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CONCEPT DEVELOPMENT


AW13/14 WOMENS


UN-WRAP


JESSICA HEARNSHAW STUDENT ID: HEA08321511 WORD COUNT: 4374 CORDWAINERS ACCESSORIES: PRODUCT DESIGN & DEVELOPMENT


“A BOX THAT IS NOT PAPER THAT WILL NOT BE TORN THAT WILL NOT BE THROWN AWAY THAT HAS NO PURPOSE NO MEANING AND NO VALUE. THE FATE OF THE THINGS INSIDE WILL BE DECIDED BY THE BOX ITSELF”

KATSU KIMURA


CON_ TENTS

1 CONCEPT 5 BRAND ETHOS AND VALUES 8 TREND FORECAST 10 COLOUR STORY 14 MATERIALS 15 CONSUMER 16

18 25

CUSTOMER PROFILE

COMPETITORS MARKET POSITION

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RETAIL POSITION

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PEST ANALYSIS

SWOT ANALYSIS

35 RANGE OVERVIEW 38 SUPPLY CHAIN 40 DESIGN INSPIRATION MENT

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49 54 57 60 65

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SAMPLING

CONCLUSION CRITICAL PATH IMAGE REFERENCES BIBLIOGRAPHY APPENDIX

65 68 70 72

APPENDIX ONE APPENDIX TWO APPENDIX THREE APPENDIX FOUR

CONCEPT DEVELOPMENT

AND

DEVELOP-


CONCEPT THE ART OF UNWRAPPING “It is as if, then, the box were the object of the gift, not what it contains� - DeNaro-Bickerstaffe (2012) The concept for the brand Hearnshaw's [first] collection is traditional japanese packaging, looking into and being inspired by the beautiful structures, techniques and materials used for packaging in Ancient Japan. Particularly focusing on the way the Japanese would hold and wrap objects, their ways of presenting gifts and the etiquette that went into packaging items. To contrast the traditional japanese influences, modern product packaging will also be taken into consideration in particular the shapes and forms used, meaning the collection will have a subtle balance of new and old.

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“The earliest packaging was accomplished by wrapping a given object in whatever materials lay at hand.The outcome was often not only adequate for storing and transporting the object but might well have been a simple, beautiful shape free of all excess and extravagance” - Hideyuki (1975)

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Hideyuki sums up here how the Japanese created beauty out of functionality, and speaks of their innovative packaging as “wisdom that comes from everyday life” Hideyuki (1967). This collection will take inspiration from Traditional Japanese techniques as well as modern day packaging ; specifically the shapes and silhouettes, to create a balance of old and new, that embodies the Japanese sense of beauty in form. Traditional japanese packaging has a strong minimalist aesthetic that will inform the design, expressed well by Sparke (1987), when talking of traditional packaging, “The simple, uncluttered style is typically japanese.” A key notion of japanese packaging is that the gift, and the act of wrapping the gift, is just as important as what is inside, if not more so – “It is etiquette to wrap things unconcernedly and modestly” explains Fricke, (1988) “Design of packaging must have some restrictions: It must treat the contents as something precious; it must not stifle the contents” . The wrapping should represent the gift in a humble manner, yet presenting it to its best advantage, key elements that will run through the design of the collection,

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Dalby (1984) speaks of how 'between art and life in Japan there existed a rich and lively interaction' This is a value that can be translated into accessories and Hearnshaw, as a brand, will look at creating accessories that have a relationship with what is put inside them, and that are enjoyable to unwrap, and open, to use the items held within. Primary research into the concept has been undertaken by going through the V&A Collections in their Traditional Japan section, looking for visual connections through the culture, being inspired by the ancient artefacts, as well as seeing the Barbican Art Of Change exhibition to get a sense of what new modern artists are doing with traditional techniques in a modern context, getting trend and technical inspiration from them. Along side in depth book research to understand the philosophy and values.

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BRAND ETHOS AND VALUES BEAUTY IN FUNCTION Hearnshaw is an accessories brand that looks to design exquisite, refined leather goods that offer functionality alongside beauty. The brand's DNA is timeless simplicity with a conceptual edge offering desirable items. Hearnshaw believes in great craftsmanship, looking to enhance modern design with the skill of traditional techniques. Key to any brand is its Unique Selling Point, that of Hearnshaw is celebrating the beauty in function, designing accessories with the customer's lifestyle in mind. As mentioned by Charles (2011) writes “[USP] should always augment the product and the customer’s experience” by designing with the lifestyle of the customer in mind, this USP will create an initial personal link with the customer, as well as creating something desirable and useful.

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“After a commodity brilliantly fulfils its function, which is of course a necessity, what more could one hope for than to discover pleasure in the realm of beauty?” - Ekuan (1980)

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This brand believes that bags should be as beautiful inside as they are outside, the product should be as pleasurable to use as it is to look at and also that the functions of a bag should improve its style and look. The brand believes in creating collections that are edited down to only what is necessary and what is beautiful.

