Concept Report and Business Plan for DT Brand

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DOMINIQUE KATINA ANNE TAYLOR TAY10285934 BA (HONS) FASHION DESIGN & DEVELOPMENT CONCEPT DEVELOPMENT 4,382 WORDS

CONTENTS Executive Summary Page 1 1.o Concept Pages 3-4 1.1 Concept Introduction Page 3 1.2 Concept Explanation Page 4 2.0 Brand Pages 5-6

2.1 Brand Unique Seling Point Page 5 2.2 Brand Ethos Page 6 3.0 Consumer Pages 7-14 3.1 Consumer Understanding Page 9 3.2 Consumer Street Survey Page 10 3.3 Domestic Consumer Page 11 3.4 Middle Eastern Consumer Page 12 3.5 Asian Consumer Page 13 3.6 Consumer Demands Page 14 4.0 Market Pages 15-25 4.1 Market Position Pages 15-17 4.2 Direct Competitors Page 18

4.3 Competitors Pricing & Range structure Pages 19-20 4.4 Competitors Shop Comparison Pages 21-22 4.5 SWOT analysis Pages 23-24 4.6 PEST analysis Page 25

5.0 Price Strategy Pages 26-28 5.1 Price Architecture Page 26 5.2 Pricing Chart Page 27 5.3 Range Architecture Page 28 6.0 Experimental Line Up

Pages 29-30

7.o Concept Pages 31-33 7.1 Supply Chain Logistics Page 31-32 7.2 Supply Chain Diagram Page 33 8.0 Launching Pages 34-36 8.1 Positioning Page 34 8.2 Online e-tail Pages 35-36 9.0 Conclusion Page 37- 38 BIBLIOGRAPHY Page 39-41 Image Referencing Page 42 Appendix Page 43 Onwards

EXECUTIVE SUMMARY With the onset of the double dip recession in 2012, future forecasting has created a defensive mindset in the general populace. An overview of the Mintel report, Lifestyles of the Ultra-affluent and HNWIs describes that adults have been more cautious with their spending and investments. Despite this “57% of ultra-affluent and HNWIs indicate that their spending habits have not changed compared with the year before, whilst only 12% have been spending more, and nearly twice as many (23%) have been spending less.� (Lifestyles of the Ultra-affluent and HNWIs. 2012) It is these Ultra-affluent and HNWIs consumers that have the most potential to provide a boost to the UK economy. The values and expectations of these consumers, however, are showing signs of shifting toward quality rather than quantity. The mission of this report is to prove the brand concept can redefine consumer attitudes as well as brand attitudes in the luxury market towards consumption.

By positioning a new brand in the luxury market segment, it will be drawing upon the consumers that have a more considered view of their investments into fashion. It will offer a premium luxury range that complies with the lifestyles of these consumers, and cuts down on consumption. At the heart of the brand is the consumers desire for luxury goods that eliminate substantial waste and are developed as a collection that is built upon and treasured as an investment for life.

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Shoppers are beginning to lose their appetite for cheap, throwaway clothing and more are turning towards high quality, investment pieces that will last.

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WGSN (October 2011) British Lifestyles 2011

fig:1 Drapers, 2012

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1.0 CONCEPT

1.1 CONCEPT introduction

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Consumer behaviour studies are showing that consumers with high purchasing power generate a lot of revenue within the luxury clothing market, with superior quality materials, craftsmanship and the buying into investment pieces being the key allure.

“ 32.6 million adults in the UK, deem supe-” rior quality and craftsmanship as the defining elements of luxury brands. (Meadows,

2009:71)

Identified by the retail questionnaires conducted, the affluent consumer need the garments to not only be of a superior quality but have durability and high design standards. There is a greater need for the customer to feel satisfied with the product before parting with their money, with a strong pursuit towards products that have a unique element and versatility in their function.

This report will show through findings of both quantitative and qualitative research that the concept brand’s collection not only has a place on the fashion market, but is one based on need and desirability.

1.2 CONCEPT explanation The collection is based on research into shadow art, the juxtaposition that an array of objects and matter can be represented in clear monochromatic forms of silhouette outlines, perspective and lighting. The collection is also based strongly on a need for luxury clothing that is versatile and a long term investment. The lifestyle of the UltraAffluent Female, as well as the desire to cut down on waste and make a collection that was sustainable in terms of less consumption and multi function garments, is what gave birth to the ideas behind the design elements and details of the collection.

The designs will feature a modular construction that allows for flexible, fashionable outfits from fewer garments for increased lifestyle scenarios. The garments will have hidden fastenings that allow for the outfit to be constructed by the consumer, a concept titled ‘build your own wardrobe’, providing various options per item bought. The mood of the ‘Core’ collection is minimal, clean aesthetics with innovative approaches to construction and fabrication. This seasons trend collection ‘Chiaroscuro’ will be designed to be more elaborate, targeting the Asian and Middle Eastern consumer and being pieces that are designed to accompany, attach and detach from the ‘Core’ collection and add value to the wardrobe. It is the interconnectivity of the designs that will be the Unique Selling Point of the brand.

in design and inno- ” “ Investment vation is vital to retailers. with continuing market inflation, it is fundimental that an upcoming brand can distinguish itself as unique to sustain growth within the industry. (Nodder, 2012:10)

Mintel (2012) report states that the demographic of “[35-44s ultra-affluent and HNWIs] are keen buyers of luxury goods and have greater disposable income to make high end purchases... coupled with high brand loyalty, this finding provides great opportunities for brands to establish go-to products and experiences, to capture this lucrative segment.” (Lifestyles of the Ultra-affluent and HNWIs, 2012:6) With this knowledge and ensuring that all development is made with awareness of the brand ethos, mission and economic factors accounted for, creating a brand with a USP that fills a gap in the market should ensure the brands survival and success.

fig:2 Eerdekens

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The Dominique Taylor collection will debut with two collections released simultaneously. The ‘Core’ collection of tailored staple pieces and the seasonal trend collection, of which the first is called ‘Chiaroscuro’ which this season focuses on the laser cutting trend. Each season a new trend led collection uniquely titled will be released. The two collections will be interchangeable and have features that allow them to multi function.

To create a true and loyal following of the brand, Dominique Taylor will be offering alterations, tailoring and size modification options online and in-store. Data in the mintel report for clothing size shows “Non standard-sized consumers are some of the least likely to shop at high street retailers, thus the internet is allowing niche retailers of non standard clothing to establish themselves within the market.” (Mintel, 2012:5) Added to this the fact that “enjoyment of the shopping experience and expenditure are intrinsically linked” (Mintel, 2012:15), meaning that a well thought out, planned and developed concepts to enhance the fun factor, and minimize sizing issues of the in-store retail environment will lead to brand loyalty as well as word of mouth sales.

Brand Loyalty

2.0 BRAND

2.1 BRAND unique selling point

2.2 BRAND ethos Consumers would pay more for: 18%

According to shop questionnaires the luxury consumer shows little to no interest in ethical, vegan and fair trade fashion. Nevertheless, 77% of consumers are interested in environmental sustainability when dealing with lifestyle choices (Fig.2). Despite the conscious theme of sustainability, consumers are not willing to compromise buying habits for fashion. The collection that Dominique Taylor is proposing will be offering a low maintenance, low consumption idea that is not yet seen in the luxury segment or fashion market at large. The proposed ‘Core’ collection will have an estimated 15 looks that are versatile and interactive while also having the trend collection ‘Chiaroscuro’ that compliments and enhances the aesthetic of the brand.

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42%

5%

20% 16%

The British clothing and textiles sector currently produces around 3.1 million tonnes of CO2, two million tonnes of waste and 70 million tonnes of waste water per year- with 1.5 million tonnes yearly of unwanted clothing and textiles ultimately ending up in landfill. (Minney, 2011: 20)

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By having the core collection permanently as the staple pieces, it cuts down on a drastic amount of waste that would normally occur with seasonal collections. The luxury consumer then has the choice of their level of consumption, as well as being involved with a more sustainable fashion option and will be investing in pieces that will be lifelong items in their wardrobe.

fig:3 Survey Results

Sustainability

Interest In

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3.0 CONSUMER

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3.0 CONSUMER 9

3.1 CONSUMER understanding

fig:4, Drapers, 2012

43%

British

30%

Middle Eastern

27% Asian

In a constantly evolving world, where definitions of fashion, identity and belief are expanding and transforming, it is essential to know the customer and understand how to create a product that the cliental can identify with. “Brand identity must be ingrained in the entire production process, from initial design to shop-floor delivery to meet the ever-demanding expectations of luxury consumer.” (McKee, 2012: 30) Consumer understanding and research, therefore, is fundamental to the shaping of the Dominique Taylor brand. To know the luxury consumer, a street survey was conducted of 29 female luxury consumers and 1 male. A questionnaire was also conducted into 37 luxury brands, department store concessions and boutiques. These were targeted at potential customers and competitors and as a result key findings and common threads emerged. The most important finding is that there are three target consumers that will be interested in the concept brand’s ideas and designs.

The Domestic Consumer The Middle Eastern Consumer and The Asian Consumer

3.2 CONSUMER street survey results DOMINIQUE TA

YLOR

DEMOGRAPHIC Job Title:

CONSUMER QU

DATE

ESTIONNAIRE

LOCATION

32% Creative, 26% fashion industr y, 23% Corpora te and Charity, 19% housewife/une 50% Married, mployed 40% single, 10% partner

Status: Residence:

43% West London , 17% London/Ov erseas,

Dependence?

