Hella Betty Research Book

HELLA BETTY SKETCH // BOOK

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CONTENTS

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SUSTAINABILITY BODY PROCESSES TREND MARKET SOLUTION PHOTOSHOOT SOCIAL MEDIA FINANCE PRODUCT

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SUSTAINABILITY

I N T R O D U C T I O N

SUSTAINABILITY Sustainable fashion is growing in importance and is something that needs addressing before the issue worsens.

Sustainability within fashion is a topic that resurfaces with every new cycle. Although a common problem, it is one that is yet to find a solution.

Many fashion houses have looked into better ways of recycling textile waste, using a more sustainable supply of packaging and even making garments from recycled materials.All of which costs high street clothing brands millions of pounds each year A solution to this problem is far from found, but independent brands can help to push this concept with the aim of reducing their own carbon footprints and becoming more sustainably responsible.

A solution to this problem is far from found, but independent brands can help to push this concept with the aim of reducing their own carbon footprints and becoming more sustainably responsible.

(About H&M, 2018)

“Since we launched our garment collecting initiative in 2013, we have gathered more than 55,000 tonnes of garments to give them a new life – that’s more fabric than in 270 million t-shirts” (About H&M, 2018) Figure 3

CONSCIOUS

H & M

CONSCIOUS Once donated, clothing is sorted into three sections, re-wear, reuse and recycle. In store currently, one single garment could contain up to 20% of recycled fibres. On top of this, H&M has a collection of clothing labelled H&M Conscious. The aim of this collection is to sell garments at a slightly high price but with a guarantee of more sustainably used fibres.

This collection is demonstrated by a green swing tag.

Alongside this, once a year, H&M launches a H&M Conscious Exclusive Collection. This collection is more higher end than H&M’s regular seasonal collections and is focused upon occasion wear and clothing for special events.

More and more companies are looking into adding these types of values to their brands in a bid to be more environmentally friendly. Typically it is the small businesses that make the most effort to reduce their waste and supply a more sustainable product.

For smaller brands and retailers it will be difficult to make an impact as suppliers will need to be convinced of the benefits of investing in new technology and processes that are not easily visible.

(About H&M, Sustainability,2018)

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JOIN LIFE

Z A R A

JOIN LIFE Zara’s Join life campaign is similar to that of H&M Garment Recycling Scheme. At Zara, they encourage their customers to bring into store, any unwanted clothing items and have them recycled into any of their in-store containers. Releasing their ‘Join Life’ campaign in November of 2015, was seen as a stealthy marketing ploy and wasn’t really pushed into the public eye until it’s autumn/ winter campaign that featured model Sasha Pivovarova was when Join Life first made its formal appearance.

Any items in store and online that carry the ‘Join Life’ tag are made using organic cotton, a process that uses 90% less water to make that conventional cotton), recycled wool and Tencel. Tencel is a wood fibre that Zara have sourced from only sustainable managed forests.

(Wallwork, 2018)

‘Join Life’ was launched only a few months after the company announced a number of initiatives to ‘close the loop’ on textiles. Textile recycling is not as easy as some retailers may make you believe. Separating polyester cotton blends into their base components is still a struggle, and sustainability within a company as large as Zara always comes under scrutiny when releasing almost 2 million units of clothing in a single year.

(Chua.J, 2016)

PATAGONIA

P A T A G O N I A

FILTHY BUSINESS OF DENIM Patagonia is well known for its specialism in outdoor clothing and other items of a similar nature. In 2015, they launched a campaign the ‘filthy business of denim’. A campaign that outlines the issues surrounding denim production and in a bid to play their own role in the reduction of waste and water usage, Patagonia released its own line of economic jeans, three for men and three for women.

Using innovative environmentally friendly dye along with Fair Trade Certified sewing practices and 100% organic cotton, the California based label had released a line of denim that looks good and does good.

Its environmentally friendly dye bonds more readily to the fabric meaning it’s production line uses 84% less water, 30% less energy and emits 25% less CO2.

Rather than just dipping their toe into the sustainability pond, Patagonia have released an all baring fully transparent range of denim that will not only impact the environment positively but also create a great social impact for its buyers.

(Trotman, 2015)

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ROKIT Figure 7

R O K I T

RECYCLED Rokit began as a market stall at London's iconic Camden Market in 1986. They specialised in vintage denim thrifted from American cowboys. The demand for their product was so great that within a few weeks the stall was exchanged for a two storey shop on the high street.

Rokit is a vintage brand, selling pre-loved items in both of their Brick Lane stores. Selling clothing from all era’s, its positioning within Shoreditch is what makes it so successful. Rokit launched their “in-house designed Rokit Recycled collection which upcycles any unwearable pieces’ into new and wearable designs.

(WGSN, 2016)

All Rokit Recycled items are hand crafted using original garments and customised using otherwise un-wearable vintage pieces into trend led pieces. With each Rokit Recycled purchase, the customer is guaranteed that the design is handmade in London, in a sweatshop free environment, supporting the ethical fashion movement.

(Rokit, 2018)

S U S T A I N A B I L I T Y

SHAPING FASHION It takes thousands of litres of water to produce one kilo of cotton but almost none to produce the same amount of polyester fibre. Polyester uses petrochemicals as its source, and twice as much energy is required to produce a kilo of polyester than to produce a kilo of cotton. Energy uses in textile production include: -

Manufacture of agricultural chemicals Water for irrigation and associated transport costs Petrochemicals for agricultural machinery and onward transport Energy use and water in processing Transport of product to various stages of processes

Organic and low-impact production methods cut out a significant portion of the energy consumed, but still cannot be considered carbon neutral.

(Singer, R., 2010, pg 20) Fabrics made from recycled materials are extremely rare and are hard to buy retail. The most commonly discussed recycled fibre is polyester which is indefinitely recyclable and can be made from polyester fabric as well from plastic bottles. It is possible to recycle natural fabrics by pulling them apart and re-spinning the fibre, but this creates low-quality fabric for which there are limited commercial use.

Fabrics made from recycled items are now becoming more commonplace with recycled polyester made from recycled drinks bottles now being made by companies such as Patagonia , Marks and Spencer, and Armani jeans.

Armani jeans have been incorporating eco fabrics and design since the mid 90’s. Their first eco project began in 1995 with the development of a process to recycle denim.

Later that year, Armani Jeans developed new materials that used 60% recycled wool and then introduced hemp eco washes into the collection. This experiment was continued with the production of an organic knitwear range. The range was made using pure alpaca and the engagement with fair-trade cotton projects in Peru and Bolivia and recycled polyester.

(Ethical Fashion Forum, 2018)

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SUSTAINABILITY Figure 10 Econyl is a type of nylon manufactured wholly from waste streams that include abandoned fishing nets and carpets. It is a sustainable alternative to Nylon 6, a material that is traditionally sourced from caprolactam (a derivative of oil). Giulio Bonazzi, CEO of Aquafil, the company behind Econyl, says the clothing industry has been quick to take advantage of Econyl since its launch in 2011.

The process by which Econyl is able to turn waste in Nylon 6, a recyled fibre, is shown above. Using a series of projects, waste is colected from the oceans around the UK, Europe and as far out as Egypt.

(Perella.M, 2015)

The waste recovered can be anything from old spent fishing nets to the surface layer of nylon carpets. From here the waste products are depolymerised and trandformed into usable nylon fibres, ready to be used in fashion and other industries.