“Everybody has experienced the thrill of curiosity and expectation concerning the contents as a beautiful package is carefully unwrapped� - Fricke (1988)

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TREND FORECAST The minimal sophisticated design approach of Hearnshaw is not holistically driven by trends, instead it looks to transcend seasons, making the accessories great investment items. However the brand takes some inspiration from the current trends to keep the brand up to date and complementing the new season looks. Key fashion trends influencing the design of the AW 13/14 collection are ‘Zen Modernism’ explain by WGSN:

“Zen Modernist is inspired by the synthesis of effortless, minimal shapes and oriental- inspired craftsmanship.Taking its cue from the re-emergence of the minimalist aesthetic, timeless silhouettes are given textural depth and reworked with a pastiche of contrasting, often surprising fabrication.” - WGSN, 2011b As well, the accessory trend for AW13/14 ‘Radical Neutrality’ from WGSN, will inform the overall look of the brand’s designs from the key elements of the trends that ‘focus on functionality and considered proportions this trend takes a measured approach to arrive at a distilled and modern aesthetic.’ (WGSN, 2011a)

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AW 13/14 ACCESSORIES: HARDWARE & DETAILING. WGSN,

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EXTERIOR COLOUR STORY

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The accessories in this collection hope to create an experience with the use of colour, the outside of the accessories will be Black on Black, taking inspiration from the trend 'Oil-slick Surfaces' (WGSN, 2012c), creating interesting texture and making the bags look and feel desirable, yet still sophisticated and also commercial to the consumer.

'POETIC BRUTALITY' WGSN 06 FEBRUARY 2012

COLOUR STORY

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The inside of the bag will have beautiful inviting prints and colours on the lining, creating an enjoyable visual experience when opening the bags, and creating a contrast to the black exterior. It is a key value of traditional Japanese packaging to make the inside engaging:

“When a package is opened, it is usual that the inside of the wrapping paper is seen.The traditions of Japan have never forgotten this moment of anticipation. Unexpected brilliant colours and varied patterns that appear during the process of unwrapping a package have always been a part of our aesthetic experience� - Fricke (1988)

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LINING COLOUR STORY

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M AT E R _ I A L S To create a visually interesting black on black effect for the outside of the bags, this range will use a variety of black leathers, such as super-matt effect, large grain, hair-on cow and printed black leather. The brand will use good quality leathers that can hold their structure but with a soft handle which will give the range its feel of understated luxury. Hideyuki (1975) talks of materials used in japanese packaging; “The important point is that these natural materials are used in such a way as to show their freshness and their natural textures�. This inspired the material choice of the outside being kept black, to stay modest, but to also to embrace different textures of leather, its natural grains or hair, to subtly hint at the connection to nature these accessories have.

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CONSUMER The brand aims at two key target markets: firstly, young trendy 25 – 34 year old women, who are in love with fashion and aspire for the lifestyle portrayed in the magazines and secondly, older women 55+ years, who have strong individual style away from catwalk trends, they have a higher disposable income and look to invest it in good quality items. Both demographic groups are in the ABC1 (good to high income demographic groups) section of the market, the over 55s being AB and the younger women in the C1 category (Demographic Profiling, 2012).

25 - 34s

Over 55s

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The decision to aim at two consumers is based on research that makes it clear that both are growing markets, the 25-34s are rising and willing to keep shopping (Mintel, 2011c). The 2534s will buy into the brand at the lower price points, but be more involved with the brand creating conversation with them and strong word of mouth factor. As well, the over 55s are a new growing market, 'by 2030 the over50s are predicted to make up nearly 40% of the total population' (Mintel, 2011c) with a lot of potential. Research showed from a focus group, that they will spend more on accessories that are high quality, made of good materials and have a strong focus of function (See Appendix one). The over 55s will be drawn to the brand on the merit of the product, be more loyal customers, but will not interact so much with the brand or create the social media hype a younger consumer can. (See Appendix two).

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CUSTOMER PROFILE 25 – 30 • Eva, aged 27, female, Parisian • Lives in an open plan apartment in Stoke Newington, London, co-habiting with her partner (Graphic Designer) of 5 years • Career: Fashion marketing, just got full time marketing position. Keen fashion and lifestyle blogger on the side. With an annual income of £35,000. • Leisure: they enjoy restaurants, art house cinema, cafés on Church St. Foodie markets and cocktail bars together • Home: Aspire to a certain look in their home, many designer details and home ware, free of clutter, modern and clean lines, simple colour palette • Hobbies: keen cook of fusion, baker and windowsill gardener. Owns a pet cat. • Lifestyle: Driven by her ambition in her career, juggles a very busy lifestyle to have a great job in the fashion industry and an aspirational lifestyle with her partner. • Fashion purchases are from new boutiques or brands, or limited exclusive collections from larger fashion houses. Interested in the unique, and new, fashion around. Not interested in high street or high end luxury labels. • Immersed in social media; with Twitter, Facebook, Pinterest and her own blog, she wants to keep up to date with the fashion world and all the emerging new designers

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OVER 55s • Joan, aged 60, female, English • Lives in a Victorian town house in Dulwich, London. Married with 2 kids (grown up and moved away) • Career: Art curator for 35 years, semi - retired still active in the art scene, and an art collector. Annual earnings of £58,000+, with a high disposable income • Enjoys cooking new cuisine for husband and friends, hosts many dinner parties, enjoys wine bars, exhibitions, and attends many art events, and theatre. • Home: Very strong interior design in her home, puts a lot of passion and finance into getting the perfect home – full of unique furniture and artworks. • Lifestyle: Keeps up to date with the art world and the fashion Industry – spends a lot of time on her appearance and style. • Shops are luxury and high street – she will invest in items from Chloe or Celine but mix it with items from COS and ZARA. She looks out for new interesting boutiques and curated shops – such as Darkroom and Feathers London • Avid reader of books, magazines and journals (Wallpaper, ELLE Decoration, The Gentle Woman). Not into social media such as facebook and twitter but will keep up with favourite blogs. • Takes fitness classes and takes care to eat well – but not obsessive.

