REPORT BY ZOE MAHONY 2000 CHURCHILL FELLOW

Transcription

1 2000 THE WINSTON CHURCHILL MEMORIAL TRUST OF AUSTRALIA REPORT BY ZOE MAHONY 2000 CHURCHILL FELLOW My proposal was to study High End Fashion Design and Marketing in Belgium, France and London to gain an insight into the foundation required to produce Womens Designer Apparel at an international level.

2 CONTENTS CONTENTS INTRODUCTION 1 EXECUTIVE SUMMARY 2 PROGRAMME 3 DESCRIPTION OF FELLOWSHIP 4 CONCLUSION / LESSONS LEARNED 16 GLOSSARY OF TERMS 17

3 CONTENTS SUMMARY p1 EXECUTIVE SUMMARY Name:Zoe Mahony Address: 250 Forbes Street, Darlinghurst, NSW, 2010 Phone: Occupation:Fashion Designer Project Description To study High End Fashion Design and Marketing in Belgium, France and London to gain an insight into the foundation required to produce Womens Designer Apparel at an international level. Highlights of Organisations Visited Boudicca, London Akira Isogawa, Paris Major Lessons Learned 1.Business planning, development of management structures for small business 2.In relation to: English, French and Belgium based Fashion Design companies : an Australian Fashion Design company showing and selling in Europe 3.The importance of styling as a marketing tool 4.The importance of quality and craftsmanship skills required in international designer clothing 5.Various approaches to staff management practices and teaching methods and the significant benefits of the European internship / Vocational training programs Proposal for Dissemination 1.Teach as guest lecturer at The University of Technology Sydney, East Sydney TAFE, Sydney College of Arts and Whitehouse. 2.Offer internship placements for fashion design students to study and work in my studio.

4 PROGRAM p2 PROGRAM no. p date of visit place, city, country organisation visited / 8 / 00 to 11 / 8 / / 8 / 00 to 20 / 8 / 00 London, United Kingdom London, United Kingdom -Central Saint Martins College of Art & Design -Shelly Fox -Boudicca -Nothing Nothing -British Fashion Council & UK Fashion Exports 3 22 / 8 / 00 to 27/ 8 / / 8 / 00 to 31 / 8 / / 9 / 00 to 4 / 10 / / 10 / 00 to 20 / 10 / / 11 / 00 to 14 / 11 / 00 Paris, France Antwerp, Belgium London, United Kingdom Paris, France Paris France -Celine -Fashion Institute Mode -Martin Grant -A&F Vandervorst -Lieve Van Gorp -Boudicca -Akira Isogawa -Marcel Van Droog of Lidewij Edelkoort -The Fédération Française de la Couture, du Prêt-à-Porter des Couturiers et des Créateurs de Mode

5 London UK p3 DESCRIPTION OF FELLOWSHIP : no. 1 & 2 1Central Saint Martins College of Art & Design The college which has produced designers including Alexander Mac Queen and John Galliano Lessons Learned Fashion Marketing, Styling Course: communicating ideas about social and cultural change. This was a five day course. It encompassed a spectrum of styling assignments, styling and designing a magazine fashion shoot, to producing a designer's catwalk collection. It aimed to develop fundamental techniques of sourcing garments, accessories and props; to learn how to work with professional model and photographer on location; as well as undertaking individual creative projects. A highlight of the course was receiving valuable advice from Guardian stylists about work practices, building a portfolio and creating an individual signature. 2 Shelly Fox The company began in A strong, innovative designer, Shelley Fox's background in fashion and textiles enables her to create bold, experimental collections using distinctive, textural fabrics and unorthodox pattern cutting. Fox has been a recipient of the British Fashion Councils New Generation Award, and is in several private and public collections, including the Victoria & Albert Museum. Studio facilities, staffing policies and production strategies. ShelleyFox has a unique approach that combines studio and laboratory techniques. These include draping from a third scale mannequin and physical and chemical treatment of textiles. Insight into her distribution channels and marketing strategy. Fox shows at London Fashion Week, attends Premier Vision Paris and exhibits at Paris Fashion Week through UK Fashion Exports (see p 6)