Companies already invested in this include the H&M 2018 concious range, making all items of clothing from 100% recycled Nylon 6, and pays homage to the arts and crafts movement in Sweden, as well as a Surf brand based in Byron Bay, Austrailia, Salt Gypsy, also uses 100% recycled Nylon 6 across its range of products, as well as biodegradable packaging.

(Econyl, 2018)

Most synthetic fabrics are made from petrochemicals.Synthetic fabrics take longer to produce than an organic fabric and also use more energy in the process. But the production of a synthetic fabric is not as intensive as that of cotton, it produces fewer emissions and pollutants than the cycles of most natural fibres and the finished garments are easier to care for, requiring less water and energy use in the home.

The Fairtrade brand allows consumers to choose fabrics which have been assessed for being produced with fair prices, with sustainability in mind and in good working conditions.

In the UK, one million tonnes of textiles are thrown away each year, making up 10% of domestic waste. Only 25%is reclaimed and recycled, although the large amount of the waste could be re-purposed in some way. Clothing is so cheap it is often easier to send unwanted or damaged items to a charity shop and buy something new than to learn the skills and find time to mend it.

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S U S T A I N A B I L I T Y

FASHION WASTE Pre-consumer waste is the refuse material generated during the manufacture of textile products, while post-consumer waste is thought of as pre-worn, manufactured garments that are sourced through second-hand clothing merchants and charities.

By making use of these resources, a designer can remanufacture fragments or lengths of cloth to create original, one-off garments. But this challenges the notion of a standardized fashion garment or collection.

When working with reclaimed materials it becomes impossible to standardize one garment into a set or series since material supplies are irregular and quantities unpredictable.

(Reiley, K., 2015, pg 63)

BODY Figure 12

B O D Y

NEON MOON Neon Moon is an all-women’s lingerie brand, based in London, and they focus on representing women as they are, working to help women embrace their natural beauty, stretch marks, body hair and flaws that would normally be rectified by any other lingerie brand.

Their team consists of men and women of all generations and they believe this diversity amongst their team is the reason they are able to design and create the underwear that women are becoming so fond of, whilst maintaining their body positive message.

This company has been in production since 2015 and have set their sights on four simple aims that they believe to be important when empowering women through body positivity.

Neon Moon specialise in lingerie for women of all shapes and sizes and focus on maintaining transparency with its customers so that each customer knows exactly what they are getting when shopping through Neon Moon. This lingerie brand sticks to having four main aims that help focus their attention on the important aspects of their brand.

(Neon Moon, 2017)

The objectification of women is a difficult topic to avoid when working in the lingerie industry but that does not make it appropriate for women to feel as though they are being objectified.

The lingerie designed and created at Neon Moon is done so with this mind, believing that women deserve more choice in their underwear than what is on offer in other stores.

Neon Moon believe it would be contradictory to create lingerie that empowers women if it were being mass produced in a factory by women who were being exploited. To avoid this, Neon Moon are proud to say they hand make each garment, making sure that they are produced sustainably and to the highest quality.

Neon Moon demostrated to me that there was a market for women that was not yet being fullfilled. Women are becoming wise to the uses of photoshop and are looking for companies to offer them something other than air brushed perfection. Something that has always resonated with me, removing airbrushing is important to my project and is a policy I wish to uphold throughout the development to the brand.

(Neon Moon, 2017)

BODY

B O D Y

AMERICAN EAGLE American Eagles lingerie brand, Aerie, is well known for its body positive ad campaigns that seemingly use ‘real women’ and not your typical model.

The underwear brand announced on January 25th, 2018 that they are partnering with actress-activist Yara Shahidi, gold medallist gymnast Aly Raisman and singer song writer Rachel Platten for their spring campaign.

(Hanbury. M, 2018)

As a business, they strive to not just sell underwear but to also hold motivational talks in Aerie stores. With this a collection of products are designed exclusively with the intention of donating 100% of the profit to go to a charity of their choice.

Female empowerment is fast becoming Aerie’s secret weapon against mainstream brands such as Victoria Secret, removing the need for Photoshopping ads and replacing them with unretouched photographs, they have be able to launch their very own body positive campaign #AerieReal back in 2014.

(Be Real Campaign, 2014)

Since this body positive campaign launch, Aerie has seen 11 consecutive quarters of instore growth whilst its competitor, Victoria Secret has seen negative sales growth over the past year. Being criticised for its thin models and un-relatable standards, women are becoming wise to the uses of Photoshop and are starting to not trust brands that over use it.

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BODY

L A B B A AG AGA I NC NCI AGA B O D Y E L LE CI A A B BA EN IAG L C A A A A G B EN AG A AG I C CI GA AL CI GA N B EN IA E EN IA L C A A L BA BAL ENC IAG BA LEN NCI AL NC GA BA LE EN A B G LE CIA GA BA BAL E Visiting the Balenciaga exhibition influA A G B fe- N IA L A A enced me to tailor my FMP around the A G E B C L N IA IAG A GAanBA male form amd body shape, with idea LE C E A L EN NC AG B of removing the stigma attatched to plus A E L E CI A B L size women and focusing on encourag-BA AL G BA L B LEN CIA ing a positive view of the female body.

A A A GA B LEN IAG A B B Understanding the female form was first GA BA NC AG A E CI AG G on my agenda as I felt this would help A L G BA EN CI IA me better execute the final outcome for L N C my FMP, with the hope of creating a BA ALE LEN CIA B BA EN IA new way for women to shop and find L C A accurately fitting clothing with little fuss.

A B EN AG G L I GA BA NC IA E GA BAL ENC L EN A B AL L B BA A GA B GA B GA BA

BALENCIAGA

N IA G A N GA BA LE EN CIA A A E LE LEN CIA A B C A AL N G G BAL EN CIA IAG A ALE CIA A B N A A E A E B I G B L CI L N C G L A B N C A A E A N A A BA EN AGA B AL LE NCI GA ALE NCI IAG AGA B LEN IAG B A A AL CI GA A B LE NC CI GA BA NC AG B EN IA GA A B ALE NCI A E CI BA ALE LEN CIA A B E AG L A AL NC IA AG G BA EN CI N L B A A I C A I E A E B L B L CI L EN N NC AG BA NC IAG A A E A A A G A I E N B AL LE B AL LE C B E AG C A L A G I N B BA B BA EN IAG BA LE NC CIA A AL CI GA A G L A L B A A N IA G C A BA LE EN IA A A A E G N B C B E AG A AG A AL NC GA AL N CIA IAG A L L B A I E N A I A A B E A B I C G L C G C G L B B EN IA GA A N IA A NC GA BA LE EN CIA A B C A L A A AL N G C E IA A I IA A G BAL N G L B A N C E A E B L E IA B L CI N NC AG BA NC IAG A C E A A N GA BA A G A I E L N E B B C A G L A G C E IA A A AL N E IA A I IA A N G L B A B C E A A B E C G B I C G L N C G A L B EN IA G EN CIA AGA GA BA ENC GA BA ALE LEN CIA A L NC IA AG I G A A N N L B A A A I C A I B LE NC CI B LE CIA LE EN NC AG BA NC IAG A A N GA BA LE EN CIA G A I E L E B C A L A G BA BAL EN IA BA BAL ENC IAG BA LEN NCI CIA A ALE CIA GA G B N IA L C A A L C A E A N A A G A I E L A E C B A B EN A A AL NC IA AG B EN AG G L G L CI GA B BA EN IA C CI GA AL CI E A B A L N AG A B EN CIA GA A BAL NC GA BA LE EN CIA A B LEN CI L N A AL N E IA A IA IAG A G BA EN G L B A C E A E A A B L B I C G L EN N NC AG B N IA L C A A A A E A A A G I E B AL B AL LE C B EN AG C A G L A G I N B BA B BA EN IAG BA LE NC CIA A AL CI GA A G G A L B N IA G A GA A A NC GA BA LE EN CIA A A B E C B L A G A AG A L E I I N L B BA EN IAG BA LE NC CIA A IA A NC NCI AGA BA NC IAG A L C A E EN IAG B A A G L A I E N B A AL NC GA LE NC GA AL NC CIA IAG A B LE IAG A B E B A NC AG A B L E IA B LE CIA N C G L B A NC GA BA LE EN CIA A E CI AG GA BA EN GA L A L E L CIA GA B BA EN IAG BA LEN NCI CIA A AL CIA GA A L C A B EN IA GA A A LE EN IAG B EN CIA G A N B A B G L C A BA BAL ENC IAG BA LEN NCI C AL EN CIA IAG A ALE CIA GA G B N L C A A E A A N AL EN NC