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COMPET_ I T O R S Competitors of Hearnshaw are brands that have a similar price range, design style and ethos. The 3 direct competitors are Fleet Ilya, Building-block and Isaac Reina because these brands all sit at the same market level as Hearnshaw; they are smaller more conceptual brands that have the same price level and consumer target. Also main competitors, at a higher price point, are Jil Sander and Victoria Beckham as they have a very similar design style of minimalist chic bags.

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FLEET ILYA is a brand that specialises in fine

quality leather accessories and bondage, creating stylish playful pieces in high grade leather. They 'blur the line between leather bondage and fashion accessories' (Fleet Ilya, 2009) creating sought after pieces, the 'Restraint' range was a great success and has brought the brand from obscurity to the forefront of fashion

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ISAAC REINA is the accessories and small leather goods brand from Parisian Designer of the same name, the brand offers geometric simple shapes, hand crafted to a high standard. The brands ethos is no frills, just the essentials, creating a very elegant functional range.

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BUILDING BLOCK is a Japanese accessories

brand, now based in Los Angeles, their brand ethos is about designing luxury leather goods with minimalist forms creating very basic shapes, with large industrial crafted hardware. The brand is about 'magnifying essentials and editing out excess' (Building Block, 2011). They are a small new brand that is building up a strong image within the industry.

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JIL SANDER is a Ger-

man brand at the forefront of minimalist fashion, signature styles have clean lines and perfect tailoring. A great conceptual brand consisting of sophisticated yet fresh designs. Jil Sander accessories embody the main collection's handwriting, offering simple silhouettes often with conceptual design in luxury leathers.

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VICTORIA BECKHAM

launched her brand in 2008 to great fashion acclaim and has been growing strongly each season, thanks to her signature aesthetic of simple sexy silhouettes with a grown up tailored feel. Her accessories range has become popular thanks to its chic understated shapes in luxury fabrics, all made in Italy to a high standard of craftsmanship.

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Having Fleet Ilya, Isaac Reina and Building Block as my direct competitors is a good strategy because they are also small brands, they are not dominating the market position, and can help create a buzz around new designers, eliminating the stigma of buying something from small unknown labels.

COMPET_ I T O R S

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CLASSIC

CONCEP-

PRICE:

PRICE: an overall view of where Hearnshaw will M A R K E T For sit in the accessories market a Market PosiPOSITION_ tioning Map is the best way to highlight gaps. you can see, the market level for HearnING MAP As shaw is not so crowded by the big well established brands, instead it is in direct competition with the smaller niche brands giving it more of a chance to stand out. For a more in depth look at the brands competitors see Appendix three.

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MARKET POSITION The overall price point for HEARNSHAW as a brand will be between £150 - £950, positioning it between the high street and luxury, (see Market Position Map above). This price level will suit the more boutique and curated shops that do not try to compete with high street and luxury. This price point will offer the customer fine quality leathers and craftsmanship with interesting designs not possible at a high street price but not as costly as the luxury handbag market. Research shows that accessories are still selling on the market, “Consumers are still prepared to treat themselves, and can still be convinced to make relatively expensive purchases, provided the message is right.” - (Mintel, 2012a) and Hearnshaw accessories will be investment pieces while still far more affordable than the £1000+ bags of luxury labels. “Over the last five years there has been a trend towards fewer women buying handbags every year, but when they do buy they are spending more” - (Mintel, 2012b) although they have less money to spend due to “the economic downturn and the European debt crisis severely affected expenditure” (Verdict, 2012) young consumers are no longer after fast fashion but instead value for money and are willing to spend more to get it. Backed up by Drapers Annual Customer Insight report 2012 where research shows that 55+ age range are more concerned by the quality and price of a product (See Appendix two). This market position and wide price point will appeal to both the older women looking to invest more for high end, good quality design and also the entry level items will make the brand accessible to the younger trendier aspirational woman who loves the style but could not afford to invest in the top of the range, instead buying into smaller items.

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“Over seven in ten women (72%) think that buying new accessories is a cheap way of updating their look. Most women aged under 55 agree with this, although this attitude peaks among 25-44s.” Mintel, 2012b

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RETAIL POS I T I O N Hearnshaw's retail position will be through e-retail and in-store. Its main platform will be having its own website that will sell and promote the products but also provide an insight into the brand, creating a conversation with the customer. The website will offer a blog of what goes on within the brand such as concept ideas and shots of manufacture to create interest and draw the customer into the brand, letting them feel involved with a new start-up designer implementing a sense of loyalty as they watch it develop. Social media is very important for a brand's online presence, particularly for a smaller brand like Hearnshaw that do not have the budget for upscale marketing campaigns. It is a great way to build a relationship with customers, who today are very technology savvy and buy into these forms of communication from brands. Hearnshaw will have, alongside the main website blog, Twitter, Facebook and Pinterest to update customers on the brand and create a visual diary ( WGSN, 2012a). Social media is a great way to reach new customers, highlighted in a report from Brand Republic;

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“It argued that while fans of a brand are most valuable, because they are most likely to visit a brand’s website, friends of fans are also likely to visit a brand’s site, if they see a "social impression" – a piece of content liked by their friends or appears in their newsfeeds.” - (Brand Republic, 2012) The second retail strategy of the brand would be to be stocked in stores that suit the brands style such as concept stores, independent boutiques and particular department stores. Ideal stores to stock Hearnshaw would be Darkroom, Dover Street Market and LN-CC as these stores show edited ranges from new designers adjacent to more established brands, creating a good position for new consumers to find out about the brand.

