabric •Fastenings •Packaging •Swing tags and labels
SHIPPING
•Cashmere from Italy•Fastenings from China•Suiting fabric and Silk in India
PRODUCTION
•Sampling•Quality control•(Laser cutting in house •Printing in house)
FINAL PRODUCT
•Labels•Tags
SHIPPING
•Received in UK
DISTRIBUTION
•To Warehouse for online sales•To Department stores
7.2 Supply chain diagram
fig: 11 Supply Chain diagram
34
The ideal positioning for this product would be to launch it in department stores foremost, meaning wholesale capacity. By selling it in department stores and boutiques initially it will sit amongst other brands with similar aesthetics and price points, this will be a good chance to evaluate the brands potential and further investigation in to the target consumer. The brand would simultaneously be launched online thus establishing the brand’s presence in the market. Following the success of both department stores and online sales a flagship store will open on the prestigious and less tourist ridden Conduit street in Mayfair.
8.1 Positioning8.0 LA
UN
CHIN
G
fig: 12 Drapers, 2012
35
8.0
LAU
NCH
ING Marketing the new brand is crucial to its success and to establish as much
exposure as possible. The brand identity and ‘build your own wardrobe’ concept depends on the effectiveness of the variety of channels utilised for
marketing. The website is an essential part of this process.
Over the next four years Mintel forecasts that “the online fashion market will grow 86%” (Mintel, 2012:2)
Online promotion is key “the internet and social media in particular, are crucial to the growth of the luxury sector” (Santi, 2012: 27). Online sales are now the fastest growing area of 56% of business in the luxury
sector and claim that 33% of their total sales come from online purchases. Drapers also states that according to their luxury report “any reservations
that luxury brands had about selling their collections online have disappeared” (Drapers, 2012: 28) However, few luxury brands have a
truly well thought out and working website that is clear and concise for the consumer to make online purchases through. Uche Okonkwo reveals
that “An industry that is known for creativity and avant-gardism, it remains a surprise that luxury is playing catch up to the rest of the world in embracing the e-culture and adopting digital technology.” (Okonkwo, 2010
:26)
In light of the information afore mentioned, it is imperative to have a clean, minimalistic website that offers the customer a highly visual experience.
It would provide detailed production and company information (ethos, mission statements and manufacturing processes), contact details for
the brand and its stock-list, as well as being highly informative about the ‘build your own wardrobe’ concept surrounding the ‘Core collection’ and
‘Chiaroscuro’ collection.
8.2 Online e-tail
fig: 13 Drapers, 2012
36
It is imperative that the website serve as a way for the consumer to interact with the brand and focus on drawing in the consumer for a well rounded shopping experience as close to the in-store experience as possible. The option of ‘click and collect’, where the consumer can choose, reserve or pay for an item online and then come in to the store to retrieve their purchase allows for the experience to both be a more pleasant one but also prolongs the interaction with the consumer, developing into a relationship and building a loyal platform. There will also be an online purchase and delivery service offered and in this case the website will offer a simple, seamless checkout, with a one-click-purchase system.
The online website will also utilise innovative technology, for the convenience and experience of the consumer. As Mintel has shown us the majority of women find it more important to dress in a way “which suits their figure, than to follow the latest trends... there is scope for more retailers to help women find the right fit, and here, in store body scanning technology can pay a key role.” (Mintel, 2012: 2) Individual profiles or ‘on-line passports’ can be created by the consumer using their home computer’s webcam, this revolutionary technology was created by Berlin based company Upcload and has the ability to measure the body and allow consumers to decipher which garments will fit them before committing to purchase. Dominique Taylor can then tailor recommendations to each individual consumer, offer a garment alteration program and with the use of photos and videos enhance the online experience.
fig: 13 Drapers, 2012
37
9.0
Conc
lusi
on
Dominique Taylor sees itself as a long term venture that will become a ‘go-to’ brand for new trends and wardrobe staples to build upon. As a brand, the objective is to make a difference in the way the populace
think about consumption and fast fashion. As a company, Dominique Taylor is determined to provide the luxury consumer with a viable
alternative to mass consumption.
The first collection aims to engage the consumer, developing a relationship and loyalty between the customer and product. The
dynamic collections are intended for longevity, as investment pieces that express the consumers personality by their own ability to ‘build a
wardrobe’.
Dominique Taylor is a luxury fashion brand founded on innovation, creativity in design, and a desire to make a difference in the broad
fashion market. The continued development in materials and fashion trends ensures that Dominique Taylor will meet an ongoing need for
forward fashion seeking individuals.
fig: 14 Vest manipulation
38
39
Bib
liogr
aphy
Books Exhibitions
Magazines
Aslanbeigui, N. Pressman, S. & Summerfield, G. (1994) Women in the Age of Economic Transformation. London: Routledge
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Conlon, J. (2001) Fine Embelishment Techniques. Newtown: The Taunton Press
Grafton, C (1982) Authentic Victorian Stencil Designs. New York: Dover Publications
Meadows, T. (2009) How To Set Up And Run A Fashion Label. London: Laurence King Publishing Ltd
Mort, D. (2003) Understanding Statistics & Market Research Data. 2nd ed. London: Europa Publications Limited
Okonkwo, U. (2010) Luxury Online. Hampshire: Palgrave Macmillan
Riezebos, R. and Grinten, J. (2012) Positioning The Brand. Oxon: Routledge
Roessing, H. (1991) Traditional Stencil Designs. New York: Dover Publications
‘Ballgowns British Glamour Since 1950’ Victoria & Albert Museum, London. 19 May 2012- 6 January 2013
‘Nihilistic Optimistic’. Blain|Southern, Hanover Street, London, UK. 2012 Visited October 2012
‘The arts and crafts movement.’ Victoria & Albert Museum, London. Permanent exhibition. Visited October 2012.