BODY Coming from a small fishing village in northern Spain, Cristobal Balenciaga, was introduced to fashion from a young age by his mother. By the time he was twelve he was working as an apprentice at a tailor’s. Ten years later he opened his first fashion house in 1917.

The first garment in this exhibition was highlighted as being inspired by his Spanish roots and was drawing on the popular Spanish sport of bull fighting. His designs included the short Chaquetillas or jackets, a typically mascusline garment and redesigned it for a woman, to be worn as part of a full length evening gown.

Despite the dress having masculine elements, it also has an unmistakable femine precence. A core value of his design and ability to transform the female form into anything of his choosing.

This inspired the premise for my final year project. This exhibition demonstrated the extremes a woman will push her body to for maximum effect. I want this idea but in reverse, take away all things complicated and in its place create clothing for woman that maximises shape and size without pushing hard limits.

Many of balenciagas ideas spoke to me as being important when considering how to dress. One garment in particular, a famous piece, struck me by its cleverly hung fabric and draped shoulders. It was a piece worn by Lisa Fonsagrives in Vogue 1950.

Underneath this jacket was a label which read, the importance of shoulders, followed by a brief statement , the elegance of this understated ensemble is determined by the way the fabric hangs from the shoulders like a cape. This garment inparticular places importamce on the femine frame

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BODY Figure 15

B O D Y

BODY SCANNING 3D body scanning technology captures the surface area of a human body by using two different approaches. A white-light based scanner and laser based scanner, both which have no physical contact with the body. It records a static 3 dimensional image of a human body, while the motion capture systems allow the capture of the more dynamic human movements.

It mainly uses a projection of low power lasers or also known as moire-based light to illuminate a narrow strip of the object’s surface. Thewhite light or laser light is detected by charged coupled device cameras.

Although 3D body scanners are still expensive apparatus for apparel researchers or design professionals to use in research or product development, these devices can produce an unlimited number of accurate measurements of the human body within seconds.

(Young-A Lee, Y., 2011)

BODY Body scanning, although a realitvly new development in technology, is used to understand a variety of different subject matters. In this case, an understanding of its impact on the apparel industry and they way clothing is made to fit. There are plenty of research centres that look into issues surrounding clothing fits but due to the expensive nature of the equiptment not enough studies are being researched around how best to tackle to problem surrounding clothing size for women. The 3D body scanner is a useful tool for clothing design, especially for the functional garment design, because it is easy to capture accurate data at precise areas for before-and-after comparison.

(Zhang et al, L., 2017, Section 3.2)

Almost too many companies are offering solutions to fit by using a body scanner. In 2011, Selfridges invited Bodymetrics to host one of their body scanners in a bid to rid the women of London of any issues surrounding the perfect fit of jean. Many tried and tested the Bodymetrics and it was also visited by many who gave reviews online as to its effectiveness. Of this, it was made clear that body scanning was not quite ready for commercial use.

The body scanner placed women into one of three jean categories, jeans that were only stock in Slefridges also, so leading to issues of discovering your perfect jean but not nessicarily being able to afford it, a clever technology that may not be accessible to everyone.

(Powell. J, 2011)

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BODY

The categories of jeans are as follows, Emerald jeans, these jeans are straight cut across the waist and a narrow thigh, the Saphire jean which is contoured from the waist through to the thigh and the Ruby jean that is contoured and for a fuller figure.

Although a viable selection of key jean shapes and size are on offer based on your body scan results, not all women can be catered for. Since the UK is now considered to be the largest nation of people in Western Europe, bigger people means a need for bigger jeans. The technology may be in place but is not yet in a position to be in full use on the clothing market.

(Sam. 2010)

This is but one example of the ways that body scanning has been applied to the clothing market. But before the technology can be applied to consumer buying habits, it may be best left to the researchers to find more viable ways of commercialising the technology and making it so it ca be used to better understand clothing fit and improve it.

(BBC, 2017)

B O D Y

OPITEX Based in Silicon Valley, Opitex delivers its service to customer worldwide. Opitex features a blog on its webpage, allowing interaction between service provider and customer, videos showing their work and how they use the software when working with existing fashion companies.

Their website includes a page of casestudies, using their software and working with companies that are evolving in the the 3D virtual market. This includes research into Under Armour and Roberto Cavalli and gives an insight into the ways 3D technology can revolutionise the way we design and create garments.

These are the three software’s avaliable through the CAD/CAM company Opitex. Although similar to Lectra, there is less of a range in terms of what software can do and how it can be applied as solutions to garment design and process. This software is avaliable via quotation from Opitex themselves and pricing varies on what you will be using this software for (Opitex, 2017)

BODY Product Development

Production

Sales Showroom

Perfect your garment before cutting or sewing the first piece of fabric, for faster cycles and products that better fit your customer’s needs.

Save valuable time, money, and resources by reducing material costs and associated wastage at every point in the production cycle.

Give buyers, merchandisers and online customers a powerful new way to view and buy your collection, with 360° photorealistic designs.

Figure 18

BODY

B O D Y

OPITEX CUSTOMERS Opitex works with a range of apparel companies, most of them high end luxury brands such as Coach, Tommy Hilfiger and Roberto Cavalli. There expertise are used to design and realise garments for a long list of top brands. On there website they feature all the brands that they have worked with previously and also current projects. The company offers a basic form of 3D software that is becoming common use for some high end clothing brands.

Opitex works not only within the fashion industry but also with automotive and the fabric industry. They help smooth the transition from a 2dimensional idea into a 3 dimensional product that helps to better realise an outcome.The software runs off of a Windows-based system and can either be operated by an external user or within the Opitex confinds.

The website is regularily loaded with short clips from customers that each explain how their company used Opitex and to what benefit the technology had for their brands.

(Opitex, 2017)

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These six brands are the companies that are currently being highlighted on the Opitex website. If you hover over each icon, a description of the brand and the work it is doing with Opitex is avaliable to read.

(Opitex, 2017)

BODY

B O D Y

LECTRA LECTRA software dates back to 1973, when french engineers Jean and Bernard Etcheparre founded the company and began developing its technology. In 1976 the company launched its first CAD systems for apparel and by 1982, Lectra established it’s first foreign subsidiary in Germany followed by the United Kingdom, Italy, Spain and the United States in 1982.