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DARKROOM 52 Lamb’s Conduit Street, London, WC1N 3LL, U.K.

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Dover Street Market, 17-18 Dover Street, London W1S 4LT, UK

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LN-CC

Late Night Chameleon Cafe, 18 Shacklewell Lane, Dalston, London E8 2EZ

(See Appendix four for shop table)

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Hearnshaw's collection will be similar to ranges sold in these stores, making it suitable to be showcased alongside them, and to attract the same customer ,but unique enough to stand out. This is achieved through the price point targeting slight lower than some of the key brands (see competitor table), appealing to the more spend-cautious consumer of today and through its strong USP and brand values. The brand also hopes to get awareness and new consumers through being featured on fashion blogs, websites, magazines, newspapers, and supplements; the brand will be focused on the blogging industry that is booming in the fashion market, looking at ways to interact with bloggers, such as pop-up events and giveaways to entice press coverage and new customers. From Draper's Customer Insight Report 2012, research shows that people who earn ÂŁ50,000-79,000 are more likely to get inspiration from fashion bloggers as to what to buy, and earners of ÂŁ80,000 from fashion magazines (See Appendix two)

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STRENGTHS

WEAKNESSES

• The market positioning of the brand is not over crowded with large established brands • The over 55’s is a growing market with untaped potential

• The price point of the range could be too high from many 25 -34s • A small brand like Hearnshaw is not able to offer the variety and options large brands can, thus losing potential customers

• Good quality and craftsmanship are sought after aspects by todays consumer looking for value for money.

• Keeping the exterior of the range to just black may turn some customers away

• Aiming at two key demographics will open up a wider audience for the brand

• Not getting initial stockist & press to kick start the brand into the fashion industry

• The functional aspect of the brand will appeal to those outside the fashion

• Social media can be a great platform for a small brand to get noticed

• Recent figures show that shopping habits are slowing as the economy drops (Mintel, 2012)

• The lower price point can be positive as the economy dips and consumers are shopping less. (Mintel, 2012)

• Well established brands can compete with better service and marketing, where a small brand like Hearnshaw cannot

• Being able to offer made-to-order accessories with tailored organisation: will add higher value for the customers

• The brand and range will not stand up against the competitors at the same market level

• Including technology tailored items, such as a inside bag lights, many women from the focus group were concerned with being able to see in their bags (See Appendix One)

OPPORTUNITIES

THREATS

SWOT ANALYSIS

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RANGE OV E R _ VIEW The Autumn/Winter 2013 Collection UN-WRAP will include eight products, with a price range of £80 - £950, the scale in price is to accommodate small leather goods at a lower price point than the main line for customers who covet the bags but cannot afford them.

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RANGE PLAN AW 13/14 COLLECTION

A selection of the products will have specialised organisation features such as laptop compartment, phone pocket, or magazine holder, creating a stronger sense of value for money, and feeding into the brands USP of beauty in function.

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The range meets the brand ethos as it will offer beautiful conceptual bags with functional aspects, and appeal to both of Hearnshaw's target consumers – the handbag/small backpack and organiser for the older consumer, as from research from Advanced Style blog these are the most useful style of bags that they will use day to day (Idiosyncratic fashionistas, 2010a) and the large shopper/technology cases for the younger women. Research shows from targeted questionnaires that these are the most popular styles amongst younger women and retail at a lower price making them more appealing to the younger demographic (see Appendix Five a. for full Questionnaire)

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S U P P L Y CHAIN The leather for the final collection will look to be sourced from suppliers in Italy, for their high standard of quality – taking into consideration the costs and shipping times in terms of the supply chain and critical path. For the experimentation and prototypes, sourcing will come from with in the UK to reduce shipping time. The hardware will be sourced in London, looking into getting the fittings custom made, talking to jewellery makers and 3D printers. Most of the production for this collection will be done 'in house' in the UK to keep control over quality and craftsmanship as these are key to the brands values. Printing and dying leather will be factored into the supply chain for its time and quality control.

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INITIAL DESIGNS AND SAMPLING MATERIALS EXPERIMENTATION SOURCED: LONDON, UK 1ST PROTOTYPE HARDWARE LONDON, UK

1ST SAMPLE

LINING PRINTED IN LONDON UK

SOURCE FINAL LEATHERS, ITALY

2ND SAMPLE 2ND PROTOTYPE

DELIVERY 4 - 6 WEEKS

1ST SAMPLE

FINAL MATERIALS

FINAL COLLECTION MANUFACTURED INHOUSE, UK

DISTRIBUTION, UK

STOCKISTS

ONLINE

CONSUMER

SUPPLY CHAIN

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D E S I G N I N S P I R AT I O N A N D D E V E L OPMENT From the concept for this collection of traditional japanese packaging, the design inspiration has come from the traditional techniques used such as Mizuhiki, Shibori, Furoshiki and Shibari which provide a base for experimentation with materials that can go on to be refined into elegant conceptual elements of the accessories. As well modern packaging will be very influential into how the accessories will take shape, drawing from the patterns used to hold and present products today to inform the sculptural elements of the accessories.

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TRADITIONAL JAPANESE TECHNIQUES:

MIZUHIKI

A decorative form of knot tying often used for gifts.

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FUROSHIKI

Cloth wrapping to carry objects. DeNaro-Bickerstaffe (2012) talking of aesthetics of Fukoshiki “diagonal lines and asymmetry keep the eyes moving and guides them along to the side and to the closure” a design element to be incorporated into the range.