6 London UK p4 DESCRIPTION OF FELLOWSHIP : no. 2 Nothing Nothing The company began in This is the third collection from Julian Roberts Last season, as in the case of Shelly Fox, it was sponsored by the Marks and Spencer New Generation scheme. Nothing Nothing explores new ways of cutting to identify fresh shapes and elaborate forms. nothing nothing is not orientated to fashion trends, fads or season. Instead, the label is an evolving fashion project through which Roberts explores his ideas of shape and form. Nothing Nothing is also presented in alternative formats. Rather than opting for a conventional catwalk show, Roberts co-founded the creative collective called The Grey Area with Russell Sage and presented a film with a live sound score (by Swiss Maderian techno producers Access 58) alongside his collection at the ICA. Entitled 1/1 because only the original garment will ever be available - the collection features raw, hand cut pieces, freehand embroidery and hand-painted details. Roberts approach to the work, somewhere between art and design is apparent in his labels marketing and publicity The first 2 seasons invitations were sent to a selective guest list. The 1 st show invite had no date or time, the second had no venue, coloured dots are used to indicate calibre of the guest ie level of importance and therefor where they sit in relation to the catwalk. Julian covered each of the invites in a naive collage of multi coloured dots to indicate his non hierocratic tendencies.

7 London UK p5 DESCRIPTION OF FELLOWSHIP: no. 2 Boudicca The company began in 1997, Zowie Broach and Brian Kirkby are the two designers behind this label and are recipients of the New Generation Award. Named after the Celtic goddess of war, Boudicca is a label with attitude, strength and vision. Studio facilities, staffing policies and production strategies. Boudicca concentrates on concept and cut. The strong concept is communicated in the companies dogma approach to marketing and publicity. The label has limited distribution, however they have a global outlook and their major buyer is the American Internet firm Boudicca is regarded as one of the of the most significant young labels in Europe. They enjoy impressive and regular press. I returned to Boudicca to undertake an internship in September. The British Fashion Council & UK Fashion Exports These are 2 of the 5 organisations based at 5 Portland Place that serve the British Apparel & Textiles industry. They aim to stimulate and promote British fashion both internationally and locally. The British Fashion Council was created in 1983 to oversee and bring harmony to the London fashion exhibition scene, in particular London Fashion Week. London Fashion Week provides an effective platform for British High end Ready to wear design talent. The BFC established the Designer of the Year Award in 1984 and has run the annual British Fashion Awards since 1989, which promote the whole of the UK fashion industry. Hussein Chalayan was voted Designer of the year 3 years running by a panel of 700 top buyers and press. Ironically in Dec 2000 Hussein Chalayan announced that his label was expected to go into receivership. Chalayan will show a skeleton collection for Autumn / Winter 2001 in March. However, any future collections will rely on new financial backing.

8 London UK p6 DESCRIPTION OF FELLOWSHIP: no. 2 The British Fashion Council & UK Fashion Exports The British Fashion Council continued This fragile financial situation is not uncommon in the British fashion industry and has been recognised by the BFC. Many established names operate on very low profit margins with surprise small turnover which belie their public image. A seminar was mounted in June 2000 to bring together designers with potential sponsoring companies. The one day event included a presentation by marketing directors of potential sponsors of the benefits of sponsoring fashion designers. In addition there was a focus for designers on how to develop successful and long term sponsorship arrangements. Funded by industry sponsors, the British Fashion Council seeks to encourage links throughout the industry. For example the 1998 British Fashion Designer Conference led to the Apparel and Textile Challenge Office linking designers with British manufacturers. The majority of High Street fashion firms such as Marks and Spencers have been moving their production off shore since the mid 80 s. Therefore manufacturers who, in the past, would not produce small designer ranges, (due to the small volumes and high level of difficulty) are now providing services to small designers. One of the T.C. Offices primary goals is to set up guidelines and identify best practice. The UK Fashion Exports was created in As a non profit, non government body its mission is to concentrate on increasing the export potential of the British fashion industry. It s main strategy is to encourage British involvement in international trade shows.they offer up to date information about international events and provide guidance regarding which shows are relevant to individual designers. UK Fashion Exports also provide funding for example a subsidy up to 60% of the cost of exhibition space and equipment for designers ( eg. Shelly Fox ) to show in the trade hall at the Prêt-à-Porter in Paris.

