Fashion and Design Subsector

Transcription

1 Fashion and Design Subsector A Quantitative Research on Labour Market Demands in the Fashion and Design Subsector July, 2015 Research, Planning and Development Department

2 Table of Contents Acknowledgements... 2 Executive summary Introduction International Regional National Purpose of Study Methodology Sample Findings Fashion and Design Subsector Profile Employment Profile Present employment Vacancy Profile Fashion and Design subsector Development Analysis/Discussion Conclusion References APPENDICES List of Tables Table 1 Present employment profile of Fashion Designers surveyed Table 2 Vacancies in Fashion and Design Table 3 New Emerging skills within next 12 months Table of Figures Figure 1 Number of years Fashion Designers were in business Figure 2 Size of Fashion Designer s business( no. of employees) Figure 3 Difficulty in sourcing persons to fill vacant positions Figure 4 Applications for Work Permits Figure 5 Demand for Jobs in the next 12 months Figure 6 Training Providers/Institutions meeting Fashion Designer s training needs Figure 7 Presence of an Apprenticeship, mentorship or Internship Program Figure 8 Ways to improve the Fashion and Design Subsector

3 Acknowledgements The Research, Planning and Development Department of the National Training Agency (NTA) would like to express sincere gratitude to all participating organisations for their contribution to this quantitative research. Through their cooperation and candor, a better understanding of the vacancy profiles of fashion and design organisations was established. Ultimately, this provided a basis through which targeted and strategic policy improvements could be formulated to help bridge the employment gap between the supply of and demand for labour. 2

4 Executive summary The Fashion and Design is one subsector of the Creative Industries sector. For the purpose of this survey, a Fashion Designer would be described as someone that express their creativity experiences and interaction with people and the environment. They are usually specialists in one or more areas of design, such as sportswear, children's wear, footwear or accessories (Halder, 2015). The Fashion and Design subsector, commonly called the Fashion Industry, Garment Industry or Textile and Clothing industry to name a few, has been estimated to employ between 60 to 75 million people globally. This industry is said to be worth approximately US $ 1.7 trillion (Garetti & Torres, 2013). In the Caribbean region, the Fashion and Design subsector exists at varying developmental stages, in terms of its industrial and export capabilities. Some countries have had longer exposure to export markets with varying levels of success (e.g., Jamaica, Barbados, and Trinidad and Tobago). In other territories, the industry is in its embryonic stage, with a weak business environment and legal framework (Guyana, Suriname, and the OECS) (Nurse, et al., 2007, p. 3). Determining the value of local sales and foreign exchange earnings is difficult for this industry since there is a lack of continual reliable research and supporting data. In Trinidad and Tobago, agencies such as the Fashion Association of Trinidad and Tobago (FATT) and FashionTT have some responsibility in the growth and recognition of fashion. Gross revenues from sales for the period 2005 to 2008 for fashion labels operating in Trinidad and Tobago amounted to TT$26.5 million, with an estimated 3,700 person being employed ( Governmemnt of the Republic of Trinidad and Tobago, 2011). The main focus of the project was to ascertain the nature and scope of the demand side factors affecting the labour market conditions of the Fashion and Design subsector in Trinidad, utilizing purposive and convenience sampling methods from an estimated population of 87 Fashion Designers. A questionnaire was the survey instrument used to garner information from thirty- five (35) Fashion Designers in Trinidad and Tobago. Data collected showed that over three quarters of those surveyed (77%), were in business for ten years or less and were very small businesses (83%). The Fashion Designers and their employees were responsible for tasks that constituted multiple occupational areas. Additionally, Operators made up 3

5 most of the employed persons (roughly 50%) and were also the most sought after persons, accounting for 55% of all stated vacancies. Fashion Designers were asked to state the new and emerging skill sets/competencies expected in the near future. The competencies/skill sets that were predicted were Business Management, Computer Skills, Marketing, Public Relations as well as specialized skill areas such Fashion Law, Fashion Production and Fabric Design. This was in addition to the projected increase in demand for jobs within the next 12 months. However, they mostly believe (60%) that at the time of the survey training providers/institutions were not meeting their needs and only 26% of them, had an Apprenticeship, mentorship and internship program In order for the Fashion and Design subsector to realize substantial growth, the stakeholders (Fashion Designers) suggested that: they receive additional financial support, the right persons on the decision making levels on the fashion related agencies, the required raw materials more accessible and allowance be made for Fashion Designers productions to be better marketed locally and internationally. 4