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SHIBARI

On-body rope play from Japan

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SHIBORI -

A fabric tye-dying process using knotting.

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The accessories will be made with a raw edge construction, using veg tan leather to embody the beautiful forms of packaging; clean strong lines with minimal, delicate touches of detail. Other key aspects of the range will be laminate linings, hand-stitching and printed leathers. The attention to quality is from research that showed 63% women from a survey of 49 are more likely to spend more on a bag if it has good craftsmanship (See Appendix Five b.) The designs will be edited down to embody only the functional and beautiful elements of each style, so that each product has a sophisticated simplicity to it, playing into the brand's ethos and USP, creating clean minimal designs. This will also coincide with trend forecasting from Bags Trend publication (Silivellas, 2012) where they talk of how ''Simplicity eschews excess to focus on clean lines' and how in today's fashion climate 'comfort and relaxation is seen as a new form of luxury' which will be interpreted through the AW13/14 range.

“the reopening of the ‘box’ is an act that revives the spirit of the object and sets it once more in an active context. Something that has lain inside a ‘box’ comes out with greater life and power than it had before it was put away” - Ekuan (1980)

Initial Dessign sketches

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A key part of the designs will also be the interior of the bag, the unwrapping and physical interaction with the bags creates an enjoyable experience related to what is being held. This will be translated through the range by well thought out organisation inside, shown to be a popular aspect in accessories among a focus group with older women (See Appendix one) as well as through the colourful lining.

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SAMPLING Initial sampling and experimentation for this range has encompassed translating Mizuhiki knot tying into leather and making it take on a more functional purpose such as hardware or key chains. Looking into layering leather to create bold shapes and curves in leather such as for the handles or for creating form fitted pockets. Also experimenting with the japanese tie-dying process of Shibori – trying out the technique on fabric, but also on leather and suede. This process will most likely be used to inform the final prints used on the accessories due to the time consuming nature of the process and the variations in quality. The final process will be printing these dying patterns onto leather, creating subtle black-on-black patterns, invoking the traditional japanese patterns. For the construction hand stitching and edge finishing will be used on key areas to highlight the bags good quality of craftsmanship and at this stage practising these techniques so they are refined to a high standard by the final production. Refer to the sketchbook and technical file for a full body of work for further initial designs and sampling.

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AW 13/14 ACCESSORIES: HARDWARE & DETAILING. WGSN,

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3D SAMPLING

Inc. Handstitching, layered leather, paper models, braiding and leather printing

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CONCL_ U S I O N The brand Hearnshaw will be a mid-to high end concept brand focused on high quality leather accessories with a timeless simplicity. The designs will evoke traditional japanese techniques and modern day packaging forms as well as clean minimal lines and beautiful functionality. The bags will hold a subtle narrative from the stark black exterior to the joy of colour released when opened, creating great pleasure in the use of the bag; of placing and organising your items within.

“Inward warmth instead of outward boisterousness.� Dalby, (1984) For this collection, the outside stylish forms will hold hidden depth and beauty, creating a wonderful surprise for the consumer the first time they open it, adding a greater desirability to the initial impression. Hearnshaw is a brand that will appeal to younger and older women through its timeless designs that evoke beauty and simplicity. It will have a strong online presence as well standing strong on the quality of the products it offers.

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REC_ O M _ M E N _ DATIONS A next step for the Concept Development will be looking further into organisation and functionality, how people use their bags, what people put in them and creating accessories to fit round their lifestyle, for the brand this can open new areas such as made-to-order bags with tailored organisation to the customers needs and lifestyle.

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CRITICAL PATH

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IMAGE REFER_ ENCES --

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http://creativeroots. org/2012/02/japanese-food-packaging-by-akaoni/

Hideyuki, O. (1967) How to Wrap Five Eggs. New York: Weatherhill.

Hideyuki, O. (1967) How to Wrap Five Eggs. New York: Weatherhill.

Hideyuki, O. (1967) How to Wrap Five Eggs. New York: Weatherhill.

Otília Erdélyi - http://lovelypackage.com/

http://www.marthastewart. com/274678/gift-wrapping-ideas

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Ma, J. (2012) AW 13/14 Accessories: Hardware & detailing. WGSN, 09 March 2012

Avery, K. (2012) Lineapelle Colour Trends. WGSN, 19 October 2012

http://www.claridges.co.uk/

www.tumblr.com

http://advancedstyle.blogspot. co.uk/

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http://www.fleetilya.com/

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isaacreina.com

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lovelypackaging.com

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AW 13/14 Accessories trend: Radical Neutrality (2011) WGSN, 21 April 2011 (a)

http://www.building--block. com/

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jilsander.com

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http://idiosyncraticfashionistas.blogspot.de/2009/08/oldbags-old-bags.html

http://bish-shops.blogspot. co.uk/2010/07/set-pieces-theatrical-set-design-sets.html

http://www.darkroomlondon. com/

http://www.doverstreetmarket.com/

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http://www.packaginguqam. blogspot.co.uk/

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www.tumblr.com

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http://www.shibori.co.uk/ shibori.html

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Design sketchesm Authoers own.