Where do you sho

p?

Favorite brands?

Do you have bra

nd loyalty?

19% Sch edu led / 22% Sea son ally / 30% Imp uls ive / 15% Bar gai n Hun t / 15% For Tre 38% Dep art me nd nt sto res / 16% On line / 26% Bou tiqu e / 20% All Lux ury Bra nds cur ren tly in the me dia eye 77% Yes , 23% No

closet as an invest

ment?

Are you Interested

17% North London , 13%

Overseas, 10% eas 45% None, 17% t london 1 child, 17% 2 children, 10% Pet only, 3% 3, 4 and 5 childre n each

BUYING HABIT S How do you sho p?

Do you see your

in sustainability?

73% Yes , 27% No

40% Yes , 23% No, 37% In one asp ect of life (at hom e and with 18% Eco -frie ndl foo d) y, 20% Fai r Tra de, 16% Org ani c, 5% Veg an, How often do you 42% No ne of recycle your closet the opt ion s ?

39% Do n’t kno w, 32% Nev er, 16% bor ed of How do you discov clo thin g, 13% er trends?

1ce a Yea r 49% Ma gaz ine s, 16% stre et sty le, 13% Fas Who in the public hio n sho w, 23% eye do you adm Oth er ire most?

63% Ind ust ry pro fes sio nal s, 25% fam ily Me 2% pol itic al figu mb er, 8% cha rity figu re, re

Would you pay mo

re for:

What would you

COMMENTS

change about fas

hion?

32% Elim ina te wa ste , Slo w it dow n. 19% Uni que ,lux ury , cou tec hni que s 16% ture Not hin g, 13% Ma ke it mo re acc sea son s, 10% ess ible , 10% Ge Lab our law s acr t rid of oss wor ld

The que stio nna ire has pro ven val uab le in info rma tion pro vid ed, par ticu larl y eth ica l fas hio n for ins igh t into top ics, cur ren t sho ppi ng hab its, ind ust ry ins igh t and phi los oph opi nio ns on con sum er is bet y of lux ury pur ter ana lyse d with cha ses . The Dem the use of the ogr aph ics of the sto re que stio nna lux ury ire.

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DOMESTIC

3.3 consumer

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“Regular clients that live in the area, Profesionals, looking for stylish staples” Matches, Westbourne Grove, Notting Hill.

Invests in her wardrobe, recycles and is aware of ecological issues facing the world.

Endeavors to change the amount of waste produced by the fashion industry and to slow fashion down.

“Have a greater spending potential than their younger counterparts” Mintel 2012:3 Sesonal boutique shops, aversitility, fearsly loyal Working to get to the top of the career ladder.

45+, Married, West London, has a child and a pet.

Sustainability is important at home.

Will not pay more for ethical fashion

Magazines and street style inspire the trends Cautious about frivilous spending but fashion is priority.

Competition between women for luxury goods Travel for shopping, shopping when travelling.

35+, Married, Multiple dependents.

Lives between London and the Middle East.

Chooses not to work.

Desire for luxury overrides ethical boundries.

No desire to change the world of fashion

Life revolves around family and community.

McQueen, Selfridges, Mayfair

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Tom Ford, Harrods

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Strives to be constantly immaculate, looks for the extravagant and identifiable.

3.3 consumer

“The rich ones have homes in London, but live in another country, they don’t have jobs but I wouldn’t say they were housewives either. They just live a luxurious life style and do

not need to work or worry about funds.”

MIDDLE EASTERN

Chooses to shop in department stores for prestige and convenience

Wears a larger size than the UK standard

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ASIAN

3.3 consumer

A desire to make fashion more unique Strive for success in business Honour family No brand loyalty Likes street cred Colour and unconventional style No Age Specification Student or Management No dependents Shop impulsively, online, in-store, everywhere Wears a petite sixe in comparisson to UK standard

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Sustainability is not of great concern, definitely not in fashion

“Asians are really funky, they want unique items.”

Looking for the art based pieces of fashion

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Balmain, Harrods, Knightsbridge

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“They are usually from China or East Asia, Females over the age of 20 with no cut off limit, they are elegant and smart” Yves Saint Laurent, Bond Street, Mayfair

3.1 CONSUMER demands The dynamic structure of the collection enables it to reach a broad audience, deifying pre-catagorised demographics such as age. Be that as it may the design process of the Dominique Taylor brand has been actualised in conjunction with the intent to satisfy the three target consumers, previously listed.The consumer surveys (see appendix page: ) identified that the target audience is most likely to shop in department stores and boutiques, where shopping would offer the most variety and convenience. For this reason the majority of shop questionnaires (see appendix) were conducted in just such locations. The data analyzed revealed that most consumers discover trends through print media such as magazines.

The majority of luxury consumers also stated that given the chance to change anything in the fashion industry it would be to cut down on waste and slow down new trends emerging.

These consumers will approach the label in different ways and for different needs to be met. Whether the consumer is interested in the sustainable factor, the trendsetting fashion or the innovative design the target groups transcend boundaries of age, location and ideals, they are grouped instead by the research done into the luxury lifestyle and their desire for quality and unique fashion. “Luxury consumers are keen to find novelty. They’re paying more attention to their spend, to differentiation and distinction” (Sole, Drapers, 2012: 32) The store manager of Yves Saint Laurent stated “The consumer wants something extraordinary and can’t find it. Fashion has been looking the same for the past 5 years and they are hungry for a change for an evolution of the look.” Yves Saint Laurent, Bond Street, Mayfair. Added to this evidence of what the luxury consumer is looking to gain from fashion is the fact that the AB consumer in the UK is “inclined to prefer good-quality clothing that they can wear for several seasons and opt to invest in fewer items of superior-quality clothing” (Mintel 2012:4) This information is backed up by the evidence collected in the survey that the consumer sees their fashion purchases as investments.

The following pages will therefore demonstrate how the concept brand will provide a unique and novel fashion concept for the luxury market.

consumers discover trends by: 7%

15%

7% 7%

16%

49%

consumers would change fashion by: 10% 16% 10%

13% 32% 19%

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4.0 MARKET

4.1 MARKET position

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The proposed market level will be the luxury sector, this is supported by various findings in the report so far and as reports such as Mintel and Drapers Magazine suggest the AB Woman and the Luxury consumer are spending less on fast fashion and are more likely to spend more money on quality over quantity. Mintels Consumer attitudes towards Luxury brands report informs the reader that “there is a sizable opportunity for more premium fashion outlets to grab a slice of this expanding- and still relatively untapped -market of mature and non-standard size fashion retail.” (Mintel, 2012:8) Through the analysis of the competitive luxury market, it is clear that whist many brands offer a collection that looks at the desires of the consumer in terms of trend and style (such as Tom Ford, Haider Ackermann and Yves Saint Laurent) and other brands offer the consumer options of non conformity and ethical garments (such as Stella McCartney, Yoji Yamomoto and Maison Martin Mergella) there are none that offer the concept of ‘build your own wardrobe’ that Dominique Taylor is proposing.

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Much of what influences the value of a brand lies in the hads of its competitors.

(Sherrington, 2003:70)

Whilst Stella McCarney has monopolised on the vegan fashion that is ethical in the luxury sector and Yoji Yamomoto offers the western consumer a view into Asian perceptions and practicality of functional luxury wear, Dominique Taylor views Haider Ackermann as both inspirational and the best representation of direct competition.

HighEndLuxury

LowEndLuxury

The Haider Arckermann concession sales assistant at Dover Street market explains how “Haider Ackermann’s pieces incorporate both high fashion and street-wear, feature couture details rendered in materials like jersey and leather. They are impeccably tailored and fastidiously constructed but also romantic and sensual.” (DSM, 2012) They utilise high quality fabrics as well as having a sense of multi function. The aspirations of the concept brand Dominique Taylor is to give poise and self-confidence to the women wearing the garments. Garments that allow them to feel empowered as well as feminine and elegant. Achieved by offering well designed products that consumers appreciate.

MidMarket

MainstreamHighstreet

By developing this brand within the luxury sector, it will stand out amongst the competitors by providing functional, good quality clothing with well sourced fabrics as well as fashionable and innovative designs. The luxury consumer will be more inclined to purchase a product that has longevity, that is made of premium quality fabrics. Designing a collection that is marketed as a multi functional collection to withstand years of trend and fast fashion evolution, will mean the perceived value will increase, as will the desirability.

Market Positioning And Retail Positioning Diagram

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MARKET position axis

4.0 MARKET

Price: High

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The market positioning axis shows where the concept brand Dominique Taylor would be positioned amongst the top end of the luxury sector and the indirect high street competitors that are used by consumers for fast fashion and staples. All price points are based on analysis of each brands women’s white shirt (staple item).

Design: Experimental Design: Classic

Price : Low

fig: 5 Market axis

4.2 DIRECT competitors

lity

classic

trend setter

The direct competitors were chosen because of a criteria set out by the designer that included design elements, finishings and fabric choice. Attempting to launch an innovative design brand it would have been simple to look at Japanese designers in the UK for their market strategies, however, Dominique Taylor felt that Yves Saint Laurent, Tom Ford, Haider Ackermann and Stella McCartney were a better reflection of the concept brand being developed. They share a good understanding of western culture, the allure of elegance combined with detailed design elements that keep the collections interesting and have the skills of good tailoring and fit.Â

rsiti

ve low

low

ility ersit v h g

pric epo

int

hi

hig

hp

fig: 6 Competitors axis

rice

poi

nt

The graph highlights the four direct competitors to the concept brand and their positioning of price, design and versatility. Each axis highlights the degree in which the brand utilises these factors when showing a collection and when it is being marketed and sold. (Versatility based on runway looks)Â

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Right are the percentages of units in the range structure of the competitors collections, collectively.