9 Paris France p7 DESCRIPTION OF FELLOWSHIP : no. 3 Celine The CELINE brand was created in 1946, opening the first CELINE boutique in Paris carrying shoes for children. The first ready to wear collection appeared in 1969 followed in 1993 by Men s wear. In 1996 CELINE become part of the LVMH group. Studio facilities, staffing policies and production strategies. Design team for the Prêt-à-Porter collection alone, consists of 17 international members including American Creative Director Michael Kors appointed in Production is done in Italy, as is the case with similar labels including Ceruti and Louis Vuitton. The Italian apparel manufacturing industry has well established infrastructures and quality craft skills. As one of Italys largest export industries it receives both government and private support. Samples, including accessories are finalised in house, along with Human Resources, Marketing and Administration. As part of the LVMH group Celine benefits from and contributes to its massive consolidated revenue. Institute Francais de la Mode IFM is regarded as the best post - graduate school in Paris if not the world. Catherine Pillin HR Celine Established in 1986 as an intersection of textiles, apparel, haute couture, fashion designers and distribution. It is a centre for education and expertise in all fields involved in fashion management and the relationship between industry and design. Graduates hold key positions in companies including Celine, Chanel, Comme des Garcons, Dries Van Noten...Loius Vuitton. The philosophy and objectives of the Institute Francais de la Mode is to enable outstanding designers from France and abroad to broaden their professional horizons by providing direct interaction between designers and established quality manufacturers, traditional craftspeople, textile developers, master artisans, technical researchers and marketing engines.

10 Paris France p8 DESCRIPTION OF FELLOWSHIP : no. 3 Martin Grant After working in London with Koji Tatsuno, Australian - born designer Martin Grant established his label in 1992 in Paris. From his base on rue des Rosiers Martin Grant's twice-yearly collections are distributed in New York, Tokyo, Australia and naturally, Paris. He is described as a "couturier sculptor exhibiting in art forums including Chantilly, France, and collaborating with artists for eg. the exhibition Material Evidence: 100 Headless Woman at Artspace Adelaide 1998 with New Zealand artist Julia Morison. Studio facilities, staffing policies and production strategies. Grant has nurtured a strong independent identity. Often identified as Australian - born, he has gained significant notoriety in the Paris and international scene.

11 Antwerp Belgium p9 DESCRIPTION OF FELLOWSHIP : no. 4 A&F Vandervorst An Vandevorst & Filip Arickx launched their label with Autumn-Winter Both graduated from the Royal Academy of Fine Arts in Antwerp, and worked for Dries Van Noton and Dirk Bikkembergs respectively. As a team they quickly gained international recognition and in April 1999 gained their contract with Ruffo to design the Ruffo Research designing the women and mens collections for Spring/Summer 2000 and Autumn/Winter Studio facilities, staffing policies and production strategies. Most of A. & F. Vandervorsts pattern cutting and sample production is done out of house. The designers liaise with the factories to perfect the final samples. As a medium size firm it is more cost effective to out source this stage. The initial creative, concept work, administration, QC and dispatch is conducted in house. Discussed staff management practices and teaching methods. Lieve Van Gorp Gorp studied at the Royal Academy of Fine Arts, Fashion department in Antwerp. Her label commenced in 1991 with leather accessories collection, consisting of belts & bags. The first collection was shown March 1995: first women s collection (winter 95/ 96)followed in 97s first men s collection Studio facilities, staffing policies and production strategies. As with A. & F. Vandervorst most of the pattern cutting and sample production is done out of house, subcontracted to local factories. The initial creative, concept work, administration, QC and dispatch is conducted in house. Lieve Van Gorp has a limited number of distribution channels selling volume. Lieve Van Gorps accessories established a base from which the company organically grew at a steady pace. Gorp employs industrial design sources to produce accessories and gadgets which leave the shop as collectables, and are directly related to each collections concept. Discussed staff management practices and teaching methods.