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http://www.ln-cc.com/

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Ma, J. (2012) AW 13/14 Accessories: Hardware & detailing. WGSN, 09 March 2012

http://www.building--block. com/

Low Classic, Seoul - http:// www.lowclassic.com/

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http://www.duitang.com/people/mblog/9707221/detail/

Ma, J. (2012) AW 13/14 Accessories: Hardware & detailing. WGSN, 09 March 2012

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http://creativeroots. org/2010/03/traditional-japanese-packaging-designs/

http://idiosyncraticfashionistas.blogspot.de/2010/01/ whats-in-bag-lady.html

Hideyuki, O. (1967) How to Wrap Five Eggs. New York: Weatherhill.

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BIBLI_ OGR_ APHY

TRADITIONAL JAPAN AND CONCEPT Allard, S. (2012) Research and Innovation in Packagng Design [online blog]. Available at: http://www.packaginguqam.blogspot.co.uk/ Bornoff, N and Freeman, M. (2002) Things Japanese. Singapore: Berkley Books PTE ltd. Curating the very best packaging design (2012) Packaging Design [online blog]. Available at: http://lovelypackage.com/ Dalby, L. (1984) All – Japan: The Catalouge of Everything Japanese. New York: William Morrow & Co. DeNaro-Bickerstaffe, D. (2012) Japanese Packaging Design. MATTERS [Online] Vol 5.4. Available at: http://www.materialconnexion.com/ Home/Matter/MatterMagazine81/PastIssues/MATTER54/JapanesePackagingDesign/ Earle, J. (2008) New Bamboo: Contemporary Japanese Masters. New Haven:Yale University Press. Ekuan, K. (1980) The Asthetic of the Japanese Lunchbo. Tokyo: Goma Shobo. Fricke, D. (1988) Packaging Design in Japan. Köln: Taschen. Gibbs, A. (2007) Packaging Design [online blog]. Available at: http:// www.thedieline.com/. Hearn, L. (2006) Glimpses of Unfamiliar Japan First Series. Carolina: BiblioBazaar Hideyuki, O. (1967) How to Wrap Five Eggs. New York: Weatherhill. Hideyuki, O. (1975) How to Wrap Five More Eggs. New York: Weatherhill. Hurliman, M and King, F. (1970) JAPAN. London: Thames & Hudson. Ikko, T and Koike, K. (1982) Japan Colour. San Francisco: Chronicle Books. Japanese food packaging by Akaoni (2012) CreativeRoots.org. Available at: http://creativeroots.org/2012/02/japanese-food-packaging-by-akaoni/

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Karren, K. (2012) Shibori Techniques. Available at: http://entwinements.com/blog-mt3/shibori/technique/ Leonard Norton, J (1968) Early Japan: Great Ages of Man. New York: Time-Life International Lin, D. (2012) Fune Sushi Takeaway. [online] available at: http://www. packagingoftheworld.com/2012/05/fune-sushi-takeaway-concept.html Macintyre, M. (1981) The Shogun Inheritance. London: William Collins Sons + Co. Ltd. Nishiyama, T. (2012) 'Tokyo Fashion Design (English Text)'. De Riguer [eBook] Vol 1: 53 – 54 Packaging Impack Design Award. (2012) Korsnas.com. Available at: http://www.korsnas.com/en/PIDA/PIDA-Gallery/2012/Winners-2012/ Pomeroy, C. (1968) Traditional Crafts of Japan. New York: Weatherhill. Ryan, A. (2012) Objects of Desire: Knotty bubbles. [online] Available at: http://styledon.com/fashion/object-of-desire/articles/object-of-desire-knotty-bubbles Sparke, P. (1987) Japanese Design. London: Swallow Publishing. Toraya – Traditional Japanese confectionery, Wagashi (2012) CreativeRoots.org. Available at: http://creativeroots.org/2010/10/toraya-traditional-japanese-confectionery-wagashi/ Traditional Japanese Packaging designs (2012) CreativeRoots. org. Available at: http://creativeroots.org/2010/03/traditional-japanese-packaging-designs/

EXHIBTIONS: 'Art of Change: New Directions from China' (2012). Haywards Gallery, London. 7 September – 9 December 2012. 'Everything Was Moving: Photography from the 60s and 70s' (2012). Barbican Art Gallery, London. 13 September 2012 - 13 January 2013 'Traditional Japan' Collection. (2012).Victoria and Albert Museum, London.

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MARKET, CONSUMER & RETAIL Advanced Style (2012) Available at: http://advancedstyle.blogspot. co.uk/ Arthur, R. (2012) SS13 Fashion Weeks: Digital Initiatives [online] WGSN, 16 October 2012 (a) Bolton, A. (2011) Alexander McQueen: Savage Beauty. New Haven: Yale University Press. Building Block (2012) http://www.building--block.com/ Charles, M. (2011) Fashion Designers Guide Book. [eBook] Page 17. Clifford, E. (2011) Consumer Attitudes Towards Luxury Brands UK [online]. Mintel, November 2011. Clifford, E. (2012) Womens Fashion Lifestyles UK [online]. Mintel, May 2012. Consumers and The Economic Outlook; Quarterly update (2012) Mintel, July 2012. Page 4. (a) Consumer Insight Report (2012) Drapers [online] Available at: http:// mediazone.brighttalk.com/comm/sitedata/c52f1bd66cc19d05628bd8bf27af3ad6/download/11587_CustomerInsightReport2012 Demographic Profiling (2012) http://www.abc1demographic.co.uk/ Drug of Choice (2012) The Avant Guard Diaries [online]. Available at: http://www.theavantgardediaries.com/en/article/246/IRIS+APFEL+%26+ARI+SETH+COHEN/Drug+of+Choice European Clothing Retailing (2012) Verdict, 17 October 2012 Fleet Ilya (2012) http://www.fleetilya.com/ Mercer, J. (2012) Clothing Retailing UK [online]. Mintel, October 2012. Old Bags' Old Bags (2010) Idiosyncratic Fashionistas, 24 January 2010. Available at: http://idiosyncraticfashionistas.blogspot.de/2009/08/oldbags-old-bags.html (a)