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Further analysis of the direct competitors, reflects the diverse pricing and range structure of their products. The graphs give good insight into how the concept brand’s pricing might look as well as the units per product manufacture.Â

fig: 8 units

fig: 7 Competitors pricing

4% Jumpsuits

4.0 MARKET

4.3 COMPETITOR pricing & range structure

27% Tops

21% Dresses

19% Outerwear 18%Trousers 11% Skirts

fig: 9 Price bracketing table

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4.0 MARKET

4.4 COMPETITOR shop comparison

Promotion:

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Design:

Product:

Androgynous, Tailored to Per- Womenswear Ready-to-Wear fection, Avant-garde, Edgy, Single Menswear Ready-toMaster of colour, drapping Wear and tailoring

Versitile, Demi-couture, Avant-garde, Elegant

Status:

Price:

Place:

Sells at Dover Street Market, Entry level price: £300 wool Harvey Nichols, Saks Fifth skirt Avenue, Seven New York, Exit level price: £3,665 Excelsior Milano, China World leather jacket Mall

Selfridges: Younger and more Womenswear Ready-to-Wear Entry level price: £120 laserhip than Harrods cut accessory Dover Street Market: AvantExit level price: £4,050 garde and more ‘in-the-know’ cashmere coat consumers

Celebrity : Endorsement

Shows in: Owned by:

Up and coming

Tilda Swindon: Labbeled as fashion forward, a risk taker, androgynous dresser

Paris Fashion Week

Being established

Daphne Guiness: Takes risks and likes to be the centre of attention, is emotive and sensual.

London Fashion Week

BVBA “32”

Privately Owned

Promotion: Print Media, Website, Celebrity endorsement, Word of mouth

Print Media, Website, Social Networking, Advertising Word of mouth

Design:

Sensual, Feminine, Tailored, Clean, sophisticated, “uberluxury”

Red Craper, Power Commercial Success, Vedressing, French high gan, Feminine, Tailored, society, Elegance, ClasBritish sic

Product:

Womenswear RTW, Menswear RTW Frangrance, Beauty, Eyewear

Womenswear RTW Womenswear Resort Beauty, Fragrance, Eyewear, Lingerie

Womenswear RTW, Womenswear Resort, Childrenswear, Collaborations, Fragrance, Eyewear, Beauty Lingerie

Entry level price: £249 scarf Exit level price: £4,329 cape dress

Entry level price: £146 ring Exit level price: £4,879 silk dress

Entry level price: £104 beanie Exit level price: £3,760 lace top

Price: Place: Promotion: Status: Celebrity : Endorsement

Tom Ford, New York Yves Saint Laurent, Harrods Bond street, Harrods, Selfridges (menswear) Selfridges, On-line retail, Bergdorf Goodman Flagship stores in 6 Las Vegas: said to be the countries best store interior 2012 Risque Advertising campaigns, Print Media, Inhouse lookbook, Advertising campaigns, Website, Social Network, Celebrity endorsements, Print Media, Website Word of mouth

Established, House hold name,

Critics’ favorite, Established.

Stella McCartney, 60 Cuntries, 4 flagships, on-line, Harvey Nichols, Seldfridges, Harrods, Liberty Print Media, Advertising, Instore lookbook, Website, Celebrity Endorsements, Ethical Forums

Market analysis of these competitors and Haider Ackermanns brand clearly outlines the reasons for which these companies have all been successful. Whether just starting out or being established there is a place in the market for forward thinking fashion that has a USP .

Celebrity endourcements are beneficial to the success of the brand as are the use of social media and instore look books, however they are not vital.

Established, Top of the ladder in Vegan Fashion

Kate Moss, Kate Hudson, Gweyneth Cathrine Deneuve, Chloe Natalie Portman: Young Paltrow: Elegant yet Hip, Sevigny: classic beaumothers with a conboth mothers. ties, have natural style science

Shows in:

London Fashion Week

Paris Fashion Week

Paris Fashion Week

Owned by:

Privately Owned

Gucci Group/PPR

Gucci Group/PPR

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4.5 SWOT analysis 23

Growing consumer awareness of ethical considerations and how people are treated in supply chains.

Consumers have been educated about the treatment of workers Longevity of sustainable and fair trade fashion There are intangible benefits attached to being a ‘sustainable’ brand Prices of goods may rise and affect sales, sales may be encouraged by the brand being sustainable Access to target market through internet Select merchandise designed for the consumer and their needs Creative design ideas and concepts Offering free body scanning in via webcams around the world linked with online advice about style and fit.

Collaborations with designers and celebrities is possible High Trend and needs awareness Garment price matches the quality Garment quality matches price

S W

Most merchandise targets a very specific demographic of female clientele Other labels (competitors) are highly successful brands with established brand identity Not enough marketing and or word of mouth advertising.

Ethical merchandise is often more expensive and does not look as aesthetically pleasing as genuine leathers and furs.

Little to no face time with actual consumer online Little to no add campaigns Ethical Fashion could be a fad trend, soon to loose its popularity and standing in the community Less profit and shareholder dividends if merchandise is not sold.

To be truly sustainable consumers need to consume less.

If consumers start buying less company profits will be affected.

O T

Introduction of concession stores world wide or in select countries where the brand is selling particularly well.

Improve website for simple transaction process Possible to open a flagship store if brand does well and has a good profit.

Potential for further globalisation of brand Collaborations with new up and coming artists and environmentalists is a possibility for the future Developing new services and products continuously that add value to the original staple pieces.

Potential to franchise the brand Consumers are becoming increasingly aware of the ethical issues but the market lacks ethical ranges that are in the luxury market.

Sustainable brand values can be promoted by the retailer to add value to the products they are selling Ethical and sustainable fashion has traditionally held less fashionability than mainstream fashion ranges. This brand will not make this mistake.

Fast Fashion does not make ethical ranges that are stylish and sustainable.

Recession adding need to fashion that previously was not necessary.

Lead times will vary and be delayed, more so than fast fashion Brand loyalty is sporadic, consumers will go to fast fashion for trend if it isn’t available Ethical could be a trend that is discarded in the future.

Companies who have invested in an ethical supply chain could lose out financially.

Consumers are influenced by trends and expect constant awareness in stores.

Less new products arriving in store due to less need when looking at sustainability.

Competition from other cheaper stores Competition from other luxury brands that do and do not do sustainable fashion Technology to make ethical fashion as luxurious as non ethical fashion not being available.

More online stores entering the workplace.

Being a global retailer could mean being exposed to political problems in the countries that you operate in.

Potential for copy cat brands.

Recession making people more wary about what they spend their money on.

A SWOT analysis is the Strengths Weaknesses, Opportunities and Threats that the Micro market (the concept brand) faces.

fig: 10 Photo/illustration

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4.6 PEST analysis 25

Fashion Trends Fast fashion turnaround Brand Loyalty Mouth to Mouth marketing Demographics and population growth Ageing population/age profile Lifestyle Changes Lower spendable income Work/Career attitudes, entrepreneurial spirit Education Income distribution Living conditions Social concerns such as environmental issues. Health consciousness, welfare

Tax policies Political stability Competition regulation Consumer protection Environmental regulations International trade regulations Employment laws Regulation/ De-regulation trends Social employment legislation Government grants and fiscal incentives Free Internship laws changing

P

S

E

Economic growth due to current popularity Credit crunch Consumer budget Consumer confidence Import Export Taxes of shipping goods High profit margin from production costs Government spending decrease for arts Exchange rates Inflation Rates Business cycle change Unemployment, labour supply, labour costs Globalisation Likely economic change after recession

T

fig: 10 Macro Market

New technological fabrics Impact of emerging technologies Industry focus on technology Technology that helps sustainability New inventions and development Rate of development Life cycle of technology Energy use and cost Changes in IT, Internet, Mobile usage: Reduced communication costs Trend based technology Global distribution systems

A PEST analysis is the Strengths Weaknesses, Opportunities and Threats that the Macro market (the competitor) faces.

Due to the luxury consumers expectations of premium fabrics and expensive taste, the collection will be made using the finest cashmere from Italy, and highest quality silk from India. Doing this will inevitably drive prices of sourcing and production up as in all areas of the process the upmost quality is required. The client has been identified as one that is prepared to pay for these services and in accordance pay a premium for the product they are purchasing. In the longterm profits of the business should reflect this.

Taking into account the mix of the three consumers that are targeted by Dominique Taylor, the collection will be composed of a full product selection, offering the staple pieces in the ‘Core’ collection at luxury entry level prices alongside the selection of trend led pieces in the ‘Chiaroscuro’ collection at a higher premium price point. The collection will be intended to be worn as a mixture of core and trend with the use of layering, attaching and detaching via use of various fastening and magnets.

Cost price of a garment is determined by the following:

Fabric + Trims + Production in Factory + Shipping + Import Taxes = Cost Price Wholesale prices are the prices sold to retailers. They have a smaller mark up as the store will also add a mark up to cover and make profit from the final price. When products are sold in a flagship store owned by the brand, the mark up price would be higher to cover the store costs.

Online there are less overheads to cover so whilst markup will be the same (prices are the same online as they are in store) profit for the markup margin should be larger.