12 London UK p10 DESCRIPTION OF FELLOWSHIP: no. 5 Boudicca 1997 Zowie Broach and Brian Kirkby are the two designers behind this British label who presented their second, on schedule catwalk show October 2000, and is described as new couture. Securing several independent outlets in London, New York and LA. Their erotic and edgy, impeccably cut, non-conformist collections have made them regularly featured in progressive magazines and respected by fashion commentators. "We are always being called non-conformists so we looked at nonconformity for the autumn/winter collection. We looked at symbolism, the whole idea of how images translated into peoples lives, that's why the title of the collection was three stripes instead of words." Zowie Duties / Key elements required in the product range and range planning. This combined traditional notions of a balanced range and signature pieces communicating the core conceptual elements. Boudiccas concepts are both vaguely linked and quite unrelated topics researched by the designers and thier assistants. Production techniques from draping, pattern cutting to finishing of garments for the cat walk show at London Fashion Week. This has allowed me to synthesize their unique cuts and analyse the similarities and differences between designs both in their current collection and archives. Quality of production is a major issue at this level. Quality Control is persistant and samples are only accepted if perfect. Observed time management systems. Boudicca run on a very tight scedual and budget. The studio is relatively issolated, so planning is essential, to pick up a last minute zip takes 40 minutes in traveling time. Communication and production planning. For example liaising with suppliers of raw materials that go into the garments and with sub contracted manufacturers that produce the samples. To guarentee Quality Control very clear instructions and comprehension between the maker and the designer are necessary. Even so, often problems in make occur, time must be set asside to rectify any mistakes. Is it good enough? Isn t. Observed and assisted with styling. Once again communication is a key factor.

13 London UK p11 DESCRIPTION OF FELLOWSHIP: no. 5 Boudicca continued Discussed business planning, development of management structures for small business. Boudicca have been approached several times by various financial backers however have yet to find an acceptable proposal. The designers will remain independent and quite marginal without backing. Observed staff management practices and teaching methods. Like many British design houses Boudicca utilise student placements. Both designers teach casually at the Royal Academy and offer diverse skills and expertise. Assisted in the post Fashion Week sales to international buyers from Japan and the USA. The designers sell directly (without an agent) to a limited number of loyal distributors. Akira Isogawa

14 Paris France p12 DESCRIPTION OF FELLOWSHIP : no. 6 Akira Isogawa was established in He was awarded Mercedes Fashion Week Australian Fashion Designer of the year several years running. For the past 5 seasons he has been showing in Paris and sells to the major international stores. Duties / Assisted in the preparation and execution of the parade. This included casting, final fittings and assisting back stage for the Spring / Summer 2001 Prêt-à-Porter show. The show was a complete success howver, the no of international press was insignificant, suggesting room for improvement in the PR department. Observed the post Fashion Week sales to international buyers from Italy, Germany, Britain and the USA. Although the press for the show was disapointing the selling was successful due to Akira s past high sell through and good will Discussed business planning, development of management structures for small Australian business exporting to Europe. This included budget required to exhibit and sell in Paris at the Prêt-à-Porter: The need for local PR agents and their degree of success: Time management to produce four (two for the Australian market and two for the European market) rather than the usual two complete ranges a year: Pricing strategies Observed staff management practices and teaching methods. The crew involved in the Spring / Summer 2001 Prêt-à-Porter show included Akira, two Australian staff, an Australian stylist, an Australian photographer, a local parade coordinator, twenty models, a French PR agent, a French maker (for last minute alterations), several Australian hair and make up people, four Australian musicians and sound technician, an Australian in house model, two sales representatives (one from Brisbane and two from Italy), one German design intern and myself. Co- Coordinating all these people, many of whom were hadn t been to Paris before, was quite extraordinary.