LECTRA initially launched its Modaris software in 1984, a software that allows its user to design, create and build garments on-screen before having to cut the first piece of fabric. The company first launched its product life-cycle management (PLM) software in 2006. It manages the life cycles of products and collections through software from development to production.

In 2011, Versalis is the fastest leather-cutting solution software in the industry, replacing the need to hand cut leather with machinery that is automated.

(Lectra, 2018)

Lectra’s software consists of Modaris, PLM, Kaledo, Versalis and Vector.

Each software serving its own significant purpose in most deisng industries, but Kaledo and Modaris are more commonly used amoungst university students for it’s 3D design to avatar software and it’s pattern design qualities.

LECTRA is a world leader in intergrated technology software, CAD/ CAM equipment and other associated services designed for industries including fabric, leather, technical textiles, automotive industries and other materials for manufacturing products.

LECTRA serves world wide markets including fashion and apparel, automotive and furniture as well as areonautics, marine and wind power.

(Lectra, 2018) Figure 20

BODY

B O D Y

LECTRA REVIEWS

Lectra is a software that is used at most universities specialising in CAD software across the UK. At Arts University Bournemouth, Lectra is widely used throughout the Fashion departments and some students even specialise in clothing design with Lectra. Because of this I spoke to a series of students that use the software ona daily basis and asked them to explain to me the ways in which Lectra is

Here is a condensed list of things that students wished to change and others things that they felt were good about the software.

- Overall look of Lectra is dated, colours, fonts need updating and make it Mac friendly - 3D Modaris can be confusing, have to ensure you click on all relevant points of the pattern piece to ensure it is sewn properly onto the 3D avatar - Can’t complete any work without having first uploaded blocks - Weird use of keys such as Home and 8 to zoom in and out of the screen - Click Print and Reshape to drag and drop new points on a pattern piece but the original pattern piece shape remains as an outline in case of any mistakes - Have to click on F4 to cut out an additional section of a pattern piece but the original pattern piece remains as well - Have to know what you’re doing to operate it simply - On the 3D tool, you can’t drape a fabric because the software cannot understand the flow of the fabric can only stick to basic shapes and blocks - You can add stitch and fabric to a garment to see what the finished result will look like, this is good for graphics and imagery for a portfolio - Cannot use the software correctly on a Mac, it goes into overdrive - On the bottom task bar, the two main buttons used are Curve Points and Print, others don’t really get used - Icons on the right-hand side of the page, in the task bar are dated and confusing - Infographics on the opening page need to be simplified - Having to make changes to the settings before proceeding to any work: eg change length to cm from mm - Avatars need updating, the child avatar is scary and other avatars are generic in shape and size

BODY

This is Kate. She is listed as plus size on Lectra’s software Modaris.

Despite having measurements that can be considered as consitent with someone who is plus size, her overall image does not agree. As a plus sized person, you can expect to see wide

B O D Y

MODARIS Modaris, Lectra’s CAD answer to 3D design, offers a handful of avatars to drape and drag your garments onto in order to gauge size, fit and flow of a garment. Upon experimenting with each avatar, I discovered that Lectra was lacking in genuine plus size avatars. Although kate is labelled plus size, I would speculate based on her body image that she would be at the smallest end on the plus size spectrum.

When trying to build a brand that is centred around body positivity and a realistic idea of a womans body, deiscovering that the body type that pattern cutters are working from when designing and making clothing, it is easy to understand how clothing can appear incorrectly sized in high street retailers.

The female avatar used by Lectra users is not an acutrate representation of what an actual woman looks like. This poses a problem for the fashion industry as using incorrect design avatars is leading to poor style choices and unreasonable clothing sizes. This is often leading to negative thoughts from people that are shopping in certain highstreet stores.

a cotton moodboard

PROCESSES

P R O C E S S E S

MANUFACTURE Cotton is a seed fibre and is grown as a boll around the seed of the cotton plant. Cotton represents 35% of the worlds textiles and is the second largest fibre category world wide. The majority of the worlds 24 million tonnes of cotton produced annually is grown and processed using hazardous chemicals.

It has been calculated that a single non-organic T-shirts worth of cotton would have used 150g of pesticides. The main areas of production are the US, China and India.

Cotton can be grown in a variety of ways: conventional, genetically modified (GM), certified organic, transitional organic/organic in-conversion and integrated pest management (IPM).

Conventional Cotton: is grown with a seed that has been genetically modified, and there has been no special attention given to types of chemicals used or not used to grow the cotton.

During production, fabrics are usually treated with chemical finishes and dyes. These have environmental impacts and have been linked to some health problems among farmers. Fabrics may continue to release harmful chemicals even as we wear them.

(Singer. R, 2010 pg 11)

Figure 21

Genetically Modified Cotton: Cotton has been a major focus for genetic modification due to its high susceptibility to pests, pathogens and high pesticide consumption. In the United States and India in 2013, sources state that 90 percent of cotton crops were genetically modified. GM is a relatively new technology and its long-term effects are not fully understood.

Certified Organic Cotton: certified organic cotton disallows the use of GM seed and restricts or disallows the use of many synthetic agricultural chemicals. Organic farming aims to self-stabilize agro-ecosystems and uses crop rotation and biological means to control pests and pathogens. Organic cotton represents less than 0.7 percent of global cotton grown world-wide and is therefore in short supply.

Organic fibre also requires special processing since it falls outside of the usual scope of the commodity cotton supply chain. Certified organic must also remain segregated through ginning and processing into yarn and fabric and this special handling adds additional costs.

Transitional Organic Cotton: In order to be certified as organic, cotton fields must go through a two-year transition period in Europe, and a threeyear transition period in the United States, where disallowed chemicals are not used. Transitional organic cotton uses non-GM seed and is grown in the same manner as organic but is still transitioning through this two or threeyear phase to certification. Once the land on which it is grown has completed the two or three-year requirement, the fibre can be labelled as organic.

(Gullingsrud, A., 2017, pg 6 - 8)

P R O C E S S E S

WATER USES It takes thousands of litres of water to produce one kilo of cotton but almost none to produce the same amount of polyester fibre. However, polyester uses petrochemicals as its source, and twice as much energy is required to produce a kilo of polyester than to produce a kilo of cotton.

Conventional cotton cultivation uses some of the most toxic chemicals available for use in agriculture and accounts for 16% of insecticide applications worldwide, more than any other crop. Many of these chemicals are used by farmers in developing countries where education, access to information and understanding of the dangers posed by hazardous chemicals are lacking. The use of toxic chemicals can diminish soil fertility over time, and irrigation runoff can pollute regional water bodies.

Cotton generally requires irrigated water. Water management practices vary from growing region to growing region and are influenced by a number of factors, including the farming system used, water costs, local climate etc.

Cotton mainly grown in the Mediterranean, crop is irrigated and this can have extensive desert or near desert climates where fresh water is in short supply. Consequently, much of the global cotton is irrigated and this can have extensive impacts on regional fresh water resources.

Cotton is often washed and tumble dried at high temperatures and can require pressing. Studies on consumer garment washing habits, looking at typical woman’s short-sleeve cotton t-shirt in size small, indicate washing is the single largest contributor to greenhouse gas emissions compared to other life cycle considerations such as manufacturing, transportation, packaging, retail and disposal.

(Gullingsrud, A., 2017, pg 11)

FASHION APPLICATIONS - Approximately 60% of cotton fibre is used in clothing, most notably in shirts, t-shirts, jeans, coats, jackets, underwear and foundation garments.