6 1 Introduction Fashion is a true reflection of one s vision coupled with his experiences and interaction with his environment, expressed through garments (Fletcher, 2008). It also gives contextual vision in society (Cataldi, 2010). 1.1 International In 2014, the Fashion in some form or the other, employed some 60 million to 75 million persons worldwide. In comparison, only 20 million people were employed in the industry in the year 2000 ( Global Fashion Industry Statistics - International Apparel' (Fashion United), n.d.).in the same year (i.e. 2014), the world s women s wear industry was worth 621 billion USD, while 402 billion USD was generated by men s wear and 186 billion USD (estimated) for children s wear. (Breyer, n.d.) Customer demand for so-called fast fashion where stores changed the designs on show every few weeks, rather than twice per year, was quickly becoming the new standard. This emphasis on speeding up production has led to concentration in the industry with fewer larger suppliers to take advantage of economies of scale (for instance in purchasing) and to simplify the number of relationships that must be maintained by retailers. (Gardetti and Torres 2011). In Fashion, industry design, research and development are important competitive factors that play integral roles in success. High end fashion industry uses human capital intensively in design and marketing. In market segments such as sportswear, both design and material technology were important (Garetti & Torres, 2013) 1.2 Regional Fashion shows are still regarded as isolated events in the Caribbean. In most Caribbean countries, fashion shows have often been associated with church events and tea parties. Over the last six years they have come into vogue again and were organised with the objective of taking fashion to the public in a more appealing format (Nurse, et al., 2007). In July 2006, Trinidad and Tobago collaborated with Jamaica to produce Fashion Caribbean 2006, a two-day fashion extravaganza and model search between Pulse Entertainment and Triniscene.com. The development of the Caribbean Fashion industry had been said to have the potential of boosting the tourism industry if the region was marketed as a destination for staging high-profile fashion events. Together with ancillary services such as beauty services, fashion television, makeup artists, designer 5

7 garb and accessories, fashion magazines and even fashion photography can propel both the fashion and tourism industries forward and generate considerable employment. Determining the value of local sales and foreign exchange earnings was difficult for this industry since there was a lack of continual reliable research and supporting data. In the case of Jamaica, data are available for the garment manufacturing industry, particularly the Export Processing Zones (EPZs), but non-existent for fashion design (Nurse, et al., 2007). The industrial and export capabilities of the regional cultural industries are highly differentiated across countries and within various subsectors. Some countries have a more developed Fashion and Design subsectors and have had longer exposure to export markets with varying levels of success (e.g., Jamaica, Barbados, and Trinidad and Tobago). In other territories, the industry was in its embryonic stage with a weak business environment and legal framework (Guyana, Suriname, the OECS) (Nurse, et al., 2007, p. 3). 1.3 National The Fashion and Design Subsector in Trinidad and Tobago has grown in recent years and has produced major local Fashion Designers and design houses such as Meiling, Heather Jones, Claudia Pegus, Radical Designs, The Cloth, Millhouse, Peter Elias and Dexter Jennings. The country was carded to produce many more talented Fashion Designers to strengthen and broaden the local fashion industry. The Caribbean Academy of Fashion and Design in the University of Trinidad and Tobago (UTT) offers fashion and design schooling where students can earn diplomas and Bachelor of Arts degrees in Fashion or Design. In 2010 the Fashion Association of Trinidad and Tobago (FATT) was formed to support and promote the local fashion industry in the international market. For the past three years Trinidad and Tobago has hosted its own Fashion Week to increase Caribbean and global awareness of the local and regional talent in this field (Citibank (Trinidad and Tobago) Limited, 2011) Measuring the economic impact and performance of the subsector was constrained by an absence of data in relation to foreign exchange earnings, employment generation, and exports of goods, services, and intellectual property (IP), as well as contribution to GDP. The most recent report indicated that Trinidad and Tobago exported TT$42,000,000 in clothing to the following countries: Dominica, Suriname, Antigua, Barbuda, Barbados, St. Lucia, Grenada, St. Kitts and Nevis, St. Vincent and the Grenadines, Jamaica, Guyana, Belize, British Virgin Islands, and Venezuela (NEDCO: 2005). However, the clothing exported did not entail designer wear or accessories. (Nurse, et al., 2007, p. 147) 6