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Refusing to Grow Old Gracefully UK (2009) Mintel, September 2009. Richmond, A. (2011) Trendsetters UK [online]. Mintel, January 2011. (a) Sender, T. (2012) Fashion Accessories UK [online]. Mintel, October 2012. (b) Shearman, S. (2012) Facebook Study Analyses retail brands [online]. Brand Republic, 18 July 2012. Strutton, M (2011) Fashion Accessories UK [online]. Mintel, June 2011. (b) The Age of Iris (2012) Dazed and Confused Magazine, Vol. III / 15, November 2012. The Style Crone (2012) Available at: http://stylecrone.com/ What's in the Bag, Lady? (2010) Idiosyncratic Fashionistas, 17 January 2010. Available at: http://idiosyncraticfashionistas.blogspot.de/2010/01/ whats-in-bag-lady.html (b)

TREND Arpel Magazine (2012) Issue 193, September 2012 Arts Sutoria Magazine (2012) Issue 382, October 2012 Avery, K. (2012) AW 13/14: Lineapelle Leather Brands. WGSN, 16 June 2012. Avery, K. (2012) AW13/14: Lineapelle Trend Analysis. WGSN, 19 October 2012 Avery, K. (2012) Leather Treatments. WGSN, 19 October 2012 Avery, K. (2012) Lineapelle Colour Trends. WGSN, 19 October 2012 AW 13/14 Accessories trend: Radical Neutrality (2011) WGSN, 21 April 2011 (a)

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Collezioni Accessori Magazine (2012) Issue 69, September 2012 Footwear Today Magazine (2012) October 2012 Greanu, R. (2012) Poetic Brutality. WGSN 06 February 2012 (b) Heightened Nature (2011) WGSN, 16 December 2011 Ho, S. (2011) Zen Modernists. WGSN, 26 April 2011 (b) Huey, S. (2012) Living Design. WGSN, 29 February 2012 Inspiration Devoted to Colour (2012) Plent of Colour [online blog] Available at: http://plentyofcolour.com/ Leather and Materials AW13 Update (2012) Footwear Design and Trend Consultancy, Insight. Kent, England Leather International Magazine (2012) AW13/14, October 2012 Living Design (2012) WGSN Footwear, 27 April 2012 Ma, J. (2012) AW 13/14 Accessories: Hardware & detailing. WGSN, 09 March 2012 Morgan, L. (2011) Design Behind Desire. New York: Farameh Media Poetic Brutality (2012) WGSN Materials, 31 January 2012 (c) Righetto, H. (2011) Wearable Design: Fashion Connection. WGSN, 07 April 2011 Silivellas,V. (2012) 'Bags Trend Book' AW13/14 No. 27. Illes Balerears, Spain.

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APPENDIX APPENDIX ONE Focus Group

This focus group was with 7 women all over the age of 55. 1. IS THERE ANYTHING YOU THINK IS MISSING FROM BAGS ON THE MARKET? A: Too many and too much choice. Many are far too fussy but plain has to have something that stands out as tres chic B: They are often rather heavy, and while it is nice to have a roomy bag they may then be too heavy. Soft leather is nice but then does not keep its shape if overfull! You can’t win! Or can you? C: Brightly coloured linings- even ones which would illuminate the contents. luminescent mate rial D: No, just need the ones I like to be on one shelf in one place E: Once had a bag with light colour floral lining. So easy to see things! F: As a small person I can’t find a bag that is small enough to carry round without aching shoul ders but big enough to carry stuff - now including my new kindle, and although I don’t have one (yet) an Ipad. Bags that are too big mean I cannot find my lipstick/ balm, pen/pencil etc and scrabble around in the bottom. G: Ease of organisation 2. WOULD YOU PAY MORE FOR ‘MADE TO ORDER’ BAGS (SUCH AS SPECIFIC ORGANISATION/ STRAPS)? A: Probably not B: Perhaps, if the price was within my means. C: not more than £100 D: I seriously doubt I’d go over the £150 mark for made to order E: Doubtful but possible. F: That would be very appealing to me G:Yes 3. WHAT ARE THE KEY THINGS YOU LOOK FOR IN A NEW BAG? A: Size, ability to wear across the body, chic style, versatility for work, travel. Ie roomy B: Size, colour, material, preferably leather, room inside, prefer shoulder strap, but nice if it can be either. C: Lightness of material; size, colour, flexibility D: Not too many pockets but enough for security purse, diary , phone Big enough for mini brolly Shoulder strap or able to go over shoulder Squashy leather Lightweight E: I would be looking for quality and style without it being so of the moment it would look dat ed too quickly - unless I was purchasing for a specific occasion - wedding for example when the major thing that would matter would be the suitability for that occasion. F: Good leather, looks great -for me that is quite understated but with something elegant, plac es to put things, good size.