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Collins, J. (2012) ‘Lust For Life’. Vanity Fair America, Vol 628, pp. 48
Collins, L. (2012) ‘Modern Collaboration’. The Gentle Woman, Vol 6, pp. 68-72
Harley, A. (2012) ‘Men’s Tailoring’. Hunger, Vol 3, pp. 126-135
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Leitch, L. (2012) ‘Doctorin’ the House’. Vanity Fair on Couture, Vol 628, pp. 92 - 95
Mowbray, N. (2012) ‘Power Spouse’. Vogue UK, Vol 12.2012, pp. 165-168
Mowbray, N. (2012) ‘Power Spouse’. Vogue UK, Vol 12.2012, pp. 165-168
40
Journals & NewspapersCoen, D. (2012) ‘Fashion Index & Indie Index’. The Fashion business Drapers, Issue. 24.11.12, pp. 14 - 16
Nodder, C. (2012) ‘Drapers Fashion Awards 2012’. The Fashion business Drapers, Issue. 24.11.12, pp. 29 - 63
Nodder, C. (2012) ‘The League of Extraordinary Business Minds’. The Fashion business Drapers, Issue. 24.11.12, pp. 10
Salter, J. (2012) ‘The Luxury Report’. The Fashion business Drapers, Issue. 17.11.12, pp. 25 - 39
Santi, A. (2012) ‘The Luxury Report’. The Fashion business Drapers, Issue. 17.11.12, pp. 25 - 39
Solca, L. (2012) ‘The Luxury Report’. The Fashion business Drapers, Issue. 17.11.12, pp. 31 - 33
ReportsMintel (August 2012) Lifestyle of the Ultra-affluent and HNWIs - UK. [Online] Available at: http://academic.mintel.com [Accessed 3rd October 2007].
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[Online] Available at: http://academic.mintel.com [Accessed 3rd October 2007].
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WGSN (October 2012) Mexico’s Luxury Market Set For More Growth Amid Low Import Duties. [online] Avail-able at: http://www.wgsn.com/content/report/Trend_Analysis/Packaging_and_Branding/2011/September/ [Accessed 21th November 2012]
tent/report/Trend_Analysis/Packaging_and_Branding/2011/September/ [Accessed 21th November 2012]
WGSN (September 2012)New Smart Consumers Set The Pace For Retail Change masterCard Report. [online] Available at: http://www.wgsn.com/content/report/Trend_Analysis/Packaging_and_Branding/2011/September/ [Accessed 21th November 2012]
WGSN (October 2012) Valentino Enters New Expansion Phase Under Qatari Ownership. [online] Available at: http://www.wgsn.com/content/report/Trend_Analysis/Packaging_and_Branding/2011/September/ [Accessed 21th November 2012]
WGSN (October 2012) Women Hit Their Shopping Prime at 57. [Online] Available at: http://www.wgsn.com/content/report/Trend_Analysis/Packaging_and_Branding/2011/Sep-tember/ [Accessed 21th November 2012]
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41
Onlinehttp://larrykagansculpture.com/gallery/ (2012) [Ac-cessed 2 November 2012]
http://retail-digital.com/consumer_trends/5-facts-about-Tom-Ford (2009) [Accessed 17
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Bib
liogr
aphy
42
Imag
e Ref
eren
ce
Page 1: Lasercut leather fabricPage 2: Drapers Luxury Report,2012Page 4: Minimum, Eerdekens 2004Page 5: Survey Results profile, edited. Silhouette experimentations, Dominique TaylorPage 6: Survey Result profile, editedPage 7: Consumer Portrait, Dominique TaylorPage 9: Scan from Drapers Luxury Report, 2012 Survey Heads, edited.Page 10: Pattern Illustration, Dominique Taylor Street Survey Results ImagePage 11: Domestic Consumer, editedPage 12: Middle Eastern Consumer, edited Page 13: Asian Consumer, edited.Page 16: Market Positioning & Retail Positioning DiagramPage 17: Market AxisPage 18: Competitors AxisPage 19: Competitors pricing & range structure Unit levelsPage 20: Price bracketing tablePage 23: Photo/Illustration by Dominique TaylorPage 25: Competitor mix, editedPage 27: DT Price bracketing chartPage 28: DT Collection Product Units Page 29: Experimental Line UpPage 33: Supply Chain DiagramPage 34: Drapers Luxury Report, 2012Page 35: Drapers Luxury Report, 2012Page 36: Drapers Luxury Report, 2012Page 37: Vest manipulation
43
Appendix
44
DT Chiaroscuro logo
45
Drapers Luxury Reportfig:1 Drapers, 2012
46
Drapers Luxury Reportfig: 12,13
47
fig:4Drapers Luxury Report
Drapers Luxury Report
48
fig:3Minimum, Eerdekens 2004 Survey Results, edited
Pattern illustration, Dominique Taylor
fig:2
49
Consumer profile, Dominique Taylor
50
DOMINIQUE TAYLOR CONSUMER QUESTIONNAIRE
DATE
LOCATION
DEMOGRAPHIC
Job Title:
Status:
Residence:
Dependence?
BUYING HABITS How do you shop?
Where do you shop?
Favorite brands?
Do you have brand loyalty?
Do you see your closet as an investment?
Are you Interested in sustainability?
Would you pay more for:
How often do you recycle your closet?
How do you discover trends?
Who in the public eye do you admire most?
What would you change about fashion?