- Organic and transitional cotton is the same quality as conventional cotton and appropriate for any fabric.

- Cotton can be grown in a variety of colours, although is currently being grown in a range of brown and green.

- Post industrial waste is reused be the textile industry and spun into yarns with new apparel applications. Because of its short fibre length, recycled cotton is normally blended with virgin cotton or synthetic fibre to help facilitate processing and add strength to the yarn.

- Post-consumer waste is mostly reused in nonwoven and felts, insulation materials, linings, furniture padding and filing and paper manufacture.

(Gullingsrud, A., 2017, pg 14) Figure 22

Sustainability in fashion is going to require transformative changes in the practices of all involved: designers, manufacturers, marketers, and consumers. But consumers especially need a vision for sustainable fashion practice.

Fashion has become so disconnected from reality that many of the key issues of our times, i.e. climate change, consumption, and poverty, barely register their presence, according to Fletcher (2007). She believes that products of fashion reinforce inequities, exploit workers, spur re- source use, increase environmental impact, and generate waste.

An important aspect in a future vision involves projects that offer glimpses of tomorrow as we make the transition towards a more sustainable future for fashion. Such sustainable fashion will emancipate us and give us the skills to creatively participate with and rework our clothes.

(Fletcher, K. 2007)

Movements such as Do-It-Yourself (DIY) are creating opportunities to make articles of clothing look unique by adding embellishments or finding ways to reuse or repurpose clothing. For example, Dublin and Berman (2000) in their book Vintage Style repurpose a 1930’s black lace nightgown into a contemporary cocktail dress.

The challenge of sustainability—of integrating human well-being and natural integrity—is such that we cannot continue a fashion agenda with business as usual (Fletcher 2008; Hethorn and Ulasewicz 2008).

The process of transforming our fashion industry into something more sustainable and more sensitive to our needs will take time. It will be a long-term commitment to a new way of producing and consuming that requires widespread personal, social, and institutional change.

Figure 23

P R O C E S S E S

THE HISTORY OF DENIM Jeans were originally invented by Jacob Davis and Levis Strauss in1873. They were names after the city Jeane, in Genoa Italy as it was known for its manufacture of cotton corduroy. Jeans are manufactured using denim. Its name originates from a city called Nimes, France. Weavers in Nimes tried to reproduce the cotton couduroy that was being manufactured in Jeane, and in error developed a twill fabric that later became known as Denim.

Denim is desirable for its many redeeming qualities. It is durable in nature meaning it will last long as well as its ability to absorb dyes. An indigo dye commonly used in Indian manufacture is also the same dye that gives denim its distinctive blue colour. Indigo dye can be imported from places such as China, India, Greece and Rome as is used favourably for its organic properties.

(History of Jeans, 2018)

Figure 24

P R O C E S S E S

DENIM GARMENTS The process of making a pair of jeans is not exactly a clean one. It is estimated that more than 2,500 gallons of water are used when producing just a single pair of jeans. Because jeans are an everyday item and in other cases a wardrobe essential, large amounts of jeans and other denim products needed to be made each year.

A greener chemistry process is emerging into denim production and could make the process of dying denim a whole lot greener. This process is called Advanced Denim. It can produce a pair of jeans using up to 92% less water and up to 30% less energy than other denim manufacturing methods. Unlike these other dyeing methods Advanced Denim uses just one dye vat, instead of the usual 15. In addition to this new technology, Advanced Denim generates up to 87% less cotton waste and barely any water waste.

(American Chemical Society. 2012)

Denim is measured in ounces, a lightweight denim is anything 12 Oz or under. a mid weight is from 12 Oz. – 16 Oz and a heavyweight denim is anything above 16 Oz. Lightweight denim is categorized as the easiest and most comfortable weight of denim. It is lighter and more breathable but is more susceptible to fading in colour. Midweight denim is considered to be the most common denim used on todays clothing markets. The denim is stiff so holds its shape better, even after washing. This denim is slightly thicker and therefore warmer so are perfect for the winter months.

Heavyweight denim is stiff enough that it could stand by itself. It is considered to be the least comfortable form of denim and due to its heavy weight it is also more costly that slightly lighter raw denim.

(Connor, 2013)

Currently five billion pairs of jeans are produced every year. In order to produce such a vast quantity of jeans, around 420 million m3 of water and 900,000 tonnes of chemicals are used in the process.

(American Chemical Society. 2012)

Figure 25 - 30

Figure 31

P R O C E S S E S

UPCYCLED DENIM For both the designer and the wearer ultimately it is the exclusivity associated with the remanufactured fashion garment that becomes the attraction, aside from the environmental benefits, and perhaps that is why upcycled garments continue to hold their popular appeal. The term sustainability in denim evokes positive ideas related to ethics, savings and social responsibility.

And while these words traditionally refer to the end product alone, the industry as a whole is moving towards sustainability while embracing social responsibility.

There is a major shift in how much socially responsible trends are being embraced by mass market retailers and their consumers. Excitingly, there are brands that have redesigned products that focus on reducing, reusing and recycling denim to create new looks.

(Gwilt, A., 2015, pg 31-33)

P R O C E S S E S

DENIM TRENDS

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Demna Gvasalia and his DĂźsseldorf design collective Vetements kickstarted the remade denim trend when the brand dropped its retooled vintage jeans in the A/W 15/16 debut. Each pair is meticulously made from hand-picked vintage denim, with two pairs deconstructed and spliced back together. The distinctive fits are defined by signature cut and design details such as unaligned waistband and hems, lower-set back pockets, and seaming at the knees and seat. Despite a hefty price tag of $1,450, the styles have sold out season after season.

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Not technically a denim brand, Redone is a movement that aims to create sustainable fashion that is unique to every wearer. Launched in LA by denim enthusiasts Jamie Mazur and Sean Barron, Redone deconstructs vintage Levi’s jeans then puts them back together to create upto-date styles. One of the first to kickstart the upcycle trend, the label already boasts an allegiance of celebrity fans and has become the ideal choice for both the eco-aware and vintage-denim fanatics alike.

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James Flemons, the designer behind Los Angeles-based, demographic-free label Phlemuns, creates pieces that combine the eccentric spirit of the 1980s and 1990s and a futuristic-vintage feel. The former Opening Ceremony employee made a name for himself with his debut S/S 16 collection of refurbished jeans, which he single-handedly created from cut-and-pasted pieces of vintage denim with meticulous tattered and shredded panels. His coveted designs have won trailblazer fans such as Solange and Miley Cyrus.

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High-end Japanese casual brand Moussy is another denim line to tap into the trend for reworked denim. The label's S/S 16 collection features a selection of Vetements- and Redone-inspired shapes that use cut-and-paste-style piecing and unexpected laundry effects on a mixture of idiosyncratic silhouettes. Denim constructions and washes have an authentic vintage appearance, while stonewashed rigid denims are reimagined with raw frayed seamsand indigo-blocked panels.

S U S T A I N A B I L I T Y

DENIM SUPPLIERS PICK NATURAL Founded in the early 1990’s, Pickering International Inc. is an import and wholesale company specializing in textiles made from sustainable and organic fibers. Throughout the years, while striving to be a reliable and trustworthy source for fine products at reasonable prices, we firmly believe that we can achieve this goal by consciously choosing natural resources that are good for our environment and selecting labor practices that do not violate human rights.