Postal delivery costs must be taken into account with online pricing.

5.0 Price strategy

5.1 PRICE architecture

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5.0 Price strategy 27

5.2 Price bracketing chart To the Left is a rough overview of the pricing architecture. It show the range of price in each sector for both the ‘Core’ and ‘Chiaroscuro’ Collections. The prices will be revised throughout the costing and manufacture process as fabric choices, trims, fastenings, innovation and processes as well as unforeseen oversights may occur to drive up cost price.

Shipping, sourcing and further processes will also affect the price architecture of the range.

Core Collection Chiaroscuro Collection

5.3 RANGE architecture

Product Units

By looking at the three competitors collections in terms of price architecture and range makeup, the Dominique Taylor brand was able to predict the needs and expectations of the luxury consumer in regards to new season collection unit numbers per product. These predictions will be particularly helpful when creating the trend pieces each season and will help eliminate waste, and cost through out the supply chain, especially of holding, shipping and exporting excess stock.Â

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6.0 DOMINIQUE taylor experimental line up

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7.0 SUPPLY

7.1 Supply chain logistics

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The supply chain and logistics management for any company is critical for success. Logistics is concerned with the management of the physical flow, begining with the sources of supply and ending at the point of consumption. For the Dominique Taylor brand it is essential to have the supply chain as well as logistics managed well in both time and monetary terms. As the fabrics and materials are being sourced from various locations, the time management and reliability of all parties involved is crucial. There must be time allowance for unpredicted issues arising along the supply chain. Failure to coordinate any of these activities is certain to upset the equilibrium of forces which means efficient distribution.

“ The right product in the right place at the” right time, at the least cost. Is precisely the objective of logistics management (Christo-

pher, 1986:4)

Premium quality fabrics will be sourced especially with reputable companies manufacturing these fabrics. The cashmere and wool fabrics will be sourced from Italy where the mill is located, the manufacturors name is Duca di Valtorota Cashmere, and the Silk, Silk blend and Leather fabrics will be sourced in India by Jaypore Prints and Fabrics. Contact has been made with these two textile manufacturing companies and samples have been requested but not yet received. Attendance at Premier Vision and trade shows such as the London Textile Fair will also help in sourcing additional fabrics. (it is possible to order directly from the mill or the companies UK agent at the trade show and order for initial sampling.)

Sampling and toiling will be done alongside the design process, right up until all designs have been decided upon and flat patterns are ready to be passed along to the factory together with all specification sheets.

Manufacturing overseas in India will be considerably cheaper than in the EU or the UK and will be beneficial in terms of delivery of the fabric that is sourced there, in India. The fabric that is sourced elsewhere will be sent by courier to the factory directly, as will the CAD designs and flat patterns. The concern for manufacturing overseas is the shipping, longer lead times and the consumers interest in location of manufacture. Cost will vary depending on the quantity of garments produced, the design, specific finishings and whether or not it has to have elements completed at a different location, such as laser cutting. All of this will vary depending on style and product type. Design and manufacture are not the only costs that brands established and new will have to take into account when doing costing. Not to be overlooked are the total distribution cost which are worked out with this formula:

TDC=TC+FC+CC+IC+HC+PC+MC TDC TC FC CC IC HC PC MC

= = = = = = = =

Total distribution costs Transport costs Facilities costs (depots, warehouses etc.)

Communications costs (order processing invoicing etc) Inventory cost Material handling costs  Protective packing costs Distribution management costs

32

7.2 Supply chain diagram

7.0 SUPPLY

DESIGNDEVELOPMENT

33

PLANANDDESIGNRANGE

•Inspiration •Colour Scheme •Silhouette •Fabric and Material Sourcing •Trend Forecasting •Market Analysis SPECIFICATIONS

COSTING

PATTERNGRADING

•Design •Laser-cutting •Printing •Fastenings

INHOUSESAMPLING •Flat Patterns •Fit •Sew •Exterior manipulations •Cut •Press •Amendments

placeordersfor: •Fabric •Fastenings •Packaging •Swing tags and labels SHIPPING

PRODUCTION

•Cashmere from Italy •Fastenings from China •Suiting fabric and Silk in India

•Sampling •Quality control •(Laser cutting in house •Printing in house)

FINALPRODUCT •Labels •Tags

SHIPPING •Received in UK

DISTRIBUTION •To Warehouse for online sales •To Department stores

fig: 11 Supply Chain diagram

The ideal positioning for this product would be to launch it in department stores foremost, meaning wholesale capacity. By selling it in department stores and boutiques initially it will sit amongst other brands with similar aesthetics and price points, this will be a good chance to evaluate the brands potential and further investigation in to the target consumer. The brand would simultaneously be launched online thus establishing the brand’s presence in the market. Following the success of both department stores and online sales a flagship store will open on the prestigious and less tourist ridden Conduit street in Mayfair.Â

fig: 12 Drapers, 2012

8.0 LAUNCHING

8.1 Positioning

34

8.0 LAUNCHING 35

8.2 Online e-tail

Marketing the new brand is crucial to its success and to establish as much exposure as possible. The brand identity and ‘build your own wardrobe’ concept depends on the effectiveness of the variety of channels utilised for marketing. The website is an essential part of this process.

Over the next four years Mintel forecasts that “the online fashion market will grow 86%” (Mintel, 2012:2)

fig: 13 Drapers, 2012

Online promotion is key “the internet and social media in particular, are crucial to the growth of the luxury sector” (Santi, 2012: 27). Online sales are now the fastest growing area of 56% of business in the luxury sector and claim that 33% of their total sales come from online purchases.

Drapers also states that according to their luxury report “any reservations that luxury brands had about selling their collections online have disappeared” (Drapers, 2012: 28) However, few luxury brands have a truly well thought out and working website that is clear and concise for the consumer to make online purchases through. Uche Okonkwo reveals that “An industry that is known for creativity and avant-gardism, it remains a surprise that luxury is playing catch up to the rest of the world in embracing the e-culture and adopting digital technology.” (Okonkwo, 2010 :26) In light of the information afore mentioned, it is imperative to have a clean, minimalistic website that offers the customer a highly visual experience.

It would provide detailed production and company information (ethos, mission statements and manufacturing processes), contact details for the brand and its stock-list, as well as being highly informative about the ‘build your own wardrobe’ concept surrounding the ‘Core collection’ and ‘Chiaroscuro’ collection.

It is imperative that the website serve as a way for the consumer to interact with the brand and focus on drawing in the consumer for a well rounded shopping experience as close to the in-store experience as possible.

The option of ‘click and collect’, where the consumer can choose, reserve or pay for an item online and then come in to the store to retrieve their purchase allows for the experience to both be a more pleasant one but also prolongs the interaction with the consumer, developing into a relationship and building a loyal platform. There will also be an online purchase and delivery service offered and in this case the website will offer a simple, seamless checkout, with a one-click-purchase system.

The online website will also utilise innovative technology, for the convenience and experience of the consumer. As Mintel has shown us the majority of women find it more important to dress in a way “which suits their figure, than to follow the latest trends... there is scope for more retailers to help women find the right fit, and here, in store body scanning technology can pay a key role.” (Mintel, 2012: 2) Individual profiles or ‘on-line passports’ can be created by the consumer using their home computer’s webcam, this revolutionary technology was created

by Berlin based company Upcload and has the ability to measure the body and allow consumers to decipher which garments will fit them before committing to purchase. Dominique Taylor can then tailor recommendations to each individual consumer, offer a garment alteration program and with the use of photos and videos enhance the online experience.

fig: 13 Drapers, 2012

36

9.0 Conclusion 37

Dominique Taylor sees itself as a long term venture that will become a ‘go-to’ brand for new trends and wardrobe staples to build upon. As a brand, the objective is to make a difference in the way the populace think about consumption and fast fashion. As a company, Dominique Taylor is determined to provide the luxury consumer with a viable alternative to mass consumption.

The first collection aims to engage the consumer, developing a relationship and loyalty between the customer and product. The dynamic collections are intended for longevity, as investment pieces that express the consumers personality by their own ability to ‘build a wardrobe’.

Dominique Taylor is a luxury fashion brand founded on innovation, creativity in design, and a desire to make a difference in the broad fashion market. The continued development in materials and fashion trends ensures that Dominique Taylor will meet an ongoing need for forward fashion seeking individuals.

fig: 14 Vest manipulation

38

Books

Aslanbeigui, N. Pressman, S. & Summerfield, G. (1994) Women in the Age of Economic Transformation.

London: Routledge Benaim, L. (2001) Pants A History Afoot. Paris: Vilo Publishing

Bibliography

Christopher, M (1986) The Strategy of Distribution Management. 9th ed. Oxford: Butterworth-Heinemann Ltd

39

Conlon, J. (2001) Fine Embelishment Techniques. Newtown: The Taunton Press Grafton, C (1982) Authentic Victorian Stencil Designs. New York: Dover Publications

Exhibitions

‘Ballgowns British Glamour Since 1950’ Victoria & Albert Museum, London. 19 May 2012- 6 January 2013 ‘Nihilistic Optimistic’. Blain|Southern, Hanover Street, London, UK. 2012 Visited October 2012 ‘The arts and crafts movement.’ Victoria & Albert Museum, London. Permanent exhibition. Visited October 2012.