8 The Fashion and Design subsector was well established and had linkages to other subsectors especially music, entertainment and tourism. Gross revenues from sales for the period 2005 to 2008 for fashion labels operating in Trinidad and Tobago amounted to TT$26.5 million, with an estimated 3,700 person being employed. Investment opportunities exist for the establishment of high technology manufacturing plants and strategic business alliances with highly developed apparel industry operators ( Governmemnt of the Republic of Trinidad and Tobago, 2011). 7

9 2 Purpose of Study The National Training Agency, in keeping with its mandate to co-ordinate Technical and Vocational Education and Training in Trinidad and Tobago, conducts several surveys of the labour market, using a sectoral approach, in order to determine the labour needs of the country. These surveys are the instruments used in an attempt to match the supply of labour with the actual needs of industry within the various economic sectors. The National Training Agency selected the Fashion and Design subsector to be evaluated during the period March June This selection was guided by the Government s plans to achieve Pillar 5: a more diversified, knowledge intensive economy building on the native genius of our people (Medium Term Policy Framework ). As a result, the subsector will be enhanced and will significantly contribute to the economy and develop the country s position as a major player in the international fashion arena. The main focus of the project was to ascertain the nature and scope of the demand side factors affecting the labour market conditions of the Fashion and design subsector in Trinidad and Tobago. Objectives: The broad objective of this survey was to assess the current state of the labour market of the Fashion and Design subsector, so as to provide information useful to the development of the country s human resource capacity. The specific objectives of this survey for the Fashion and design subsector are as follows: to provide the National Training Agency with the required quantitative data and research on the demand side of this subsector; to lay the groundwork, through data collection, for the establishment of an updated training needs analysis; to ensure a comprehensive understanding of the labour market conditions and labour market signalling of this subsector; 8

10 3 Methodology This labour market assessment employed a quantitative approach. The survey adopted a nonprobability sampling approach utilizing purposive and convenience sampling methods. Purposive and convenience sampling are non-probability sampling techniques, refer to where the samples are gathered in a process that does not give all the individuals in the population equal chances of being selected. Individuals were chosen non-randomly from the population, such that, available individuals were chosen and the chance of any one individual being selected was not known. Subjects were chosen in the most convenient way possible. The goal of purposive sampling was to non-randomly select units from a population, to create a sample with the intention of making generalisations (i.e., statistical inferences) from that sample to the population of interest. Also, a convenience sample was simply one where the units that were selected for inclusion in the sample were the easiest to access. For the purpose of this report, a Fashion Designer was defined as the person who loves to study fashion trends, sketch designs, select materials, and have a part in all the production aspects of their designs (Sokanu, 2015). They were usually a specialist in one or more areas of design, such as sportswear, children's wear, footwear or accessories (Halder, 2015). The process included designing, selection of fabrics and patterns, and giving instructions on how to make the products they designed (Bureau of Labor Statistics, 2014). Fashion Designers were interviewed and gave responses based on their businesses. The survey involved sampling from a population of eighty-seven (87) Fashion Designers of the Fashion and Design subsector. Quantitative data were collected with the use of a questionnaire. The questionnaire consisted of thirteen (13) questions used to collect data. Data were collected from the main areas of employment and training. 3.1 Sample Thirty-five (35) persons involved in the Fashion and Design, were surveyed between the months of May and July, 2015 in Trinidad and Tobago. Data gathering employed the use of Facebook, telephone interviews, and stakeholder meetings. 9