COMMENTS
32% Creative, 26% fashion industry, 23% Corporate and Charity, 19% housewife/unemployed
50% Married, 40% single, 10% partner
43% West London, 17% London/Overseas, 17% North London, 13% Overseas, 10% east london
45% None, 17% 1 child, 17% 2 children, 10% Pet only, 3% 3, 4 and 5 children each
19% Scheduled / 22% Seasonally / 30% Impulsive / 15% Bargain Hunt / 15% For Trend
38% Department stores / 16% Online / 26% Boutique / 20% All
Luxury Brands currently in the media eye
77% Yes, 23% No
73% Yes, 27% No
40% Yes, 23% No, 37% In one aspect of life (at home and with food)
18% Eco-friendly, 20% Fair Trade, 16% Organic, 5% Vegan, 42% None of the options
39% Don’t know, 32% Never, 16% bored of clothing, 13% 1ce a Year
49% Magazines, 16% street style, 13% Fashion show, 23% Other
63% Industry professionals, 25% family Member, 8% charity figure,
2% political figure
32% Eliminate waste, Slow it down. 19% Unique,luxury, couture
techniques 16% Nothing, 13% Make it more accessible, 10% Get rid of
seasons, 10% Labour laws across world
The questionnaire has proven valuable in information provided, particularly for insight into shopping habits, opinions on
ethical fashion topics, current industry insight and philosophy of luxury purchases. The Demographics of the luxury
consumer is better analysed with the use of the store questionnaire.
Consumer Street Survey, With Results Consumer Street Survey Results Piecharts
51
Price : Low
Design: Experimental
Design: Classic
Price: High
Competitor market axis Haider Ackermann Range Architecture
fig: 5
52
Domestic Consumer
53
Asian Consumer Middle Eastern Consumer
54
high versitility
low versitility clas
sic
tren
d se
tter
low pricepoint
high pricepoint
Direct Competitors axis
fig: 6
55
Direct Competitors Price Bracketing
fig: 9
56
Overall Goods Pricing Comparison
fig: 7
57
Unit levels of combined competitors collections
fig: 8
58
Str
eng
ths
Wea
knes
ses
Gro
win
g co
nsum
er a
war
enes
s of
eth
ical
co
nsid
erat
ions
and
how
peo
ple
are
tre
ated
in s
upp
ly
chai
ns.
Mos
t m
erch
and
ise
targ
ets
a ve
ry s
pec
ific
dem
ogra
phi
c of
fem
ale
clie
ntel
e
Con
sum
ers
have
bee
n ed
ucat
ed a
bou
t th
e tr
eatm
ent
of w
orke
rs
Oth
er la
bel
s (c
omp
etito
rs) a
re h
ighl
y su
cces
sful
b
rand
s w
ith e
stab
lishe
d b
rand
iden
tity
Long
evity
of e
thic
al a
nd fa
ir tr
ade
fash
ion
Not
eno
ugh
mar
ketin
g an
d o
r w
ord
of m
outh
ad
vert
isin
g.
Ther
e ar
e in
tang
ible
ben
efits
att
ache
d t
o b
eing
an
‘eth
ical
’ bra
nd
Eth
ical
mer
chan
dis
e is
oft
en m
ore
exp
ensi
ve a
nd
doe
s no
t lo
ok a
s ae
sthe
tical
ly p
leas
ing
as g
enui
ne
leat
hers
and
furs
.
Pric
es o
f goo
ds
may
ris
e an
d a
ffec
t sa
les,
sal
es m
ay
be
enco
urag
ed b
y th
e b
rand
bei
ng e
thic
al
Hig
her
cost
s in
curr
ed t
o co
nsum
er a
s a
resu
lt of
the
in
trod
uctio
n of
an
ethi
cal s
upp
ly c
hain
Acc
ess
to t
arge
t m
arke
t th
roug
h in
tern
et
Litt
le t
o no
face
tim
e w
ith a
ctua
l con
sum
er a
s it
is a
n in
tern
et b
ased
bra
nd.
Sel
ect
mer
chan
dis
e d
esig
ned
for
the
cons
umer
and
th
eir
need
s Li
ttle
to
no a
dd
cam
pai
gns
Cre
ativ
e d
esig
n id
eas
and
con
cep
ts
Eth
ical
Fas
hion
cou
ld b
e a
fad
tre
nd, s
oon
to lo
ose
its p
opul
arity
and
sta
ndin
g in
the
com
mun
ity
Off
erin
g fr
ee 3
D s
cann
ing
in m
ajor
dep
artm
ent
stor
es a
roun
d t
he w
orld
link
ed w
ith o
nlin
e ad
vice
ab
out
styl
e an
d fi
t.
Less
pro
fit a
nd s
hare
hold
er d
ivid
end
s if
mer
chan
dis
e is
not
sol
d.
Col
lab
orat
ions
with
des
igne
rs a
nd c
eleb
ritie
s is
p
ossi
ble
To
be
trul
y et
hica
l con
sum
ers
need
to
cons
ume
less
. If
cons
umer
s st
art
buy
ing
less
com
pan
y p
rofit
s w
ill
be
affe
cted
.
Hig
h Tr
end
and
nee
ds
awar
enes
s
Gar
men
t q
ualit
y m
atch
es p
rice
Gar
men
t p
rice
mat
ches
the
qua
lity
Op
po
rtun
itie
s T
hrea
ts
Intr
oduc
tion
of c
once
ssio
n st
ores
wor
ld w
ide
or in
se
lect
cou
ntrie
s w
here
the
bra
nd is
sel
ling
par
ticul
arly
wel
l.