‘The power of making’ (2011). Victoria & Albert Museum, London. 6 September 2011 – 2 January 2012

Magazines

Meadows, T. (2009) How To Set Up And Run A Fashion Label. London: Laurence King Publishing Ltd

Collins, J. (2012) ‘Lust For Life’. Vanity Fair America, Vol 628, pp. 48

Mort, D. (2003) Understanding Statistics & Market Research Data. 2nd ed. London: Europa Publications Limited

Collins, L. (2012) ‘Modern Collaboration’. The Gentle Woman, Vol 6, pp. 68-72

Okonkwo, U. (2010) Luxury Online. Hampshire: Palgrave Macmillan

Harley, A. (2012) ‘Men’s Tailoring’. Hunger, Vol 3, pp. 126-135

Riezebos, R. and Grinten, J. (2012) Positioning The Brand.

Oxon: Routledge Roessing, H. (1991) Traditional Stencil Designs. New York: Dover Publications

King, S. (2012) ‘Material Girl’. Vanity Fair on Couture, Vol 628, pp. 44 - 45 Leitch, L. (2012) ‘Doctorin’ the House’. Vanity Fair on Couture, Vol 628, pp. 92 - 95 Mowbray, N. (2012) ‘Power Spouse’. Vogue UK, Vol 12.2012, pp. 165-168 Mowbray, N. (2012) ‘Power Spouse’. Vogue UK, Vol 12.2012, pp. 165-168

Journals & Newspapers Coen, D. (2012) ‘Fashion Index & Indie Index’. The Fashion business Drapers, Issue. 24.11.12, pp. 14 - 16 Nodder, C. (2012) ‘Drapers Fashion Awards 2012’. The Fashion business Drapers, Issue. 24.11.12, pp. 29 - 63 Nodder, C. (2012) ‘The League of Extraordinary Business Minds’. The Fashion business Drapers, Issue. 24.11.12, pp. 10 Salter, J. (2012) ‘The Luxury Report’. The Fashion business Drapers, Issue. 17.11.12, pp. 25 - 39 Santi, A. (2012) ‘The Luxury Report’. The Fashion business Drapers, Issue. 17.11.12, pp. 25 - 39 Solca, L. (2012) ‘The Luxury Report’. The Fashion business Drapers, Issue. 17.11.12, pp. 31 - 33

Reports

Mintel (August 2012) Lifestyle of the Ultra-affluent and HNWIs - UK. [Online] Available at: http://academic. mintel.com [Accessed 3rd October 2007].

Mintel (July 2012) Clothing Size - UK. [Online] Available at: http://academic.mintel.com [Accessed 3rd October 2007].

Mintel (March 2012) Fashion Online - UK. [Online] Available at: http://academic.mintel.com [Accessed 5th October 2007].

Mintel (May 2012) Women’s Fashion Lifestyle - UK.

[Online] Available at: http://academic.mintel.com [Accessed 3rd October 2007].

tent/report/Trend_Analysis/Packaging_and_Branding/2011/ September/ [Accessed 21th November 2012]

Mintel (November 2011) Consumer Attitudes Towards Luxury Brands - UK. [Online] Available at: http:// academic.mintel.com [Accessed 3rd October 2007].

WGSN (September 2012)New Smart Consumers Set The Pace For Retail Change masterCard Report. [online] Available at: http://www.wgsn.com/content/report/Trend_Analysis/ Packaging_and_Branding/2011/September/ [Accessed 21th November 2012]

WGSN (August 2010) Consumer Forecast 2012.

[Online]. Available at: http://www.wgsn.com/content/ report/Think_Tank/2010/August/consumer_ forecast2012.html [Accessed 16th November 2012] WGSN (October 2012) Armani Gains Direct Control of UK Sales Business. [online] Available at: http:// www.wgsn.com/content/report/Trend_Analysis/ Packaging_and_Branding/2011/September/ [Accessed 21th November 2012] WGSN (October 2012) Mexico’s Luxury Market Set For More Growth Amid Low Import Duties. [online] Available at: http://www.wgsn.com/content/report/Trend_ Analysis/Packaging_and_Branding/2011/September/ [Accessed 21th November 2012] WGSN (October 2012) Valentino Enters New Expansion Phase Under Qatari Ownership. [online] Available at: http:// www.wgsn.com/content/report/Trend_Analysis/Packaging_ and_Branding/2011/September/ [Accessed 21th November 2012] WGSN (October 2012) Women Hit Their Shopping Prime at 57. [Online] Available at: http://www.wgsn.com/content/ report/Trend_Analysis/Packaging_and_Branding/2011/September/ [Accessed 21th November 2012] WGSN (September 2011) S/S 12 apparel branding: trend analysis. [Online]. Available at: http://www.wgsn.com/con-

40

Online

http://larrykagansculpture.com/gallery/ (2012) [Accessed 2 November 2012] http://retail-digital.com/consumer_trends/5-factsabout-Tom-Ford (2009) [Accessed 17

Bibliography

http://twistedsifter.com/2012/05/mind-blowingshadow-art-by-kumi-yamashita/ (2012) [Accessed 17 November 2012]

41

http://vecg.cs.ucl.ac.uk/Projects/SmartGeometry/shadowArt/ shadowArt_sigA_09.html (2009) [Accessed 15 October 2012] http://www.dazeddigital.com/fashion/article/7710/1/haiderhype (2012) [Accessed 12 November 2012] http://www.elcompanies.com/pages/nanotechnologie.aspex (2010) [Accessed 17 November 2012] http://www.elleuk.com/fashion/news/haider-10-launchmenswear (2010) [Accessed 12 November 2012] http://www.elleuk.com/fashion/news/haider-calls-clothes-abunch-of-emotions (2007) [Accessed 12 November 2012] http://www.fashionista.com/2011/06/exclusive-interviewhaider-ackermann (2011) [Accessed 12 November 2012] http://www.harrods.com/brand/Tom-Ford (2012) [Accessed 17 November 2012]

http://www.illusionworks.com/mod/fukuda.htm (2012) [Accessed 15 October 2012] http://www.kumiyamashita.com/work/ (2012) [Accessed 29 September 2012] http://www.mymodernmet.com/profiles/blogs/kumiyamashita-origami-shadow-art (2012) [Accessed 12 October 2012] http://www.nterviewmagazine.com/fashion/haider/ackermann/ (2004) [Accessed 8 October, 2012] http://www.nymag.com/thecut/2010/12/haider_ackermann (2010) [Accessed 12 November 2012] http://www.timnobleandsuewebster.com/artwerks.html (2012) [Accessed 12 October 2012] http://www.vogue.com.au/people/designers/ haider+ackermann,279 (2010) [Accessed 12 November 2012] http://www.vogue.com/vouguepedia/tom_ford (2012) [Accessed 17 November 2012] www.style.com (2012) [Accessed 21 November 2012] www.stylebubble.com (2012) [Accessed 19 November 2012] www.stylestalker.com (2012) [Accessed 17 November 2012] www.theskinnyeye.co.uk (2012) [Accessed 10 October 2012]

Image Reference

Page 1: Lasercut leather fabric Page 2: Drapers Luxury Report,2012 Page 4: Minimum, Eerdekens 2004 Page 5: Survey Results profile, edited.

Silhouette experimentations, Dominique Taylor Page 6: Survey Result profile, edited Page 7: Consumer Portrait, Dominique Taylor Page 9: Scan from Drapers Luxury Report, 2012

Survey Heads, edited.

Page 10: Pattern Illustration, Dominique Taylor

Street Survey Results Image Page 11: Domestic Consumer, edited Page 12: Middle Eastern Consumer, edited Page 13: Asian Consumer, edited.

Page 16: Market Positioning & Retail Positioning Diagram Page 17: Market Axis Page 18: Competitors Axis Page 19: Competitors pricing & range structure

Unit levels Page 20: Price bracketing table Page 23: Photo/Illustration by Dominique Taylor Page 25: Competitor mix, edited Page 27: DT Price bracketing chart Page 28: DT Collection Product Units Page 29: Experimental Line Up Page 33: Supply Chain Diagram Page 34: Drapers Luxury Report, 2012 Page 35: Drapers Luxury Report, 2012 Page 36: Drapers Luxury Report, 2012 Page 37: Vest manipulation

42

Appendix

43

DT Chiaroscuro logo

44

fig:1 Drapers, 2012 Drapers Luxury Report

45

Drapers Luxury Report fig: 12,13

46

Drapers Luxury Report fig:4

47

Drapers Luxury Report

fig:2 Minimum, Eerdekens 2004

fig:3 Survey Results, edited

Pattern illustration, Dominique Taylor

48

Consumer profile, Dominique Taylor

49

Consumer Street Survey, With Results

DOMINIQUE TAYLOR

CONSUMER QUESTIONNAIRE

DATE

LOCATION

Consumer Street Survey Results Piecharts

DEMOGRAPHIC Job Title:

32% Creative, 26% fashion industry, 23% Corporate and Charity, 19% housewife/unemployed

Status:

50% Married, 40% single, 10% partner

Residence:

43% West London, 17% London/Overseas, 17% North London, 13% Overseas, 10% east london

Dependence?

45% None, 17% 1 child, 17% 2 children, 10% Pet only, 3% 3, 4 and 5 children each

BUYING HABITS How do you shop?

19% Scheduled / 22% Seasonally / 30% Impulsive / 15% Bargain Hunt / 15% For Trend

Where do you shop?

38% Department stores / 16% Online / 26% Boutique / 20% All

Favorite brands?

Luxury Brands currently in the media eye

Do you have brand loyalty?