11 4 Findings 4.1 Fashion and Design Subsector Profile The Fashion Designers surveyed, fell into two (2) major categories as it relates to their primary service. These are the design and production of garments and the manufacture of jewellery and clothing accessories. In most instances, Fashion Designers found niches and as a result, catered to specific groups. For instance, the provision of signature garment pieces, focus on women wear or even refurbishing clothing and adding unique characteristics were some of the niche services offered. All of the Fashion Houses (100%) surveyed, were privately owned by the Fashion Designers. As indicated in Figure 1, more than half (57%), of the surveyed Fashion Designers have been in business for one to five years. Over three 6 to 10 20% 11 to 15 9% 16 to 20 3% over 20 11% quarters of those surveyed (77%), were in business for up to ten years. Only 11% were in the subsector for over 20 years. 1 to 5 57% Figure 1 Number of years Fashion Designers were in business 10

12 The Fashion and Design subsector, as highlighted by this survey, was primarily made up of micro enterprises (2-5 employees). They accounted for 83% of the subsector. Contrastingly, the rest of the subsector, Designer s establishments ranging from 6 to 25 and over 25 employees accounted for 8% and 6% respectively. 6 to 25 8% over 25 6% 1 3% It is important to note that Fashion Designers and their employees were required to perform duties in various occupational areas. This scenario was most evident with Fashion Designers who also undertake many other functions in their business. 2 to 5 83% Figure 2 Size of Fashion Designer s business( no. of employees) 5 Employment Profile 5.1 Present employment. The data collected showed that Operators or persons charged with the responsibility of operating the machinery and equipment, were the largest group of employees. They accounted for roughly half of full time (51%) and part time employment (47%). Creative Directors and Managers were the second and third largest group of employees. They represented 11% of full time employment in each case and 4% and 0% respectively for part time employment. It should be noted, that Fashion Designers would usually describe themselves as being Managers,Owners, Co-Owners and Creative Director. Additionally, Managerial and Creative Director positions were also held by persons other than the Fashion Designers. Table 1, Gives an illustration of the job titles that existed at the time of the survey. Consideration should be given to the fact that Fashion Designers and their employees, perform a variety of tasks that are chracteristic of different occupational areas 11

13 Table 1 Present employment profile of Fashion Designers surveyed Present employment job titles Full Time Part Time Cutting Assistant 0 1 Driver 0 1 Social Media Consultant 0 1 Fashion Merchandiser 1 0 Financial Director 1 0 Maintenance 1 0 Tailor 1 0 Event Planner 1 2 Web Developer 1 2 Technician 1 3 Dressmaker/Seamstress 1 5 Graphic Designer 2 4 Assistant 3 3 Clerk 4 5 Creative Director 6 1 Designer 9 0 Management 9 2 Operator TOTAL Vacancy Profile Twenty-one (21) of the 35 Fashion Designers interviewed stated they had current vacancies. There were 49 vacant positions. The number of full time and part time vacancies, were 28 and 21 respectively. Operators were the most sought after persons. They made up 55% of all vacancies (61%) of full time positions ; 48% part time positions). The top three (3) vacant positions for full time employment were : Operator ( 61%), Sales Assistant ( approx. 7%) and Secretary (approx. 7%). For Part time employment the top three (3) vacant positions were Operator (approx. 48 %), Intern (approx. 14%) and Seamstress (approx. 10%) as shown in (see Table 2 below). 12

14 Table 2 Vacancies in Fashion and Design Job Tile Full Time Part Time Event Coordinator 0 1 Jewellery Designer 0 1 Managing Director 0 1 Marketing Manager 0 1 Textile designer 0 1 Seamstress 0 2 Intern 0 3 Administrative manager 1 0 Design Assistant 1 0 Graphic Artist 1 0 In House makeup Artist 1 0 in House model 1 0 in-house Tailor 1 0 Photographer 1 0 Secretary 2 0 Sales Assistant 2 1 Machine Operators ( Stitchers and Pressers) TOTAL Overall, there was approximately a 50% chance of getting the right persons for vacant positions in Fashion and Design. However, Part time positions seemed to pose a greater challenge to fill. Part time vacant positions accounted for 65.4% of vacancies that were difficult to fill. Contrastingly, full time positions, were easier to fill 80% of the time. No Yes 0.00% 20.00% 40.00% 60.00% 80.00% % 120 Full Time Part Time Figure 3 Difficulty in sourcing persons to fill vacant positions 13