Lead
tim
es w
ill v
ary
and
be
del
ayed
, mor
e so
tha
n fa
st fa
shio
n
Imp
rove
web
site
for
sim
ple
tra
nsac
tion
pro
cess
B
rand
loya
lty d
oes
not
exis
t so
con
sum
er w
ill g
o to
un
-eth
ical
fash
ion
for
tren
d if
it is
n’t
avai
lab
le
Pos
sib
le t
o op
en a
flag
ship
sto
re if
bra
nd d
oes
wel
l an
d h
as a
goo
d p
rofit
. E
thic
al c
ould
be
a tr
end
tha
t is
dis
card
ed in
the
fu
ture
.
Pot
entia
l for
furt
her
glob
alis
atio
n of
bra
nd
Com
pan
ies
who
hav
e in
vest
ed in
an
ethi
cal s
upp
ly
chai
n co
uld
lose
out
fina
ncia
lly.
colla
bor
atio
ns w
ith n
ew u
p a
nd c
omin
g ar
tists
and
en
viro
nmen
talis
ts is
a p
ossi
bili
ty fo
r th
e fu
ture
C
onsu
mer
s ar
e in
fluen
ced
by
tren
ds
and
exp
ect
cons
tant
aw
aren
ess
in s
tore
s.
Dev
elop
ing
new
ser
vice
s an
d p
rod
ucts
con
tinuo
usly
th
at a
dd
val
ue t
o th
e or
igin
al s
tap
le p
iece
s.
less
new
pro
duc
ts a
rriv
ing
in s
tore
due
to
less
nee
d
whe
n lo
okin
g at
sus
tain
abili
ty.
Pot
entia
l to
fran
chis
e th
e b
rand
Com
pet
ition
from
oth
er c
heap
er s
tore
s
Con
sum
ers
are
bec
omin
g in
crea
sing
ly a
war
e of
the
et
hica
l iss
ues
but
the
mar
ket
lack
s et
hica
l ran
ges
that
are
in t
he lu
xury
mar
ket.
Com
pet
ition
from
oth
er lu
xury
bra
nds
that
do
and
do
not
do
ethi
cal f
ashi
on
Eth
ical
bra
nd v
alue
s ca
n b
e p
rom
oted
by
the
reta
iler
to a
dd
val
ue t
o th
e p
rod
ucts
the
y ar
e se
lling
Te
chno
logy
to
mak
e et
hica
l fas
hion
as
luxu
rious
as
non
ethi
cal f
ashi
on n
ot b
eing
ava
ilab
le.
Eth
ical
fash
ion
has
trad
ition
ally
hel
d le
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SWOT Analysis
59
Political Economic Social Technological
Tax policies Economic growth due to current popularity Fashion Trends New technological fabrics
Political stability Credit crunch Fast fashion turnaround Impact of emerging technologies
Competition regulation Consumer budget Brand Loyalty Industry focus on technology
Consumer protection Consumer confidence Mouth to Mouth marketing Technology that helps sustainability
Environmental regulations Import Export Taxes of shipping goods Demographics and population growth New inventions and development
International trade regulations High profit margin from production costs Ageing population/age profile Rate of development
Employment laws Government spending decrease for arts Lifestyle Changes Life cycle of technology
Regulation/ De-regulation trends Taxation Lower spendable income Energy use and cost
Social employment legislation Exchange rates Work/Career attitudes, entrepreneurial spirit Changes in IT, Internet, Mobile usage: Reduced communication costs
Government grants and fiscal incentives Inflation Rates Education Trend based technology
Free Internship laws changing Business cycle change Income distribution Global distribution systems
Unemployment, labour supply, labour costs Press, Public Opinion, Attitudes and Taboos
Globalisation Living conditions
Likely economic change after recession Labour/ social mobility
Health consciousness, welfare
Social concerns such as environmental issues.
PEST Analysis
Mintel Luxury Consumer diagram
60
PEST Analysis DT Price Bracketing
61
DESIGN DEVELOPMENT
•Inspiration•Colour Scheme •Silhouette•Fabric and Material Sourcing•Trend Forecasting •Market Analysis
PLAN AND DESIGN RANGE
•Design •Laser-cutting•Printing •Fastenings
PATTERN GRADING
IN HOUSE SAMPLINGCOSTINGSPECIFICATIONS
•Flat Patterns •Fit •Sew•Exterior manipulations •Cut•Press •Amendments
place orders for :
•Fabric •Fastenings •Packaging •Swing tags and labels
SHIPPING
•Cashmere from Italy•Fastenings from China•Suiting fabric and Silk in India
PRODUCTION
•Sampling•Quality control•(Laser cutting in house •Printing in house)
FINAL PRODUCT
•Labels•Tags
SHIPPING
•Received in UK
DISTRIBUTION
•To Warehouse for online sales•To Department stores
DT Unit Levels
62
DESIGN DEVELOPMENT
•Inspiration•Colour Scheme •Silhouette•Fabric and Material Sourcing•Trend Forecasting •Market Analysis
PLAN AND DESIGN RANGE
•Design •Laser-cutting•Printing •Fastenings
PATTERN GRADING
IN HOUSE SAMPLINGCOSTINGSPECIFICATIONS
•Flat Patterns •Fit •Sew•Exterior manipulations •Cut•Press •Amendments
place orders for :
•Fabric •Fastenings •Packaging •Swing tags and labels
SHIPPING
•Cashmere from Italy•Fastenings from China•Suiting fabric and Silk in India
PRODUCTION
•Sampling•Quality control•(Laser cutting in house •Printing in house)
FINAL PRODUCT
•Labels•Tags
SHIPPING
•Received in UK
DISTRIBUTION
•To Warehouse for online sales•To Department stores
Supply Chain Diagram
fig: 11
63
Competitors Collection Architecture and pricing
64
Design Strategy&Philosophy: Product: Price: Place: Promotion: Status: Celebrity
Endorsement : Shows in: Collections:
Market Comparison
Competitors Macro Environment Photo/illustration Dominique Taylor Experimental Silhouettes
fig: 10 fig: 10
65fig: 14 Vest manipulation
Dear Dominique,
Thank you for your inquiry in to the cashmere you selected. The samples have been sent to the address you provided and will be with you in the near future.