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G: Clean plain lines, easy to find and see what is in the bag

4. WHAT IS IT ABOUT YOUR FAVOURITE BAG YOU LIKE SO MUCH & WHY? A: Beautiful leather, classic simple design, roomy , long strap and arty B: I don’t have a really favourite bag at present, I am waiting for one that ticks all those box es I have answered in the previous questions, and then when I find it, yippee! C: beautiful red leather , made in Italy but i rarely use it or a 1960s black and white Mary Quant handbag of the softest leather with a soft kid lining. I bought it second hand many years later at much more than the original price. D: Fits all these belongings I keep and it has a stylish colour E: Good quality (Longchamp) other people often make favourable comments on it and it looks as good now as when I bought it. It is fairly large and I like the way you can actually open the bag sufficiently to actually see what is inside! F: Soft black leather, trimmed with tan leather, main pocket for purse, lippy, minibrush, pens etc, separate pocket full width for my slim diary, notebook, smaller zip front pocket for tick ets etc, outside back zipped pocket - full width which can take my phone or anything else. G: My best loved bags have been really easy to find purse/phone/etc and my favourite bag in the past was just a lovely colour (dark forest green) 5. DOES THE INSIDE OF YOUR BAG MATTER TO YOU AS MUCH AS THE OUTSIDE, AND WHY? A: Useful if it came with a removable insert for organising which could be transferred to other bags when in a hurry B:Yes it does. Important to have the right number of inside pockets for the essetials of life; phone, bus pass, lipstick, pen, notebook, little hair brush/ comb,diary, purse etc. C:YES YES I want a luminescent lining so i can see the contents in the dark. D: Once had a bag with light colour floral lining. So easy to se e things! E: Almost as much, I also have a preference for lighter colours for the lining. Bright lining colours would also be great - I love fuchsia for example F: The inside organisation matters a lot, but I would be seduced by what it looked like on the outside. But I am practical so would ideally like both! G:Yes, finding things and also the security. Present bag has a zipped centre (main) section under the normal flap so if in crowds I can zip all important stuff in. Multiple choice questions asked to the focus group: 6. HOW MUCH WOULD YOU SPEND ON THE PERFECT LEATHER BAG FOR YOURSELF? £100 or Less √ √ √ √ £150 - £350 √ √ √ *Nobody picked the higher price point options, showing the women do not wish to spend anymore than £350 for a bag, this is quite a bit lower than the Hearnshaw average price point, however it is

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felt that the desired consumer for Hearnshaw would look to save and spend more on fashion items as they have stronger interest in fashion.

7. WHAT WOULD MAKE YOU SPEND MORE ON A BAG? Craftsmanship √ √ √ √ Materials √ √ √ √ √ Style √ √ √ √ √ Unusual design √ √ √ √ √ Enjoyable to use √ √ √ √ √ Organisation √ √ Versatile √ Innovative 9. WHAT ARE YOUR FAVOURITE COLOURS FOR BAGS? Black √ √ √ √ √ √ Bright colours (neons, fuschia, aqua blue...) √ Pastels (soft pink, powder blue, mint green...) Deep colours (burgundy, forest greens...) √ √ √ Natural (tan, browns, nude...) √ √ √ √ √ Tonal Q9 Comments: F: I usually only have one good bag which I use to destruction. If I had more bags my colours would be the deep ones, and possibly natural (for summer?) E: I would probably only buy a very individual colour for a specific occasion - my choice would be fairly traditional if I was buying a bag for everyday use.

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APPENDIX TWO

Drapers Charts, Customer Insight Report key graphs used in text Q2d. P.11

Q3c. P.14

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Q16d. P. 67

Consumer Insight Report (2012) Drapers [online] Available at: http://mediazone.brighttalk.com/comm/sitedata/c52f1bd66cc19d05628bd8bf27af3ad6/ download/11587_CustomerInsightReport2012

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APPENDIX THREE Competitors Table

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APPENDIX FOUR Retail Environment table

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APPENDIX FIVE QUESTIONNAIRES A. RETAIL ENVIRONMENT

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• Key findings from responses: Majority do not have a favourite brand but those that do go for high end brands like Dior, Celine,Vivennne Westwood over high street

• Key findings from responses: Majority want bigger bags, more colours, tech accessories, innovation, style and practical designs, nicer quality materials.

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• Key findings: 70% said yes, 19% maybe, 11% No (unaffordable). Majority says yes, as it would mean a unique one-off design that other people wont have, and if it can be tailored to their needs.

B. CONSUMER HABITS

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Key Findings: colour, style, matches wardrobe (day bag), versatility, weight, original design, materials, hold everything(large day bags), multiple compartments, unusual and individual, practical but stylish,

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Key findings: 88% said yes, but the style and fashion is very important, and designing for lifestyle must not hinder its look, long enough straps and finding things is key. 6& maybe, 6% maybe, it’d some down to how good it looked.

C. PRODUCT DESIGN

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key findings: Big – carries everything, holds laptop/books, colour, real leather, enough pockets, matches everything, practical, versatile, hard wearing, nice key details, light weight, long strap, conceals valuable items (like tablet), comfortable straps

Key findings: majority agreed but it is no as important as the outside, but it does complete a bag for it to be nice inside too. Keys things they like: durable lining, enough pockets for everything, completes the look, made so things wont break or get dirty, nice to look at, functioanlity is key inside, must compliment the exterior, adds value to the bag

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key findings: Interested but information is not available when shopping, would not sell the bag but nice to know, second to practicality, only if the design is interesting, adds more depth and value. 40% said yes, 31% np, 22% maybe, its split overall. Not important to the bag, but is an additional interest.

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DECEMBER 2012

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Un-Wrap Concept Development  

Exploring traditional Japanese packaging in relation to accessories design and fashion

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