15 Paris France p13 DESCRIPTION OF FELLOWSHIP : no. 7 Marcel Van Droog Van Droog is a stylist for Lidewij Edelkoort, the co-ordinator of 2 research centers on trend-forecasting : studio edelkoort and trend union; The studios produce bloom, interior view and view on colour 3 visionary magazines (united publishers). Van Droogs primary work is for View on Colour, and has been published by several international magazines and image campaigns Duties / The importance of styling and image building as a marketing tool The styling assignments were aimed at varied and specific markets, from high street to semi couture. Assisted in sourcing garments, accessories and props Worked with professional teams of photographer, stylist make up and hair stylist and models on location and in studio settings. Discussed aspects of trend prediction. This included appropriateness to and impact on Couture, Designer, High Street, and Mass Market.

16 Paris France p14 DESCRIPTION OF FELLOWSHIP : no. 7 The Fédération Française de la Couture, du Prêt-à- Porter des Couturiers et des Créateurs de Mode Established in 1973, the Federation is the executive organ of each Chambre Syndicale. There is no equivalent to the The Fédération Française de la Couture, du Prêt-à-Porter des Couturiers et des Créateurs de Mode in Australia. Some of its functions are performed by separate government bodies in Australia. However, it s effectiveness in supporting a viable export industry may stem from it providing comprehensive services for the Fashion Design Industry. The Federation is composed of: * The Chambre Syndicale de la Couture Parisienne, created in ) Organisation of shows a) Fashion show schedule the press department sets the fashion show programme, making sure that there is no overlapping. The press and buyers will therefore be able to cover the various collections. Spring / Summer 2001 Prêt-à-Porter held in the 2 nd week of October 2000 included 90 " on " fashion shows, 30 of which were held Carousel du Louvre. 31 were " off " fashion shows (this included Akira Isogawa) and 66 by appointment only. b) The press list Reportedly 2000 journalists, 400 photographers, 100 Television crews from 49 countries as well as 1000 buyers attended the Spring / Summer 2001 Prêt-à-Porter shows. c) Grouping shows all the ready-to-wear shows are grouped together in one place, in order to present the public with a general outlook of the fashion designers' creations and facilitate the work of French and foreign journalists. This started in 1976, and since 1994, shows have taken place in the rooms of the Louvre Carousel, specially equipped for the occasion. 2) The organisation of group events abroad The member houses of the Federation earn about 70% of their turnover in exports.

17 Paris France p15 DESCRIPTION OF FELLOWSHIP : no. 7 The Federation's major purpose is to help maintain and develop the fashion industry on the international markets. The Federation organises events such as group fashion shows, show casing the different styles of various fashion and couture designers. These group events not only promote the ready-to-wear and haute couture garments displayed in the shows, but the overall commercial products of French fashion designers and couturiers. 3) Promotional actions in the media and press relations The Federation acts as the mediator between the press and the fashion industry. The Federation is also in charge of the publication of collective advertising in various international magazines. Some advertisements are published regularly, as in the case for men's fashion, others selectively for collective promotions. 4)Relations with public services and the government The Federation acts as spokesman for the fashion industry to public services and the government. 5) Relations with management and labour forces The Chambre Syndicale de la Couture, which signed the Convention Collective de la Couture Parisienne [Parisian Couture Collective Agreement], regularly negotiates with trade unions on salary and employment matters. 6) Information and advice to members The Federation also informs and advises its members on legislation and regulations concerning economy, tax and trade. 7) Defence of artistic copyright Labels, creation, royalties, drawings and designs. The Federation works in close collaboration with the government and all related public services to fight against any kind of forgery in France, in the EEC or elsewhere. 8) Vocational training The schools attached to the Chambre Syndicale de la Couture provide workers with training and perfecting courses and also enable young people to become acquainted with various techniques as well as the French fashion world. Its mission is to collect the firms' in-house training tax and to develop an incentive policy on training matters. Together with its partners in the Textile and Garment Industry, the Federation has founded an association called FITHAC, which manages the administration of in-house training files of fashion houses situated in Ile-de-France.