Should you wish to continue we have a minimum 10 meter purchasing limit for sampling. The prices are as quoted on the website.
I hope this is to your liking.
Regards,
Vera Clairici.
Duca di Valtorta CashmereBFC srl - Via Campanello 6135014 Fontaniva (PD)PI03149650164Informazioni: tel. 049 9426261 [email protected]
NOTE: This email was sent on the 3rd of November but I have not yet received the fabrics that I selected.I have made contact over the phone and it seams the order was neglected or lost. I have ordered the fabric again but delivery date is 13 December 2012.
I am now rethinking this company as a source as I am now reluctant to trust their deadlines.
66
Dear Dominique,
Thank you for your inquiry in to the cashmere you selected. The samples have been sent to the address you provided and will be with you in the near future.
Should you wish to continue we have a minimum 10 meter purchasing limit for sampling. The prices are as quoted on the website.
I hope this is to your liking.
Regards,
Vera Clairici.
Duca di Valtorta CashmereBFC srl - Via Campanello 6135014 Fontaniva (PD)PI03149650164Informazioni: tel. 049 9426261 [email protected]
NOTE: This email was sent on the 3rd of November but I have not yet received the fabrics that I selected.I have made contact over the phone and it seams the order was neglected or lost. I have ordered the fabric again but delivery date is 13 December 2012.
I am now rethinking this company as a source as I am now reluctant to trust their deadlines.
67
Inv$iceVAT REG NO
651924138
Tax Date
30/11/2012
Inv1ice #
2534
Inv1ice T1
D,minique Tayl,r302 Marshall Building3 Heritage StreetW2 1PBL,nd,n, UK
CUST VAT NO
Laser Cutting Services Limited
Flanders M,ssStati,n R,adBuchlyvieStirling, FK8 3NB
P.O. N1. Terms
Credit/Debit Paym...
Pr1ject
VAT SUMMARYSUBTOTAL
VAT TOTAL
T$tal
Balance Due
Payments/Credits
Item Descripti1n Qty Rate VAT AMT Am1unt
Originati,n Originati,n ,f drawings and preparati,n f,rcutting x 3 different designs A4 in faux leather
1 95.00 19.00 95.00
Carriage 10 kg Carriage - up t, 10 kg 1 8.00 1.60 8.00
£ 20.60 @ 20.0% ;
£103.00
£20.60
£123.60
£123.60
£0.00
68
Hello Dominique Taylor
Thanks for contacting me on face book, and showing interest in ready made garments.
I am Jitendra owner of JAYPORE PRINTS & FABRICS, Jaipur,India, we are into this export business since 30 years.
As per your request for arranging the fabrics, which you sent me message on face book, I need the swatches of all the fabrics, that will be easy for me to source those fabrics for you, so kindly send me those swatches for which you want me to source for you.
I will source these fabrics for you and will send you these first through courier to check. If you are happy with it, you can come to India and get the stitching part here in our factory. You said you also wish lasercut, we do this also. It is possible for you to make this here in my factory
Looking Forward
69
Interviews
70
Store Questionnaire Findings .
The questionnaires were conducted in four main locations chosen for their relevance of luxury good suppliers and consumers. The Consumer Surveys showed that clients like to shop mainly at Department stores (Selfridges, Harrods, Matches, Wolf&Badger), Online (Net-a-porter.com) and Boutiques (flag ship stores for specific brands such as Miu Miu, Yves Saint Laurent)
1. Who is your target customer and biggest current client base?
Summary: There are three categories of luxury consumers in the London market. The questionnaires showed that the three consumer groups are as follows:
a. Domestic: “Regular clients that live in the area, 25 to 65 and female” Nannette in Westbourne Grove, Notting Hill.
b. Middle Eastern: “ Middle eastern, female, age is 35+, we fit them well because they tend to be bigger than western women and our sizes are generous” Marni, Selfridges, Mayfair.
c. Chinese and Asian: “They are usually from China or East Asia, Females over the age of 20 with no cut off limit, they are elegant and smart” Yves Saint Laurent, Bond Street, Mayfair
2. What are they buying?Summary: The consumers at this point of the year are buying occasion dresses, however the winter season sees sales in coats and jackets as main selling items, with dresses being a year round selling point together with t-shirts and scarfs.
a. Domestic: “They like the coats, fur coats and down jackets. They want the Ready to Wear dresses and staples” – Matches, Westbourne Grove, Notting Hill.
b. Middle Eastern: “Tom Ford does amazing gowns, quite unique and exaggerated, they like to be extravagant, they don’t like to be boring.” Tom Ford, Harrods, Knightsbridge. “They love the pieces that stand out, the new collection has lots of interesting sculptural detail, and they love it” Versace, Harrods, Knightsbridge
c. Chinese and Asian: “Asians are really funky, they want unique items.” Balmain, Harrods, Knightsbrideg
3. Do they shop with a specific need in mind or do they tend to brows? Summary: The consumers in all free categories have the same approach to shopping. The majority shops with a need and desire when approaching the brand and then being in the shop starts to browse.
a. “85% know what they want” Stella McCartney, Selfridges, Mayfair b. “They are browsing” Etro, Bond Street, Mayfair c. “It’s about 50–50, ready to wear people come with a purpose” Miu Miu, Bond street, Mayfaird. “The consumer is well informed and does their research, they see an item they love, they look for it
online, call us up, ask if we have it and then come in and make the purchase, and when they come in they also browse and pick up some other items to.” Preen, Harvey Nichols, Knightsbridge.