15 Only 6% of the Fashion Designers stated that they applied for work permits (during the 12 months). The positions for which these work permits were needed included: Stitcher and Personal Assistant. Applied 6% Did not apply 94% Figure 4 Applications for Work Permits 5.3 Fashion and Design subsector Development Sixty-three percent (63%) of Fashion Designers stated that there will be new and emerging skills sets/competencies within the subsector. Thirty-seven per cent (37%) said there would not have new emerging skills. Fashion Designers were asked to state the new and emerging skill sets/competencies expected within the Fashion and Design subsector within the next 12 Months. Table 3 illustrates that the competencies include Business Management, Computer Skills, Marketing, Public Relations as well as specialized skill areas such as Fashion Law, Fashion Production and Fabric Design. Table 3 New Emerging skills within next 12 months New Emerging Skills / Competencies in next 12 months Computer generated Business Management pattern drafting Digital Printing Digital Printing (CAD, CAM) Fabric Design (Airbrush, Tie-dye) Fashion Apparel Illustration Fashion Law Garment Construction/Styling Fashion quality and standard competency in international sales Jewellry and craft Specialisation Fashion Management/ Production Modern knit designing technique New equipment operator Pattern Making/Grading training Producing tech packs Textile Printing Public Relations 14

16 At the time the survey was conducted, 70% of the Fashion Designers predicted an increase in the demand for jobs within the next 12 months. However 27% believed that there will be a reduction in job demand and 3% said that demand will remain the same. remain same reduction Increase 3% 27% 70% Figure 5 Demand for Jobs in the next 12 months Generally, 60% of the Fashion Designers believe that training providers are not meeting their needs. However, 40% believed that training institutions are meeting their needs in some way. No; 60% Yes; 40% Figure 6 Training Providers/Institutions meeting Fashion Designer s training needs 15

17 Apprenticeship, mentorship and internship programs were only available at 26% of the Fashion Designers establishments. Yes 26% No 74% Figure 7 Presence of an Apprenticeship, mentorship or Internship Program The question what more can be done to develop the subsector was posed to Fashion Designers. The responses were categorized as seen in Figure 8. The top three (3) responses were in the areas of Financial Support (21%), Infrastructural Development (21%) and Education/Training (19%). Financial Support Infrastructural Development Education/Training Marketing Business development Human Resources 0% 10% 20% 30% Figure 8 Ways to improve the Fashion and Design Subsector 16

18 6 Analysis/Discussion The results indicated that most of the Fashion Designers and their companies at the time of this survey, were in business for 10 years or less. Of those surveyed, most were either sole traders or had a complement of staff of 5 or less persons. They indicated that they operated for a number of years before being registered because of the uncertain nature of the subsector. The high incidence of startup failure and low profit margins were given as the major reasons many waited until there was a higher probability of business survival before formally registering their businesses. Fashion Designers and their employees (because of business size), perform tasks that are characteristic of many occupational areas. Financial constraints due to the lack of support from Government and agencies were blamed for the lack of resources and inability to grow businesses. Fashion Design stated in many instance, that lack of adequate job requests and Governmental financial support are major contributing factors for their businesses having a small number of employees. The subsector is described as being fundamentally labour intensive due to the presence of little automation and its reliance for the most part, on these skilled persons. Fashion Designers were of the view that finding Operators was generally difficult because many persons were not adequately skilled in the use of equipment or they preferred not to be employed in the subsector. They also believed that persons were not interested in working in the subsector, there was a shortage of Operators and other sector specific skilled individuals in addition to the difficulty in finding persons that were It may be an indication that administrative staff and production personnel are needed fulltime since they are fundamental for day to day operations and fulfilment of the Fashion Designers orders. Intern and seamstresses supplement the operations and are dictated by project size. Fashion Designers/Owners were of the firm belief that the difficulty in getting these persons was mainly because persons weren t interested in working in fashion, there was an insufficient supply of trained persons and also finding persons who were trained in Fashion was difficult. Fashion Designers predicted that because of Government s,increased focus on fashion and the continual increase in local sales, that there will be new and emerging jobs within the short term (12 months) in various skilled areas. They believed that areas such as Fashion Law, computer aided designing, business management and modern techniques in all areas were mandatory for Fashion Designers and the subsector as a whole to not only survive but thrive locally, regionally and internationally. However, there was an expressed need for stakeholders and pertinent agencies to be cognizant of increased competition among Fashion Designers and the prevalence of cheaper clothing from China and India, in order to ensure businesses survive and to maintain fashion variety. 17