(Pick Natural, 2018) CLOTH HOUSE Cloth House was established in 1984 and stocks a mixture of new and vintage products which are carefully curated and always changing. Stocking a huge variety of beautiful fabric, from hand printed cotton to washed linen, workwear denim and vintage habedashery, as well as a huge variety of natural cloth we also stock interesting technical fabrics, jersey and wool. For many years we have steered clear of using any materials that may be harmful to the environment, all of our packaging is either recycled or recyclable.

(Cloth House, 2016)

OFFSET WAREHOUSE All of the products sold on Offset Warehouse either benefit the people who make them, the people who handle them (including us!) or the planet.

Of these sustainable suppliers, I ordered a batch of sustainable fabrics from Offset warehouse. Foe just ÂŁ4.99, I recieve a brown paper bag full of denim off cuts from all of the clothing companies that send their waste fabric to Offset to be re-sold.Inside the bag, i had remnents of lsoft leathers, denim, cotton and also suede. This company promises that all of their offcuts are provided based on wanting to sustain a better way of ridding clothing companies of textile waste.

Offset Warehouse, 2018)

Figure 32

M A R K E T

BRICK LANE Before visiting Brick lane, my expectations were to find an array of quirky shops that stocked vintage clothing. My expectations were met by a few stores stocking garments I believed to be vintage and of a time period between the 80s and 90s.

When visiting I was met with an array of sprayed walls, featuring gernal grafitt mixed with genuine pieces of artwork. A lot of pop art was featured along the walls aswell as gang tags and quirky artwork.

These images helped me to understand However, I found most stores to be a the type of person i want a brand to apbit more grunge and arty and based on peal to and the type of aesthtic i would my personal style, I found it a little univi- need to attract my chosen target market. ting. I feel that more brand would not fit in this type of area and I think I would I found the underground vintage market place myself in a more high street setting. appealing, it showed hope and inspiration for some smaller vintage brands and The Images to the left were taken dur- also diplayed a wide variety of stock that ing my visit to Brick Lane, I wanted to you wouldnt normally find. Each garment, capture the overall vibe of this small unique in its own right, inspired me to think but densly populated street and try of new ways of making unique denim fashto understand the style in this area. ion that would sell a lifestyle along side.

MARKET

M A R K E T

ROKIT VINTAGE I photographed many store fronts and visited different stores to see what they sold inside, one that caught my eye in particular was Rokit. This brand had two stores, Rokit and Rokit Vintage. Selling in two seperate locations along Brick Lane and also selling in the vintage basement market.

Inside of these stores I found a wide variety different styles of clothing, all vinatge, but different in style. Broken up into smaller sections, sweats, occassion, sports and denim. Alongside the vintage denim sold, they also have a Rokit Recycled. These products are made from any left over or damaged textiles and are usually sold instore as accessories like hats and scarves.

My initial thoughts of the store where that it was busy and slightly unorganised but that it was inviting and I was interested to look through all of their stock. Their branding is minimal in terns of swingtags and packaging but their store fronts feature mannequins and glittery backgrounds suggesting I found that many of the garments being sold in store were damaged or marked. As a customer I find that off putting when buy a garment and considering the high prices being charged, I didnt feel enticed to buy anything

MARKET Since the store Rokit was closest to what I plan to sell, I looked into their website and social media also. I found that their website was inconsistent with their shops.

Their stores had a messy and unorganised feel, similar to a jumble sale but intriguing enough that people want to scramble through and find a bargin. Their website told a different story. Everything is well laid out, neat and tidy and quite minimal.

Since Rokit started out life as selling primarily vintage denim, To Hella Betty they are considered a main competitor. Although not nessecarily selling all similar things, their positioning in the market is a competitive one and is something to aspire to.

a denim moodboard

TREND

T R E N D

DENIM DETAILS Denim AW 18/19 - Denim Details For AW 18/19, denim trends are seeing an increase in the finer details with stitch, statement buttons and updated flys becoming all the rage, it is important as a new business to understand what our consumers want and to remain current whilst maintaining our vintage label.

Analysis: • • • •

Heavy-duty utility: a strong workwear and utility influence.

Skewed proportions: the wave of friskily and weirdly proportioned denim continues to evolve.

Uneven piecing, tweaked and detached waistbands, new silhouette direction.

Decorative stitch: high contrast stitch e.g. Stab stitch, neon threads, decorative yoke seaming.

Denim trends: • 3D pocket • Decorative stitch • Fly update • Extreme folds • Yoke upgrade • Contrast patch • Heavy-duty • Vivid stitch • Skewed proportions • Functional straps • Statement buttons • Dart detail

(Denim Team, 2018)

T R E N D

SEASONAL TRENDS

- ADJUSTABLE SKINNY Fabric: Authentic vintage bistretch denim, hidden zippers on centre or side seems Market: women/young women Drop: winter transitional - BELTED STRAIGHT Fabric: 10-12oz raws offer structural form, while exposed zippers and industrial-style hardware add streetwear appeal Market: women Drop: winter transitional - BONDAGE JEAN Fabric: centre seams are cut open and woven back together via lace. Keep the look clean with eyelets or rough with haphazard punk stitches Market: young women Drop: Winter - PUNK MINI Fabric: borrow from biker hardware with chunky polished zippers and ergonomic seeming, or fetish-style piercings as fastenings. Slick resin coatings mimic leather Market: young women Drop: winter

TREND - WRAP JACKET Fabric: washed 10-12oz denim allows for gathered form. Cuts nod to oversize gowns with slouchy hoods and belts for cinching volume Market: women/young women Drop: mid-autumn - HEAVY DUTY JACKET Fabric: fireman clip fastenings or chunky exposed zippers replace traditional buttons on trucker jackets. Washed 14oz denims for winter projection Market: women/young women Drop: winter transitional - OVERSIZE SHEARLING Fabric: a 1970s sentiment drives rich fabric combinations such as raw green cast denim, suede and fluffy shearling. Oversize collars and exposed shearling cuffs become feature details.

Market: women Drop: winter - CONCEPT MILATARY COAT Fabric: glossy raw denim or wool blends nod to tweedy looks. Signature military details such as belts, pockets and collars are exaggerated.

Market: women (Denim Team, 2018)

MARKET

M A R K E T

SURVEY RESULTS To find out more information on what types of denim women are wearing, I conducted a survey to understand what makes the perfect pair of jeans and how they make a woman feel. This survey consits of 10 questions, all designed to help me work out what features are important and what are not so important.

Q1: I asked each woman to tell me their name. This is so each woman felt as though the questions she was answering were personal to her and that her opinion mattered to me.

Q2: I asked each woman to tell their age, as this will help me to narrow down the age range of woman I will be hoping to appeal to. From this I found most woman I asked to be 18 - 25 or 36 - 45. This gives me a huge range of customers to appeal to and means that social media is important to promoting my business.

Q3: I asked each woman to rate features commonly found on a pair of jeans from most important to least important. Listed 1 - 9 with 9 being the most important. This question helped me to illimate any features that women may find to be useless and enhance the features that woman love more. This question demonstrated that where and how a garment is made is becoming more of an important factor than what it is made out of.

Q4: I asked each woman to tell me which online retailer they would purchase jeans from out of the seven options I gave them with an option to specify other store as well.

I found that women typically buy from TopShop and avoid stores like Debenhams.

MARKET Q5: I asked each woman to state how often during a week do they wear jeans. With most people saying between three times a week to everyday, it stresses the importance of jeans as a denim garment as they play an important role in a womans wardrobe almost everyday of the week.