77% Yes, 23% No

Do you see your closet as an investment?

73% Yes, 27% No

Are you Interested in sustainability?

40% Yes, 23% No, 37% In one aspect of life (at home and with food)

Would you pay more for:

18% Eco-friendly, 20% Fair Trade, 16% Organic, 5% Vegan, 42% None of the options

How often do you recycle your closet?

39% Don’t know, 32% Never, 16% bored of clothing, 13% 1ce a Year

How do you discover trends?

49% Magazines, 16% street style, 13% Fashion show, 23% Other

Who in the public eye do you admire most?

63% Industry professionals, 25% family Member, 8% charity figure, 2% political figure

What would you change about fashion?

32% Eliminate waste, Slow it down. 19% Unique,luxury, couture techniques 16% Nothing, 13% Make it more accessible, 10% Get rid of seasons, 10% Labour laws across world

COMMENTS The questionnaire has proven valuable in information provided, particularly for insight into shopping habits, opinions on ethical fashion topics, current industry insight and philosophy of luxury purchases. The Demographics of the luxury consumer is better analysed with the use of the store questionnaire.

50

Competitor market axis fig: 5 Price: High

Design: Experimental Design: Classic

Price : Low

51

Haider Ackermann Range Architecture

Domestic Consumer

52

Asian Consumer

53

Middle Eastern Consumer

Direct Competitors axis

tility

classic

trend setter

fig: 6

i vers low

low ility

pric epo

int

ersit v h g

hi

hig

hp

rice

poi

nt

54

Direct Competitors Price Bracketing fig: 9

55

Overall Goods Pricing Comparison fig: 7

56

Unit levels of combined competitors collections fig: 8

57

Weaknesses Most merchandise targets a very specific demographic of female clientele

Threats Lead times will vary and be delayed, more so than fast fashion

Consumers are becoming increasingly aware of the Competition from other luxury brands that do and do ethical issues but the market lacks ethical ranges not do ethical fashion that are in the luxury market.

Ethical brand values can be promoted by the retailer Technology to make ethical fashion as luxurious as to add value to the products they are selling non ethical fashion not being available.

Ethical fashion has traditionally held less More online stores entering the workplace. fashionability than mainstream fashion ranges. This brand will not make this mistake.

Fast Fashion does not make ethical ranges that are Recession making people more wary about what stylish and sustainable. they spend their money on.

Recession adding need to fashion that previously Weakness of currency was not necessary.

Being a global retailer could mean being exposed to political problems in the countries that you operate in.

Potential for copy cat brands.

Brand loyalty does not exist so consumer will go to un-ethical fashion for trend if it isn’t available Possible to open a flagship store if brand does well Ethical could be a trend that is discarded in the and has a good profit. future.

Potential for further globalisation of brand Companies who have invested in an ethical supply chain could lose out financially. collaborations with new up and coming artists and Consumers are influenced by trends and expect environmentalists is a possibility for the future constant awareness in stores.

Developing new services and products continuously less new products arriving in store due to less need that add value to the original staple pieces. when looking at sustainability.

Potential to franchise the brand Competition from other cheaper stores

Opportunities Introduction of concession stores world wide or in select countries where the brand is selling particularly well.

Improve website for simple transaction process

Garment price matches the quality

Garment quality matches price

Other labels (competitors) are highly successful brands with established brand identity Not enough marketing and or word of mouth advertising.

There are intangible benefits attached to being an Ethical merchandise is often more expensive and ‘ethical’ brand does not look as aesthetically pleasing as genuine leathers and furs.

Prices of goods may rise and affect sales, sales may Higher costs incurred to consumer as a result of the be encouraged by the brand being ethical introduction of an ethical supply chain Access to target market through internet Little to no face time with actual consumer as it is an internet based brand.

Select merchandise designed for the consumer and Little to no add campaigns their needs Creative design ideas and concepts Ethical Fashion could be a fad trend, soon to loose its popularity and standing in the community Offering free 3D scanning in major department Less profit and shareholder dividends if stores around the world linked with online advice merchandise is not sold. about style and fit.

Collaborations with designers and celebrities is To be truly ethical consumers need to consume less. possible If consumers start buying less company profits will be affected.

High Trend and needs awareness

Strengths Growing consumer awareness of ethical considerations and how people are treated in supply chains.

Consumers have been educated about the treatment of workers Longevity of ethical and fair trade fashion

SWOT Analysis

58

PEST Analysis

Political

Economic

Social

Technological

Tax policies

Economic growth due to current popularity

Fashion Trends

New technological fabrics

Political stability

Credit crunch

Fast fashion turnaround

Impact of emerging technologies

Competition regulation

Consumer budget

Brand Loyalty

Industry focus on technology

Consumer protection

Consumer confidence

Mouth to Mouth marketing

Technology that helps sustainability

Environmental regulations

Import Export Taxes of shipping goods

Demographics and population growth

New inventions and development

International trade regulations

High profit margin from production costs

Ageing population/age profile

Rate of development

Employment laws

Government spending decrease for arts

Lifestyle Changes

Life cycle of technology

Regulation/ De-regulation trends

Taxation

Lower spendable income

Energy use and cost

Social employment legislation

Exchange rates

Work/Career attitudes, entrepreneurial spirit

Changes in IT, Internet, Mobile usage: Reduced communication costs

Government grants and fiscal incentives

Inflation Rates

Education

Trend based technology

Free Internship laws changing

Business cycle change

Income distribution

Global distribution systems

Unemployment, labour supply, labour costs

Press, Public Opinion, Attitudes and Taboos

Globalisation

Living conditions

Likely economic change after recession

Labour/ social mobility Health consciousness, welfare Social concerns such as environmental issues.

Mintel Luxury Consumer diagram

59

DT Price Bracketing

60

DT Unit Levels

61

Supply Chain Diagram fig: 11

DESIGNDEVELOPMENT

PLANANDDESIGNRANGE

•Inspiration •Colour Scheme •Silhouette •Fabric and Material Sourcing •Trend Forecasting •Market Analysis SPECIFICATIONS

COSTING

PATTERNGRADING

•Design •Laser-cutting •Printing •Fastenings

INHOUSESAMPLING •Flat Patterns •Fit •Sew •Exterior manipulations •Cut •Press •Amendments

placeordersfor: •Fabric •Fastenings •Packaging •Swing tags and labels SHIPPING

PRODUCTION

•Cashmere from Italy •Fastenings from China •Suiting fabric and Silk in India

•Sampling •Quality control •(Laser cutting in house •Printing in house)

FINALPRODUCT •Labels •Tags

SHIPPING •Received in UK

DISTRIBUTION •To Warehouse for online sales •To Department stores 62

Competitors Collection Architecture and pricing

63

Market Comparison

Design Strategy&Philosophy

:

Product:

Price:

fig: 10

fig: 10

Competitors Macro Environment

Photo/illustration Dominique Taylor

Place:

Promotion:

Status:

Celebrity : Endorsement

Shows in: Collections:

Experimental Silhouettes

64

fig: 14 Vest manipulation

65

Dear Dominique, Thank you for your inquiry in to the cashmere you selected. The samples have been sent to the address you provided and will be with you in the near future.

Should you wish to continue we have a minimum 10 meter purchasing limit for sampling. The prices are as quoted on the website.

I hope this is to your liking.

Regards, Vera Clairici.

Duca di Valtorta Cashmere BFC srl - Via Campanello 61 35014 Fontaniva (PD) PI03149650164 Informazioni: tel. 049 9426261 info@ducadivaltorta.it

NOTE: This email was sent on the 3rd of November but I have not yet received the fabrics that I selected.I have made contact over the phone and it seams the order was neglected or lost. I have ordered the fabric again but delivery date is 13 December 2012.

I am now rethinking this company as a source as I am now reluctant to trust their deadlines.

66

Inv$ice

Laser Cutting Services Limited Flanders M,ss Stati,n R,ad Buchlyvie Stirling, FK8 3NB

VAT REG NO

Tax Date

Inv1ice #

651924138

30/11/2012

2534

Inv1ice T1

D,minique Tayl,r 302 Marshall Building 3 Heritage Street W2 1PB L,nd,n, UK

CUST VAT NO

P.O. N1.

Terms

Pr1ject

Credit/Debit Paym...

Item

Originati,n Carriage 10 kg

Descripti1n

Originati,n ,f drawings and preparati,n f,r cutting x 3 different designs A4 in faux leather Carriage - up t, 10 kg

VAT SUMMARY

£ 20.60 @ 20.0% ;

Qty

Rate

VAT AMT

1

95.00

19.00

95.00

1

8.00

1.60

8.00

SUBTOTAL

£103.00

VAT TOTAL

£20.60

T$tal Payments/Credits Balance Due

67

Am1unt

£123.60 £0.00 £123.60

Hello Dominique Taylor Thanks for contacting me on face book, and showing interest in ready made garments.

I am Jitendra owner of JAYPORE PRINTS & FABRICS, Jaipur,India, we are into this export business since 30 years.

As per your request for arranging the fabrics, which you sent me message on face book, I need the swatches of all the fabrics, that will be easy for me to source those fabrics for you, so kindly send me those swatches for which you want me to source for you.

I will source these fabrics for you and will send you these first through courier to check. If you are happy with it, you can come to India and get the stitching part here in our factory. You said you also wish lasercut, we do this also. It is possible for you to make this here in my factory Looking Forward

68

Interviews

69

Store Questionnaire Findings .