19 Training Providers/institutions were inadequately meeting the needs of Fashion Designers. Most were of the view that there should be an expansion in the course offerings and locations of where they are offered, together with being provided with graduates of fashion related programs. At the time of data collection, Apprenticeship, Mentorship or Internship programs were absent at most of the businesses because of financial constraints, lack of time and other resources; infrastructural restrictions and some were in the process of creating one. Governmental financial assistance seemed to be the one of the major requirements by Fashion Designers in order for the subsector to realize its full potential. Easier access to loans and increased investor involvement were also described as being critical factors that will assist and improve struggling businesses. Other suggested infrastructural inputs included having a designated space or Fashion warehouse where all Fashion Designers are allowed to create in a single geographic location, which will in turn increase sale; A Fashion Boulevard; setting up of fabric mills; a contract manufacturing facility (factory) and better Fashion shows. Provision of more fashion courses, fashion mentors and fashion being part of the school curriculum were deemed as being the important to the overall development of the subsector. 7 Conclusion The expressed concerns and recommendations for the Fashion and Design subsector data collected were almost the same documented in the study conducted by (Nurse, et al., 2007) in It appears that any change that occurred was either incremental or in its early stages of development. Fashion and Design as seen by this survey, comprised mainly of garment design and production together with fashion accessory manufacture. This subsector was mainly comprised of very young, micro businesses from an employee size standpoint. As with many small businesses, financial support forms an integral part in the growth phase. Fashion Designers firmly believed that in addition to the Government s financial assistance, implementation of proper fashion policies and standards for this subsector. Having knowledgeable Fashion Consultants and personnel with a passion for fashion in the various state and other industries has been stated as key. Not forgetting that Fashion Designers, Fashion students and graduates, Government and its agencies, suppliers, training institutions, standard development bodies, other agencies involved in fashion should have clearly defined roles that would make the Fashion and Design subsector sustainable and globally competitive 18

20 8 References Bureau of Labor Statistics. (2014, January 8). United States Department of Labor. Retrieved from Global Fashion Industry Statistics - International Apparel' (Fashion United). (n.d.). Retrieved July 21, 2015, from Governmemnt of the Republic of Trinidad and Tobago. (2011). Key T&T Sectors: Caribbean investment Forum. (2015). Retrieved from Sokanu: Breyer, M. (n.d.). 25 Shocking Fashion Industry Statistics. Retrieved July 21, 2015, from Tree Hugger: Cataldi, C. M. (2010). Slow Fashion: Tailoring a Strategic Approach. Citibank (Trinidad and Tobago) Limited. (2011). Trinidad and Tobago Investment Guide Fletcher, K. (2008). Sustainable Fashion and Textiles: Design Journeys (London: Earthscan). Garetti, M. A., & Torres, A. L. (2013). Sustainabilitiy in Fashion and Textiles. Greenleaf Publishing Ltd. GORTT-Ministry of Planning and Sustainable Development. (2012). Annual Report on Peformance. Halder, G. (2015, May). Retrieved August 5, 2015, from Prospects: International Labour Organisation. (2014). Global Employment Trends Geneva: ILO. Jamaican observer. (2015, July 22). Regional Fashion Industry worth 10 billion a Year. Retrieved from billion-a-year-cooper_ Nurse, K., Demas, A., Tull, J.-a., Paddington, B., O'Young, W., Gray, M.,... Peis, M. (2007). The Cultural Industries in CARICOM: Trade and Development Challenges. 19