18 CONCLUSION p16 LESSONS LEARNED 4.Business planning, development of management structures for small business English, French and Belgium based Fashion Design companies Each of the fashion design companies I visited were small businesses, employing less than 20 staff (Celine being the exception). They produced high end designer fashion apparel. They sold to both international and domestic markets. They exhibited at one of the major shows, either London Fashion Week or the Paris Prêt-à-Porter. English designers tended to produce many samples in house where as the other designers tended to out source pattern cutting and production. Administration tended to be the opposite with English Administration being out sourced and Belgium done in house. I investigated the level of advice and support offered by independent bodies in England, The British Fashion Council & UK Fashion Exports and France, The Fédération Française de la Couture, du Prêt-à-Porter des Couturiers et des Créateurs de Mode Australian Fashion Design company (Akira Isogawa) showing and selling in Europe. The challenges and opportunities facing Australian designers internationally include; considered fresh blood, need to build strong long distance business and PR relationships, don t have a history of design therefore must present consistently to gain recognition from press and buyers, high overheads for utilities and transport, and general logistics. 2.The importance of styling as a marketing tool. Undertook a short course at Central Saint Martins College of Art & Design: Fashion Marketing, Styling Course Observed and assisted in styling the Boudicca fashion parade Observed styling for the Akira Isogawa fashion parade Observed and assisted Marcel Van Droog, stylist for Lidewij Edelkoort 3. The importance of quality and craftsmanship skills required in international designer clothing. The most impressive aspect of companies I examined and studied under was their persistent application of quality, this includes make and textiles. 4.Various approaches to staff management practices and teaching methods. The internship is universally considered an integral part of all studying and recently graduated students development and introduction to the fashion design industry. It is included in the curriculum of IFMs post graduate and the Central Saint Martins curriculum. There are significant benefits of the European internship / Vocational training programs

19 p17 GLOSSARY OF TERMS DESIGNER FASHION APPAREL refers to original ready to wear, or Prêtà-Porter. According to Mapping the Textile, Clothing, Footwear and Leather Industries Cluster, a research paper into R&D in the TCF industries conducted by AEGIS University of Western Sydney, Macarthur July 1999 DRAFT, Australian design tends to focus on fashion clothing which involves excessive reliance on overseas ideas. With reference to the Fashion System hierarchy DESIGNER FASHION APPAREL falls between Haute Couture and High Street It is the a level shown at the pret e porte/ready to wear in Tokyo, New York, London, Milan and Paris. Australian/New Zealand companies producing ready to wear/ DESIGNER FASHION APPAREL collections include Akira Isogawa, Karen Walker, Zambizi, Nom D and Collette Dinnigan. Younger less known egs are Sample and s!x. The table below illustrates hierarchy of the fashion system. Haute Couture ie; Clothing designed with a theme and often client in mind, constructed by guild members of * The Chambre Syndicale de la Couture Parisienne, (created in 1868) and largely crafted by hand DESIGNER FASHION APPAREL original ready to wear, or off the rack clothing It is inherently high quality manufacture and orientated to less price sensitive market segments than High Street wear. High Street in Australia this term high street includes S--- to C---- Z Designs are adopted or modified versions of DESIGNER FASHION APPAREL Manufacturing techniques and raw materials are more price sensitive than DESIGNER FASHION APPAREL Manufacturing and distribution drops tend to be shorter, as little as 6 weeks turn over, Mass Market