The questionnaires were conducted in four main locations chosen for their relevance of luxury good suppliers and consumers. The Consumer Surveys showed that clients like to shop mainly at Department stores (Selfridges, Harrods, Matches, Wolf&Badger), Online (Net-a-porter.com) and Boutiques (flag ship stores for specific brands such as Miu Miu, Yves Saint Laurent) 1. Who is your target customer and biggest current client base?

Summary: There are three categories of luxury consumers in the London market. The questionnaires showed that the three consumer groups are as follows: a. Domestic: “Regular clients that live in the area, 25 to 65 and female” Nannette in Westbourne Grove, Notting Hill. b. Middle Eastern: “ Middle eastern, female, age is 35+, we fit them well because they tend to be bigger than western women and our sizes are generous” Marni, Selfridges, Mayfair. c. Chinese and Asian: “They are usually from China or East Asia, Females over the age of 20 with no cut off limit, they are elegant and smart” Yves Saint Laurent, Bond Street, Mayfair 2. What are they buying?

Summary: The consumers at this point of the year are buying occasion dresses, however the winter season sees sales in coats and jackets as main selling items, with dresses being a year round selling point together with t-shirts and scarfs. a. Domestic: “They like the coats, fur coats and down jackets. They want the Ready to Wear dresses and staples” – Matches, Westbourne Grove, Notting Hill. b. Middle Eastern: “Tom Ford does amazing gowns, quite unique and exaggerated, they like to be extravagant, they don’t like to be boring.” Tom Ford, Harrods, Knightsbridge. “They love the pieces that stand out, the new collection has lots of interesting sculptural detail, and they love it” Versace, Harrods, Knightsbridge c. Chinese and Asian: “Asians are really funky, they want unique items.” Balmain, Harrods, Knightsbrideg 3. Do they shop with a specific need in mind or do they tend to brows?

Summary: The consumers in all free categories have the same approach to shopping. The majority shops with a need and desire when approaching the brand and then being in the shop starts to browse. a. b. c. d.

“85% know what they want” Stella McCartney, Selfridges, Mayfair “They are browsing” Etro, Bond Street, Mayfair “It’s about 50–50, ready to wear people come with a purpose” Miu Miu, Bond street, Mayfair “The consumer is well informed and does their research, they see an item they love, they look for it online, call us up, ask if we have it and then come in and make the purchase, and when they come in they also browse and pick up some other items to.” Preen, Harvey Nichols, Knightsbridge.

4. Do they shop confidently or go away and think about it and return?

Summary: The was a sense that since the recession and consumers being more cautious, there is a lot more people having to justify purchases and therefore think about the item, and sleep on it before making a decision. Cliental that are in London for holiday purposes however do not have the luxury of time to think about it and therefore buy on the spot. a. “Most people leave the item, sleep on it and come back, I would say that 50% of people come back” Nannette, Westbourne Grove, Notting Hill

70

71

Interview transcript: Joseph Westbourn Grove.

DT: At the moment who is your biggest consumer group?

SA: Mothers, women with spare time on their hands, this area is very family orientated, when holidays are on its really quiet. Its really dependent on DT: Is there a particular age range for this store?

SA: For joseph clothing there is a certain age range but there isn’t really one for designer stuff.

DT: What sold well for your store this season?

SA: Givenchy, Marni has sold really well this season.

DT: Are you selling lots of outerwear and coats because of the cold spell?

SA: No its not just coats because of the temperature drop, people are looking for layers so its everything that they are buying. Dresses are still big coming up to xmas.

DT: What does your older consumer come in looking for?

SA:Older consumer is looking for trousers, Joseph is famous for their trousers. They are in a gabardine stretch and there is a trouser called supper 100, its a suiting fabric.

DT: Does your younger consumer look for anything in particular?

SA:Younger consumer is buying Givenchy.

DT: How are the customers making their purchases, is there a process?

SA: There is a lot of browsing and then when something catches their eye, they buy.

But then there are people who come from Vogue and stuff and they know whats out this season, they are looking for specific things, so they come in knowing what they want.

DT: Would you say people in the fashion industry come in with their mind set?

SA: Yep! DT: Your consumer, are they confident shoppers? Impulse buyers? Procrastinators?

SA: It depends, some people have to ask for their husbands permission, so some people ask for their items to be held, then say “ill go consult my husband and see what he says”.

DT: How often do costumers come back and purchase the items they have asked you to hold?

SA: One out of three.

DT: What about the consumer that walks in off the street, is it easy to get them spending?

SA: You get a lot of footfall because of Portobello, sometimes they spend, but often if your going to Portobello, you’re not looking for luxury stuff, your looking for the bargain.

DT: How do staple items hold up against the season trend pieces?

SA: Okay, everyone always need a staple piece. So like the trousers to the older consumer, so there are always sales. I would say its harder to sell the newer pieces.

DT: What about Givenchy? You said its selling well but are they not trend specific or have they done a classic range this season?

SA: We have bought a lot of the t-shirts and stuff. They go really quickly, same with Balmain, They go straight a way. The rockwhiler T-shirt, course everybody would know that that is Givenchy. So those kind of pieces I would class as staple pieces, and they sold really well.

DT: Do people buy for other people?

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Interview Transcript: Haider Ackermann, Dover Street Market DT: Who is your consumer base?

SA: It attracts the Middle Eastern, Russians, female above 30 DT: What are they buying?

SA: They buy everything, whatever is out and new and its explosive, if it walked down the runway.

DT: Do they shop with a specific need, or are they coming in browsing, is it just footfall?

SA: I think that when someone walks in they have an idea of what they want but if they browse they will most likely walk away with something different than their ‘need’.

DT: Do people shop confidently or do they procrastinate?

SA: They shop confidently, I have to make sure they buy here and now.

DT:Are they Local or International?

SA: They are mostly international but they might have a house here.

DT: What about your staple pieces versus the trend pieces? How are they doing?

SA: Our pieces that are ‘staple’ are always trend pieces as well, just because of the way its draped or the material it is made of, so its difficult to say.

DT: How would you describe the Haider Ackermann brand or designs to a new-comer?

SA: Haider Ackermann’s pieces incorporate both high fashion and street-wear, they feature couture details rendered when working with materials like jersey and leather. They are impeccably tailored and fastidiously constructed but also romantic and sensual.

DT:What are your older consumers buying?

SA: Older consumers like dresses or something that fits them well, they want to look chic and up to date without looking like they went overboard.

DT: What about your younger consumer?

SA: Whatever they can afford. Well, I mean they love the show pieces and always try them on but don’t necessarily buy it.

DT: How often do people shop for other people?

SA: It’s hard to say, you always husbands buying something for others but you never know.

DT: Do you get any questions about fair-trade or where its made...

SA: A lot of questions and how its made and whats the inspiration, but nothing for ethical fashion, its always about how they have to take care of it etc.

DT: What about for sustainability?

SA: no we don’t get any questions

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Interview transcript: DVF: Store manager DT: Who is your consumer base? late 20s to early 40s, DT: What are they buying?

SA: They are buying occasion dresses, its not party dresses yet, so they aren't looking for christmas, they generally look for wedding dresses and dinner dresses, outing dresses.

DT:What are your older consumers buying?

SA: The older consumers are quite difficult. they want to cover the arms and have dresses that are a certain length, it has to cover the knee. Bentley dress is the best selling one at the moment. It was the first look of the fall runway show and its off the shoulder, sexy, slightly fitted so its below the knee, and they prefer that type of a dress.

DT: What about your younger consumer?

SA: The younger consumer prefer tunic dresses, silk jersey, loose fitted, easy going, so they can wear it with thigh high boots or ankle boots. Its versatile. More or less they go for loose fitted or really fitted sexy dresses.

DT: Do they shop with a specific need, or are they coming in browsing, is it just footfall?

SA: For the past 3 weeks, when a client walks in to DVF they know what they want and they are looking for a specific thing. I don’t know if your are familiar with DVF but its all about the wrap dresses and prints.

DT: I am somewhat but I haven’t seen so many wrap dresses these past few seasons.

SA: We have the vintage collection, but this fall season people were more into the easy going dresses, buy now wear now kind of dresses. Whereas wrap dresses, maybe they are getting a little bit bored of it, or the customer that loves DVF comes and buys all the dresses in the iconic prints and they wear it for 20 or 15 years so they don’t need any more wrap dresses. This Fall season was a little tricky they were looking for something a little different, more contemporary but at the same time a little conservative.

DT: Do people shop confidently or do they procrastinate?

SA: I would say 50–50, our dresses range between £350 to £550 so we don’t have a lot of expensive items, so when they come in they either buy it immediately or go and bring back their husbands on the weekend.

DT:Are they Local or International?

SA: we have a lot of regular clients, we have a lot of Australian, German, Swiss, French going around and doing their shopping. They are generally going to visit Portobello market so on their way they step in. We are the most busy on weekends and I would say that on weekends its more international.

DT: What about your staple pieces versus the trend pieces? How are they doing?

SA: At the moment the current season is very indie, but for resort we have a lot of candy colours. We haven’t received the resort collection yet because of Storm Sandy but it will be in soon. However for the fall season I would say a lot of clients looking for Bordo, Burgandy and Moave colours because its very in right now, but lots of the clients are coming for the prints as well.

DT: So maybe they are coming in looking for a specific thing or item but then see the print and get interested?

SA: Yes! DT: how often do people show for other people?

SA: I would say not very often, but then Xmas is coming up, and a lot of people will be coming in a buying gifts. On the whole though the consumer that will use the item is doing the buying, they try and then go away bring back someone and buy it.