Q6: I asked each woman to explain in a few words how their jeans made them feel about their bodies.

With the majority of woman saying their jeans made them feel comfortable and stylish, a lot of woman also mentioned that jeans made them feel fat and often clung to problem areas of their bodies. As body positivity is important to this project, this data will become most useful to working out what is important to denim.

Q7: I asked each woman to simply answer if they would buy vintage denim online if accurate measuremnts of jean sizes were avaialble. From this, I found most woman said yes, meaning my brand has a place in the vintage denim market.

Q8: I asked each woman to tell me what they would change about their jeans. This question recieved mixed answer but each valuable in it’s own right. A common answer was tighter ankles and better fitting around the waist. Other answer included more high waist, more interesting designs and longer length.

Q9: I asked woman to tell me how many times a year do they buy their jeans. A common answer was every six months to once a year. This outcome says to me that women want to buy jeans made of quality material and a guarentee that they will last.

Q10: The final question I asked each woman was how they buy their jeans, whether they purchase in store or online. A vast majority of woman said they would buy their jeans in store. Although I plan for my business to be based online, I see this result as scope for me to eventually have a store.

Through this series of questions I was able to again vital information about what makes the perfect pair of jeans. This gave me an insight into what features of jeans are most sought after and how best to improve a pair of jeans to ensure that there is the paerfect pair for everyone.

Although Hella Betty is primarily selling vintage denim, jeans, jackets and dresses, this survey gave me options for future developments into both upcycling and customisation.

MARKET

M A R K E T

CAMPAIGNS

Number of women's and girl's denim trousers and breeches sold by manufacturers in the United Kingdom (UK) from 2008 to 2016 (in 1,000s) This statistic displays the annual sales volume of women's and girl's denim trousers and breeches manufactured in the United Kingdom from 2008 to 2016. In 2016, UK manufacturers sold over half a million denim trouser items for women and girls. www.statista.com

Figure 33

Monki cares Monki cares, ia campaign set up by the brand. They sell a 100% organic cotton denim range with a goal to use only recycled and sustianably sourced materials by 2030.

(Monki.com,n.d) Gap x Mr Black The new campaign is based on a fourpart mini film series, entitled "Mr.Black Garment Essentials x Gap Guide to Denim", which shine a light on various areas customers can tap into to take better care of their denim, ranging from water usage, to sustainable after care. The mini series also addresses certain denim after care myth, such as freezing your jeans and stresses the best way to prolong the garment lifespan is by washing it less.

(Hendriksz. V, 2016)

SOLUTION Figure 34 - 36

S O L U T I O N

VINTAGE DENIM Deciding upon a solution for the on going textile waste issues was not going to be easy. Nothing I could have imagined would ever completely solve the issue at hand. But being a part of the solution was an option I could explore. Denim is a transeasonal trend, regardless of the season, there isnt a time when you wouldn’t find someone wearing at least one item of denim. This got me thinking about how much denim (jeans in particular) mean to me and how much of an impact they have on my daily wardrobe.

Vintage denim is something that also never seems to fade with new trends.

Wearing vintage levis or Tommy Hilfigers is something that comes back in fashion with every new trend cycle. Since denim is of great importance to my own daily routine, I imagine it to be as important to someone else.

This leads me into an idea of selling vintage denim. Not just any old denim, vintage classics that would otherwise be very expensive to source from anywhere else. I would want a denim company that is accessible to anyone and everyone, both price wise and size wise.

Not only would I intent to supply high quality vintage denim, bt I would look to follow the body positive movement, that see’s women emerge into strong and successful individuals. By way of empowering women, I intend for my brand to focus primarily on a lifestyle rather than just the denim at hand.

SOLUTION

S O L U T I O N

BRANDING OUTLINES Since my brand is to follow the body positive movement it semms only befiting that my logo is female. Not wanting to focus on any one race, shape or size of women, my logo was deisnged based on what I thought an independent and free women would look like.

However, before developing a logo for my brand< i wanted to get a feel for colours, so I could better understand what direction my brand was taking and to also ensure that once my colour pallette was chosen, it would be somthing I wouldâ&#x20AC;&#x2122;t stray from.

Being female doesnâ&#x20AC;&#x2122;t mean everything must be pink and pretty, however in this case this is what I chose. Typically someting girly would encompass pretty girls, glitter and sometimes a fluffy pen. For my brand I wanted more than that. I want to focus on all things female that remind me of independence and freedom as well as belonging and sisterhood.

These colour palettes were the first schemes of colour I began playing with.

I wanted to incorporate girly with powerful and didnt want to use typical hot or baby pinks on their own. By mixing them with bold colours like yellow and plum I was able to create a colour palette that I felt could be branded well.

M A R K E T

CONSUMER PROFILE

Betty is a self-loving woman, caring and compassionate and aware of her surroundings.

She takes great care in making sure she has fun, eats well, lives well and that she loves everything around her.

Betty can be any age, and shape and any size and infact anyone. Choosing a sustainable way to shop is always a top priority and maintaining self worth is a must.

M A R K E T

HELLA BETTY SWOT STRENGTHS Body Positive All Female F un and Colou rful C reative All Inclusive Garments Sourced Su stainability

OPPORTUNITIES Betty of the Month t o promote confid ence Chance to Expand in the UK Market Possible futu re Co ll aborations

WEAKNESSES N ot a n es t a b lis h ed f ollow in g N o Web s it e N ot a n es t a b lis h ed R ep ut a t ion A Sin g le Sup p lier

THREATS O t h er w ell es t a lis h ed d en im c oma p n ies Cus t omer en g a g emen t is limit ed t o on lin e

Figure 37

STRENGTHS Appeal i ng t o a w id e audi en ce .

S i z e I n c l u s ive .

S i z es r a ng e fr o m 0 t o 24 M eas ur e m e nt s a r e a l l l i s te d i n f u l l

WEAKNESSES Pre m ium p rice s a re nt acce ssib le t o e ve ryone .

S hip p ing out sid e of t he US is cost ly V a g ue d e scrip t ion g ive n on a ssocia t ion wit h a cha rit y

OPPORTUNITIES

THREATS

Co l l abo r a t io n w it h c e l ebr i ty a m b a s s a d o r s .

Co l l abo r a t io n w it h o t her des i g n e r s I n tr o duc e ne w d e s ig ner s to th e b r a n d

Ha ving Khloe Ka rd a shian a s b ra nd owne r a nd a m b a ssa d or could b e a risk a s she a lre a d y owns D A S H clot hing .

Ha s op e ne d four st ore s in t he UK b ut none in t he US

(GOOD AMERICAN, 2018)

COMPETITORS

GOOD AMERICAN was launched October 18th 2016, it has opened a handful of stores in the UK and is available exclusively on goodamerican.com and at select stockists, such as Selfridges and Nordstrom.

D E V E L O P

T wo po p u l a r l o c a t io n s on B r i ck L a ne On l i n e W e b s it e R ec y c l e d c l o t h in g l in e al o n g s id e vint a g e S o i l d s o c ia l m e d ia

WEAKNESSES S om e g a rm e nt s a re fa irly d a m a g e d in st ore S t ore front s a p p e a r uninvit ing Pricing st ra t e g y is we a k We b sit e is not b ra nd e d t he sa m e

OPPORTUNITIES

THREATS

Cel ebr i t y e n d o r s e m e n t s c o ul d b o o s t s a l e s E x pan d ing t o a t h ir d l o c ati on U pdati ng t he w e b s it e an d s to r e f it t in g s

The b ra nd is only fa m ilia r is you a re a re g ula r Brick L a ne visit or A niche m a rke t t o se ll to Grung e a nd not a p -

p ea lin g t o ev er yon e

(Rokit, 2018)

ROKIT began as a market stall at London's iconic Camden Market in 1986.