4. Do they shop confidently or go away and think about it and return?
Summary: The was a sense that since the recession and consumers being more cautious, there is a lot more people having to justify purchases and therefore think about the item, and sleep on it before making a decision. Cliental that are in London for holiday purposes however do not have the luxury of time to think about it and therefore buy on the spot.
a. “Most people leave the item, sleep on it and come back, I would say that 50% of people come back” Nannette, Westbourne Grove, Notting Hill
71
72
Interview transcript:Joseph Westbourn Grove.
DT: At the moment who is your biggest consumer group?SA: Mothers, women with spare time on their hands, this area is very family orientated, when holidays are on its really quiet. Its really dependent on
DT: Is there a particular age range for this store?SA: For joseph clothing there is a certain age range but there isn’t really one for designer stuff.
DT: What sold well for your store this season?SA: Givenchy, Marni has sold really well this season.
DT: Are you selling lots of outerwear and coats because of the cold spell?SA: No its not just coats because of the temperature drop, people are looking for layers so its everything that they are buying. Dresses are still big coming up to xmas.
DT: What does your older consumer come in looking for?SA:Older consumer is looking for trousers, Joseph is famous for their trousers. They are in a gabardine stretch and there is a trouser called supper 100, its a suiting fabric.
DT: Does your younger consumer look for anything in particular?SA:Younger consumer is buying Givenchy.
DT: How are the customers making their purchases, is there a process?SA: There is a lot of browsing and then when something catches their eye, they buy. But then there are people who come from Vogue and stuff and they know whats out this season, they are looking for specific things, so they come in knowing what they want.
DT: Would you say people in the fashion industry come in with their mind set?SA: Yep!
DT: Your consumer, are they confident shoppers? Impulse buyers? Procrastinators? SA: It depends, some people have to ask for their husbands permission, so some people ask for their items to be held, then say “ill go consult my husband and see what he says”.
DT: How often do costumers come back and purchase the items they have asked you to hold?SA: One out of three.
DT: What about the consumer that walks in off the street, is it easy to get them spending? SA: You get a lot of footfall because of Portobello, sometimes they spend, but often if your going to Portobello, you’re not looking for luxury stuff, your looking for the bargain.
DT: How do staple items hold up against the season trend pieces?SA: Okay, everyone always need a staple piece. So like the trousers to the older consumer, so there are always sales. I would say its harder to sell the newer pieces.
DT: What about Givenchy? You said its selling well but are they not trend specific or have they done a classic range this season?SA: We have bought a lot of the t-shirts and stuff. They go really quickly, same with Balmain, They go straight a way. The rockwhiler T-shirt, course everybody would know that that is Givenchy. So those kind of pieces I would class as staple pieces, and they sold really well. DT: Do people buy for other people?
73
Interview Transcript: Haider Ackermann, Dover Street Market DT: Who is your consumer base?SA: It attracts the Middle Eastern, Russians, female above 30
DT: What are they buying?SA: They buy everything, whatever is out and new and its explosive, if it walked down the runway.
DT: Do they shop with a specific need, or are they coming in browsing, is it just footfall?SA: I think that when someone walks in they have an idea of what they want but if they browse they will most likely walk away with something different than their ‘need’.
DT: Do people shop confidently or do they procrastinate?SA: They shop confidently, I have to make sure they buy here and now.
DT:Are they Local or International?SA: They are mostly international but they might have a house here.
DT: What about your staple pieces versus the trend pieces? How are they doing?SA: Our pieces that are ‘staple’ are always trend pieces as well, just because of the way its draped or the material it is made of, so its difficult to say.
DT: How would you describe the Haider Ackermann brand or designs to a new-comer?SA: Haider Ackermann’s pieces incorporate both high fashion and street-wear, they feature couture details rendered when working with materials like jersey and leather. They are impeccably tailored and fastidiously constructed but also romantic and sensual.
DT:What are your older consumers buying?SA: Older consumers like dresses or something that fits them well, they want to look chic and up to date without looking like they went overboard.
DT: What about your younger consumer?SA: Whatever they can afford. Well, I mean they love the show pieces and always try them on but don’t necessarily buy it.
DT: How often do people shop for other people?SA: It’s hard to say, you always husbands buying something for others but you never know.
DT: Do you get any questions about fair-trade or where its made...SA: A lot of questions and how its made and whats the inspiration, but nothing for ethical fashion, its always about how they have to take care of it etc.
DT: What about for sustainability?SA: no we don’t get any questions
74
Interview transcript:DVF: Store manager
DT: Who is your consumer base?late 20s to early 40s,
DT: What are they buying?SA: They are buying occasion dresses, its not party dresses yet, so they aren't looking for christmas, they generally look for wedding dresses and dinner dresses, outing dresses.
DT:What are your older consumers buying?SA: The older consumers are quite difficult. they want to cover the arms and have dresses that are a certain length, it has to cover the knee. Bentley dress is the best selling one at the moment. It was the first look of the fall runway show and its off the shoulder, sexy, slightly fitted so its below the knee, and they prefer that type of a dress.
DT: What about your younger consumer?SA: The younger consumer prefer tunic dresses, silk jersey, loose fitted, easy going, so they can wear it with thigh high boots or ankle boots. Its versatile. More or less they go for loose fitted or really fitted sexy dresses.
DT: Do they shop with a specific need, or are they coming in browsing, is it just footfall?SA: For the past 3 weeks, when a client walks in to DVF they know what they want and they are looking for a specific thing. I don’t know if your are familiar with DVF but its all about the wrap dresses and prints.