DT: What is the biggest change you have seen in the consumer market in the past few seasons?

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Interview Transcript: Wolf and Badger, Ladbrooke Grove DT:Who is your consumer base?

SA: 30 + local women DT: What are they buying?

SA: a lot of jewellery, but then again its so seasonal. We sell our knit wear well in winter and in summer lots of T-shirts.

DT: What do you sell to your older consumer?

SA: They want longer dresses and they are a little bit more conservative.

DT: Younger audience?

SA: Have you seen the shorts on that mannequin? They are the shortest shorts in the world but no one can wear them not even the youngest of our consumers. But the store manager loves them.

DT: I like the studs on the side, but i definitely could not wear them.

SA: The age is a massive gap for us, older people like looking but don’t buy and the young ones try and save their money to purchase a more quirky piece. They want to own something different that no one else has.

DT: Are your consumers shopping for a specific need, like they walk in and they are like “i need this” SA: No, many people come here because its been an amazing place to find presents. But then again they maybe have something in mind about a trend they are looking for but we also provide different things and a lifetsyle that isnt really trend led.

DT: Do they shop confidently or think about it?

SA: They think about it, they have to! Its so expensive that they evaluate its worth and save up etc. We have people that are impulse shoppers but few of them, we don’t however get people putting things on hold.

DT: Are they locals or Internationals?

SA: They are mainly locals but we have a lot of people that are internationals that have seen the advertisements we make on planes and in france etc, so they come just to see the shop. So a lot of tourists.

DT:So do you get busy on weekends because of portobello?

SA: We don’t get the portobello crowd, We are actually shut off from them.

DT: So do you do well with staple pieces? I don’t really see any staple pieces around, maybe they are down stairs?

SA: What is a staple piece?

DT: A white shirt for example is a staple piece.

SA: Ah something that you wear everyday? We sell those. But our designers don’t follow the trend lines that big designers do, but so people that come here are not looking for those trends. We sell just as much crazy as we do everyday, people just want the crazy to be wearable.

DT: SA: Very often actually, we have lots of people that come in and want to give the gift of quirky, haha, no just something a little bit more interesting.

SA: It might just be me, but people aren’t buying things now that they think ah after i use it twice ill throw it away, now they are thinking long term and what they want to keep. They appreciate what they buy in a different way now, they think a little bit more. But there are always those people who have the money and just don’t care.

DT: Is anyone asking you about sustainability, where its made, how or if its organic etc.

SA: Um noh, but then again we had this designer, and people were very intrigued when we had a little sign in front of her items that said they were fair-mined gold. And when we talked to people about it they were very interested but it didn’t make them feel different about the piece. No one is asking for it but if the designer is doing it they want to know more.

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Balenciaga.

1. late 20s- and over – early 50’s, female we have a lot of clients from Asia pacific and Kuwait and UAE and local.

2. A good deal of RTW and some leather goods and hand bags. The dresses and tops are doing well 3. Older consumers tend to buy work wear a shift dress or well fitting jacket. Classic pieces that will last.

4. Small leather goods scarf’s sunglasses, t-shirts are really popular with the younger clients 5. You have people that come in that know exactly what they want, they have done their homework, and then you have the ones that are browsing and you can converse with. The majority of the people know what they are coming for because it’s a big fashion house and they want to own a piece of that. They have seen the pieces in vogue or on a celebrity and need to have it 6. There is increasing amounts of people who have to go away and think about it because of the times people are much more cautious. There was wild abandon spending when I first joined here, they would point and just say a size and take it, no one would try it on before ringing it up. Now people consider, come back, go away, come back sometimes over the period of a week. It takes time now.

30% like to ruminate for a while.

7. There is more rumination among the local clients, and the international clients are more here to buy.

Mostly its travelling international people who see this (London) as a stop and they are passing through, that’s 70% of our clients 8. This season has been really trend led, there was a massive amount of press on one particular press that drove sales up rapidly but we also have 5 sub collections and they are the same shape and style every season so people come back for those. Since we changed location people are seeing that we are more of a trend leading brand and people don’t feel the need to be conservative in this location (central London) 9. We see that quite a lot here, its a lot of free lance shoppers and a lot of people that come off the street then go down to personal shopping and ask for help. But maybe 10% of the sales go to people buying for other people.

10. People used to buy with wild abandon, everybody thinks about everything.

11. Someone did phone up about it last week. But that was the first time I’ve had anyone ask about it. It’s not a question that comes up a lot. Rampant consumers are not concerned about the sustainability of the collection.

Givenchy: 1. Middle East and Chinese but Chinese is the biggest consumer, 20 till 30 years old. They are a young consumer.

2. They are buying t-shirts leggings and very very casual wear or very glamorous, dresses and gowns the runway pieces. Coats are not our thing at all.

3. Sweaters jumpers and jackets for older consumers and so you can see why our major consumer base is not this consumer. It explains it.

4. The younger consumers are buying the leggings, t-shirts and runway pieces.

5. They are usually here for a specific need, they researched it, or they saw it on a blog and a celebrity wore it so they want it.

6. It depends on the sales person. I studied marketing so it’s easy for me to get a sale. But I know that around here most customers go away and think about it. You need to talk them in to it, and its very very hard because its one of the most expensive brands in the world so they are spending lots of money on these items. Our biggest competitor is McQueen and they are doing well because it’s so British and everyone wants a piece of it.

7. Majority is international 8. Actually its both, people come for the leather leggings everyyear we have them all seasons. But now with Ricardo Tischi as the creative director the runway is amazing so people want just as much of that.

60% staple 40% runway 9. Not really often, maybe some men that buy for their wife or lover.

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Interview Questions For Haider Ackermann: 1. Can you describe the Haider Ackermann consumer?

2. I can’t find a defined brand ethos, can you tell me a bit about Haider Ackermann’s goals and the mission statement?

3. Is there a plan to open a Haider Ackermann London store in the near future?

4. Do you feel that not having a Haider Ackermann store is a hindrance?

5. Is Haider Ackermann’s online presence enough to get your product to the consumer?

6. Who do you see as Haider Ackermann’s biggest competitor?

7. What have been Haider Ackermann’s best selling items over the past few seasons?

8. Has the buying habits through the recession affected the design process and/or ethos at all?

! ! ! ! !

! ! ! ! !

a. Has the recession affected: ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

quality: mark up prices: staff numbers/wages: manufacturing locations: fabric sourcing locations:

9. Where does Haider Ackermann source his fabrics?

10.Where does Haider Ackermann get the garments manufactured?

11. What is the average mark up price for Haider Ackermann goods in retail?

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These three company specific interviews were sent out by post and email, but did not get answered or returned. I also called up the companies and their PR teams but was not given permission to do a phone interview.

Interview Questions For Yves Saint Laurent: Can you describe the Yves Saint Laurent consumer?

Interview Questions For Stella McCartney: 1. Can you describe the Stella McCartney consumer?

I can’t find a defined brand ethos, can you tell me a bit about Yves Saint Laurent’s goals and the mission statement?

2. Can you describe the Stella McCartney ethos?

Is there a plan to open a Yves Saint Laurent London store in the near future?

3. Can you describe the Stella McCartney brand’s mission statement?

Do you feel that not having a Yves Saint Laurent store is a hindrance?

4. Which country is currently the best seller of Stella McCartney goods?

Is Yves Saint Laurent’s online presence enough to get your product to the consumer?

5. Who do you see as the biggest competitor of Stella McCartney?

Who do you see as Yves Saint Laurent’s biggest competitor?

6. What is the average mark up price for Stella McCartney goods in retail?

What have been Yves Saint Laurent’s best selling items over the past few seasons?

7. What have been Stella McCartney’s best selling items over the past few seasons?

Has the buying habits through the recession affected the design process and/or ethos at all?

8. Has the buying habits through the recession affected the design process and/or ethos at all?

! ! ! ! !

! ! ! ! !

! ! ! ! !

a. Has the recession affected: ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

quality: mark up prices: staff numbers/wages: manufacturing locations: fabric sourcing locations:

! ! ! ! !

a. Has the recession affected: ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

quality: mark up prices: staff numbers/wages: manufacturing locations: fabric sourcing locations:

Where does Yves Saint Laurent source his fabrics?

9. Where does Stella McCartney source his fabrics?

Where does Yves Saint Laurent get the garments manufactured?

10.Where does Stella McCartney get the garments manufactured?

What is the average mark up price for Yves Saint Laurent goods in retail?

11.What does Stella McCartney feel is the next step in making a fashion brand more sustainable?

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Interview Questions For Stella McCartney: 1. Can you describe the Stella McCartney consumer?

2. Can you describe the Stella McCartney ethos?

3. Can you describe the Stella McCartney brand’s mission statement?

4. Which country is currently the best seller of Stella McCartney goods?

5. Who do you see as the biggest competitor of Stella McCartney?

6. What is the average mark up price for Stella McCartney goods in retail?

7. What have been Stella McCartney’s best selling items over the past few seasons?

8. Has the buying habits through the recession affected the design process and/or ethos at all?

! ! ! ! !

! ! ! ! !

a. Has the recession affected: ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

quality: mark up prices: staff numbers/wages: manufacturing locations: fabric sourcing locations:

9. Where does Stella McCartney source his fabrics?

10.Where does Stella McCartney get the garments manufactured?

11.What does Stella McCartney feel is the next step in making a fashion brand more sustainable?

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