21 9 APPENDICES APPENDIX 1 New Emergence of skill sets/competencies WILL THERE BE AN EMERGENCE OF NEW SKILLS /COMPETENCIES REQUIRED IN FASHION AND DESIGN WITHIN NEXT YEAR? No 37% Yes 63% APPENDIX 2 Suggested ways to develop the Fashion and Design subsector Introduce the programme in our education system and start developing metal/art jewellery as part of the local industry technical and support for manufacturing fashion products in Trinidad More assistance with business development is needed Competent and efficient factories are needed to manage and produce garments- skilled tailors and dressmakers need for 'styled' clothing Financial assistance, investors and manufacturing Need for more specialised training. E.g. Cutters, Pattern makers More training on the function of the TTBS and their standards as well as international standards for clothing production Fashion should be part of the secondary school curriculum 20

22 Hire knowledgeable foreign fashion consultants; Put financing mechanisms in place; Hire persons with an interest in fashion; focus on the actual business of fashion; execute the Strategic plan developed by the TTCSI Make funding available through Creative TT. Sector and operations should be transparent and fair Those relevant organisations involved can look at the primary source of missing elements to help build the industry on a solid foundation and remain consistent and support its growth Have more fashion workshops and shows but advertise them more because a lot of them aren't really known. The events are only heard of when they have already passed. It would be great if UTT would offer a BA in Fashion management instead of just a diploma The availability of contract manufacturers/facilities. i.e. A facility which can mass produce my designs in a timely manner and at a reasonable price More support for local emerging brands. We lack the funds to start-up businesses. Most businesses are run through Facebook and/or Instagram. We cannot afford the monthly rental of a conveniently located space It's all about appropriate training and the right target. Ongoing cause and effect should be addressed. Facilitation of programs with Fashion Designers; Increase the standard of fashion in Trinidad and Tobago; Fashion should be considered a business with the organisation of a proper fashion week; Finding labour is a big issue. A list of graduate from UTT's fashion programme should be made available to Fashion Designers need for a venue that provides everything local under one roof; Warehouse with many studios where Fashion Designers work Need for a reduction in taxes to import fabric (via permits etc.); 21

23 Provide more platforms for designs. Currently the industry is very closed,.it's dependant on being friend with persons in fashion) marketing of Fashion Designers' pieces International exposure. Foreign persons should be invited for workshops; exchange programmes should be made available for everyone There is a need for more structure; Greater financial assistance especially for new Fashion Designers Need for Fashion Designers to have exposure in other countries and international fashion shows; Buying local would aid in the development of the industry. business loans should be made accessible for fashion; FATT should focus on younger Fashion Designers ( need to sensitize this group); networking and fresh minds on innovative boards are needed to push fashion forward;; Employees not staying in jobs because they are either not well equipped or their main focus is the salary. ; More fashion courses should be made available; Government should provide funding; consistent funding during incubation human investment Government help a lot more with making funding more accessible new Fashion Designers should have fashion mentors make fabric more accessible by having agreements with domestic and international fabric suppliers to afford Fashion Designers discounts on fabric; 22

24 The planned 'Fashion Boulevard' should be brought to fruition More training provider options and locations needed; Younger persons need motivation to stay at their respective jobs Stigma attached to being a designer should be removed (they should be respected as much as the other notable professions are) Business minded fashion executive and Fashion Designers are needed proper marketing of local brands/fashion Designers fabric stores are moving into households resulting in a reduction in the availability of fabric level the playing field for fashion stakeholders- local designs can't compete with cheaper clothing from China and India Setting up a fabric mill or making fabrics more available having the right persons at the top in the pertinent organisations who do the work for the sake of fashion Government can help in the marketing Fashion Designers and their designs on the international stage financial investment 23