DT: I am somewhat but I haven’t seen so many wrap dresses these past few seasons. SA: We have the vintage collection, but this fall season people were more into the easy going dresses, buy now wear now kind of dresses. Whereas wrap dresses, maybe they are getting a little bit bored of it, or the customer that loves DVF comes and buys all the dresses in the iconic prints and they wear it for 20 or 15 years so they don’t need any more wrap dresses. This Fall season was a little tricky they were looking for something a little different, more contemporary but at the same time a little conservative.
DT: Do people shop confidently or do they procrastinate?SA: I would say 50–50, our dresses range between £350 to £550 so we don’t have a lot of expensive items, so when they come in they either buy it immediately or go and bring back their husbands on the weekend.
DT:Are they Local or International?SA: we have a lot of regular clients, we have a lot of Australian, German, Swiss, French going around and doing their shopping. They are generally going to visit Portobello market so on their way they step in. We are the most busy on weekends and I would say that on weekends its more international.
DT: What about your staple pieces versus the trend pieces? How are they doing?SA: At the moment the current season is very indie, but for resort we have a lot of candy colours. We haven’t received the resort collection yet because of Storm Sandy but it will be in soon. However for the fall season I would say a lot of clients looking for Bordo, Burgandy and Moave colours because its very in right now, but lots of the clients are coming for the prints as well.
DT: So maybe they are coming in looking for a specific thing or item but then see the print and get interested?SA: Yes!
DT: how often do people show for other people?SA: I would say not very often, but then Xmas is coming up, and a lot of people will be coming in a buying gifts. On the whole though the consumer that will use the item is doing the buying, they try and then go away bring back someone and buy it.
DT: What is the biggest change you have seen in the consumer market in the past few seasons?
75
Interview Transcript: Wolf and Badger, Ladbrooke Grove
DT:Who is your consumer base?SA: 30 + local women
DT: What are they buying?SA: a lot of jewellery, but then again its so seasonal. We sell our knit wear well in winter and in summer lots of T-shirts.
DT: What do you sell to your older consumer?SA: They want longer dresses and they are a little bit more conservative.
DT: Younger audience?SA: Have you seen the shorts on that mannequin? They are the shortest shorts in the world but no one can wear them not even the youngest of our consumers. But the store manager loves them. DT: I like the studs on the side, but i definitely could not wear them. SA: The age is a massive gap for us, older people like looking but don’t buy and the young ones try and save their money to purchase a more quirky piece. They want to own something different that no one else has.
DT: Are your consumers shopping for a specific need, like they walk in and they are like “i need this” SA: No, many people come here because its been an amazing place to find presents. But then again they maybe have something in mind about a trend they are looking for but we also provide different things and a lifetsyle that isnt really trend led.
DT: Do they shop confidently or think about it?SA: They think about it, they have to! Its so expensive that they evaluate its worth and save up etc. We have people that are impulse shoppers but few of them, we don’t however get people putting things on hold.
DT: Are they locals or Internationals?SA: They are mainly locals but we have a lot of people that are internationals that have seen the advertisements we make on planes and in france etc, so they come just to see the shop. So a lot of tourists.
DT:So do you get busy on weekends because of portobello? SA: We don’t get the portobello crowd, We are actually shut off from them.
DT: So do you do well with staple pieces? I don’t really see any staple pieces around, maybe they are down stairs?SA: What is a staple piece?DT: A white shirt for example is a staple piece.SA: Ah something that you wear everyday? We sell those. But our designers don’t follow the trend lines that big designers do, but so people that come here are not looking for those trends. We sell just as much crazy as we do everyday, people just want the crazy to be wearable.
DT:SA: Very often actually, we have lots of people that come in and want to give the gift of quirky, haha, no just something a little bit more interesting.
SA: It might just be me, but people aren’t buying things now that they think ah after i use it twice ill throw it away, now they are thinking long term and what they want to keep. They appreciate what they buy in a different way now, they think a little bit more. But there are always those people who have the money and just don’t care.
DT: Is anyone asking you about sustainability, where its made, how or if its organic etc. SA: Um noh, but then again we had this designer, and people were very intrigued when we had a little sign in front of her items that said they were fair-mined gold. And when we talked to people about it they were very interested but it didn’t make them feel different about the piece. No one is asking for it but if the designer is doing it they want to know more.
76
Balenciaga. 1. late 20s- and over – early 50’s, female we have a lot of clients from Asia pacific and Kuwait and UAE
and local. 2. A good deal of RTW and some leather goods and hand bags. The dresses and tops are doing well 3. Older consumers tend to buy work wear a shift dress or well fitting jacket. Classic pieces that will last. 4. Small leather goods scarf’s sunglasses, t-shirts are really popular with the younger clients5. You have people that come in that know exactly what they want, they have done their homework, and
then you have the ones that are browsing and you can converse with. The majority of the people know what they are coming for because it’s a big fashion house and they want to own a piece of that. They have seen the pieces in vogue or on a celebrity and need to have it
6. There is increasing amounts of people who have to go away and think about it because of the times people are much more cautious. There was wild abandon spending when I first joined here, they would point and just say a size and take it, no one would try it on before ringing it up. Now people consider, come back, go away, come back sometimes over the period of a week. It takes time now. 30% like to ruminate for a while.
7. There is more rumination among the local clients, and the international clients are more here to buy. Mostly its travelling international people who see this (London) as a stop and they are passing through, that’s 70% of our clients
8. This season has been really trend led, there was a massive amount of press on one particular press that drove sales up rapidly but we also have 5 sub collections and they are the same shape and style every season so people come back for those. Since we changed location people are seeing that we are more of a trend leading brand and people don’t feel the need to be conservative in this location (central London)
9. We see that quite a lot here, its a lot of free lance shoppers and a lot of people that come off the street then go down to personal shopping and ask for help. But maybe 10% of the sales go to people buying for other people.
10. People used to buy with wild abandon, everybody thinks about everything. 11. Someone did phone up about it last week. But that was the first time I’ve had anyone ask about it. It’s
not a question that comes up a lot. Rampant consumers are not concerned about the sustainability of the collection.
Givenchy: 1. Middle East and Chinese but Chinese is the biggest consumer, 20 till 30 years old. They are a young
consumer. 2. They are buying t-shirts leggings and very very casual wear or very glamorous, dresses and gowns
the runway pieces. Coats are not our thing at all. 3. Sweaters jumpers and jackets for older consumers and so you can see why our major consumer base
is not this consumer. It explains it. 4. The younger consumers are buying the leggings, t-shirts and runway pieces. 5. They are usually here for a specific need, they researched it, or they saw it on a blog and a celebrity
wore it so they want it. 6. It depends on the sales person. I studied marketing so it’s easy for me to get a sale. But I know that
around here most customers go away and think about it. You need to talk them in to it, and its very very hard because its one of the most expensive brands in the world so they are spending lots of money on these items. Our biggest competitor is McQueen and they are doing well because it’s so British and everyone wants a piece of it.
7. Majority is international 8. Actually its both, people come for the leather leggings everyyear we have them all seasons. But now
with Ricardo Tischi as the creative director the runway is amazing so people want just as much of that. 60% staple 40% runway
9. Not really often, maybe some men that buy for their wife or lover.
77
Interview Questions For Haider Ackermann: 1. Can you describe the Haider Ackermann consumer?
2. I can’t find a defined brand ethos, can you tell me a bit about Haider Ackermann’s goals and the mission statement?
3. Is there a plan to open a Haider Ackermann London store in the near future?
4. Do you feel that not having a Haider Ackermann store is a hindrance?
5. Is Haider Ackermann’s online presence enough to get your product to the consumer?
6. Who do you see as Haider Ackermann’s biggest competitor?
7. What have been Haider Ackermann’s best selling items over the past few seasons?
8. Has the buying habits through the recession affected the design process and/or ethos at all?
! ! a. Has the recession affected: ! quality:! ! ! ! ! ! mark up prices:! ! ! ! ! ! staff numbers/wages:! ! ! ! ! ! manufacturing locations:! ! ! ! ! ! fabric sourcing locations:
9. Where does Haider Ackermann source his fabrics?
10.Where does Haider Ackermann get the garments manufactured?
11. What is the average mark up price for Haider Ackermann goods in retail? These three company specific interviews were sent out by post and email, but did not get answered or returned. I also called up the
companies and their PR teams but was not given permission to do a phone interview.
78
Interview Questions For Yves Saint Laurent: Can you describe the Yves Saint Laurent consumer?
I can’t find a defined brand ethos, can you tell me a bit about Yves Saint Laurent’s goals and the mission statement?
Is there a plan to open a Yves Saint Laurent London store in the near future?
Do you feel that not having a Yves Saint Laurent store is a hindrance?
Is Yves Saint Laurent’s online presence enough to get your product to the consumer?
Who do you see as Yves Saint Laurent’s biggest competitor?
What have been Yves Saint Laurent’s best selling items over the past few seasons?
Has the buying habits through the recession affected the design process and/or ethos at all?
! ! a. Has the recession affected: ! quality:! ! ! ! ! ! mark up prices:! ! ! ! ! ! staff numbers/wages:! ! ! ! ! ! manufacturing locations:! ! ! ! ! ! fabric sourcing locations:
Where does Yves Saint Laurent source his fabrics?
Where does Yves Saint Laurent get the garments manufactured?
What is the average mark up price for Yves Saint Laurent goods in retail?
Interview Questions For Stella McCartney: 1. Can you describe the Stella McCartney consumer?
2. Can you describe the Stella McCartney ethos?
3. Can you describe the Stella McCartney brand’s mission statement?
4. Which country is currently the best seller of Stella McCartney goods?
5. Who do you see as the biggest competitor of Stella McCartney?
6. What is the average mark up price for Stella McCartney goods in retail?
7. What have been Stella McCartney’s best selling items over the past few seasons?
8. Has the buying habits through the recession affected the design process and/or ethos at all?
! ! a. Has the recession affected: ! quality:! ! ! ! ! ! mark up prices:! ! ! ! ! ! staff numbers/wages:! ! ! ! ! ! manufacturing locations:! ! ! ! ! ! fabric sourcing locations:
9. Where does Stella McCartney source his fabrics?
10.Where does Stella McCartney get the garments manufactured?
11.What does Stella McCartney feel is the next step in making a fashion brand more sustainable?
79
Interview Questions For Stella McCartney: 1. Can you describe the Stella McCartney consumer?
2. Can you describe the Stella McCartney ethos?
3. Can you describe the Stella McCartney brand’s mission statement?
4. Which country is currently the best seller of Stella McCartney goods?
5. Who do you see as the biggest competitor of Stella McCartney?
6. What is the average mark up price for Stella McCartney goods in retail?
7. What have been Stella McCartney’s best selling items over the past few seasons?
8. Has the buying habits through the recession affected the design process and/or ethos at all?
! ! a. Has the recession affected: ! quality:! ! ! ! ! ! mark up prices:! ! ! ! ! ! staff numbers/wages:! ! ! ! ! ! manufacturing locations:! ! ! ! ! ! fabric sourcing locations:
9. Where does Stella McCartney source his fabrics?
10.Where does Stella McCartney get the garments manufactured?
11.What does Stella McCartney feel is the next step in making a fashion brand more sustainable?