They specialised in vintage denim thrifted from American cowboys. The demand for their product was so great that within a few weeks the stall was exchanged for a two storey shop on the high street.

STRENGTHS

ASOS MARKETPLACE

STRENGTHS

WEAKNESSES

A p l a c e w h e r e a nyone c a nn c o m e a nd s e ll unw a n t e d c l o t hing A g r e a t p l a t fo r m f o r s m a l l b u s ine s s t o st a rt out.

Only online sa le s No g ua re nt e e of a re lia b le se lle r No g ua ra nt e e of g a rm e nt q ua lit y S e lle rs ha ve t o g ive 20% com m ission on a ll sa le s

OPPORTUNITIES

THREATS

A c o n t inu a t io n o f sa le s S e lle rs cre a t e t he ir own g r o w t h fo r t he c o m p a ny p ricing st ra g t e rg y, t his H e l p ing o t he r s m a l l could le a d t o inconsist c l o t hing b u s in e s s e s e nt p ricing a cross t he g r o w in p o p u l a r it y m a rke t p la ce

ASOS is a global fashion brand aimed at 20-somethings. Selling cutting-edge fashion and offering a wide variety of fashion-related content.

(ASOS, 2018)

ALL INCLUSIVE BODY IMAGE

HIGHSTREET PRICES

PREMIUM PRICES

ONLY INDUSTRY STANDARD

DEVELOP

D E V E L O P

LOGO Hella Betty started out life as a mere idea. Without a name I was unable to realise the brands full potential. Choosing a name was complex. I wanted something that was undeniable female but that also screamed independance.

I began researching popular tablely different works used

words used in different eras. More noto describe girls during different eras.

Throughout the 40’s, words such as Dame were used to describe a woman. During the 50’s words such as Baby and Betty were used. During the 60’s and 70’s words such as Bunny, Chick and Dudet were used when speaking about a woman. Up until the 90’s words like Chica or Pigeon were used.

So, now that I had some knowledge on female terminology from different popular era’s I wanted to narrow down words that were used to desribe the way a woman was and how they behaved.

A popular word in the 40’s similar to how we use the word cool, would have been gas. A way of describing when someone was fun and a great time.In the 50’s a coomon alternative for cool was Boss and during the 60’s and 70’s , Bitchen was commonly used in place of the word cool.

I listed the common words side by side until I found a combination that best describe the kind of role model I wanted the brand to replicate.

Of this Hella and Betty were two words that sat well togtether and describe the kind of woman I thought would buy from my clothing brand.

Hella Betty Hella Betty Hella Betty Hella Betty Hella Betty Hella Betty

Hella Betty Hella Betty Hella Betty Hella Betty Hella Betty Hella Betty

This logo started out as a written logo, just using the name as a form of promotion. After trying a series of fonts with each colour from the palette, I was able to narrow down two fonts that I felt helped decribe the brand. Athene (left) was simple and modern as well as ledgible and girly. Streetwear (right) was disticively female and carried more personality. Deciding between the two was hard but Streetwear carried more of a soft feel and could look good when teamed with a picture logo.

DEVELOP

- Plum Purple Using just a written logo was simple in nature but didnâ&#x20AC;&#x2122;t fully reflect the independent nature of the brand. I need ed to create a logo that demostrated to viewers what I thought an independent woman looked like. Spending time on illustrator, I was able to amend some previous artwork I lready had and create the logo as above.

In my mind, this figure was going to be assumed as the opitomy of being an idenpendent woman. She stood tall, in bold colours and proudly wore the Hella Betty label Since this logo was intended to change with each season, keeping to an approriate colour scheme for each season was essential. I wanted the logo to reflect the season it was intended for. Overleaf is are the logos I intend to use for each changing season.

The Midnight Blue logo is seasonally correct for winter. Using a cool tone purple, I was able to clearly demostrate the wintery nature of this logos. This was able to be applied to all four seasons.

With Pretty Pink being used for spring, Fuscia Pink for Summer and Lemon Yellow for Autumn Upon further designing, I found the purple/pink used in the original logo a cold tone and when used in other contexts began to make the brand look sickly. By toning down the colour to a softer more neutral pink and removing the yellow hoop, I discovered a logo that truly represented Hella Betty and was ready to be displayed as part of social media.

- Midnight Blue -

- Lemon Yellow -

- Fuscia Pink -

- Pretty Pink -

SOCIAL MEDIA

S O C I A L

M E D I A

INSTAGRAM Having a good social media was key for the launch of Hella Betty. Without Instagram, I couldnâ&#x20AC;&#x2122;t see any other effective way of promoting the brand.

With plans of uploading at least two posts a day, I quickly saw a rise in the number of follows and in follows that remained loyal to the brand.

Instagram was the main source of communication between Hella Betty and potential customers. Since my target market prodominently uses Instram over Facebook, it made more sense to build a strong Instagram profile.

Overleaf are some of the posts used on the Hella Betty instagram account.

These in particular were used to attract attention to the Etsy shop and encourage people to start buying. It was also a way of informing people when new stock was arriving and where to find it. These posts recieved positive feedback and were averaging at 50 to 60 views within an hour of posting the photographs.

From the statistics gathered from Etsy, I was clear that people were prodominantly viewing the Hella Betty shop via the shop link in the Instagram bio. This information meant that adding as many pictures to Instagram weekly , as possible was vital to maintaining peopleâ&#x20AC;&#x2122;s interests.

S O C I A L

M E D I A

INSTAGRAM Instagram is of course used as a form of visual promotion. Before the days of Instagram, we would post all sorts of pictures to Facebook instead. Since its launch in 2010, it has taken over as being the most popular form of social media for the millenial age group. Promoting anything via Instagram is easy as long as you have relevant hashtags to add to the description.

For Hella Betty there are three main hashtags, #hellabetty, #sustainablefashion and #vintagedenim. These three hashtags are used on all social media posts along with a few other interchangable tags, like #thefutureisfemale and #vintageclothing.

Although Hella Betty is a clothing brand, struggling to narrow down an appropriate age group to target my brand at meant having to tailor my Instagram to more of a lifestyle page then a clothing page. Although denim is very much at the forefront of branding, inspiring women with powerful pictures and inspirational messages is even more important to the brand.

For the brand, I aim to post twice a day. Based on trial and error, I have people are most responsive between 10 and 11 am and 3 and 4 pm. when people are most likely to be online, I use this time windows to post based image in the morning and an inspirational based image in the

found that Since this a clothing afternoon.

On average, the posts recieve between 10 and 30 like. Since we only have a small following, at best that is roughly half of Hella Betty followers that are consistently liking posts.

SOCIAL MEDIA

SOCIAL MEDIA

S O C I A L

M E D I A

FACEBOOK Facebook is mostly used for posting events, store links and competitions. At first, I was unsure as to whether Facebook was right for my brand and if it would really benefit my brand and promote sales. As Instagram is the brbds primary source of communication with potential customers, I used Facebook as a way of backing up what content was already on Instagram. I used it as a way of communicating with a slightly older generation of women who could potentially relay the brand to others.

Currently the Hella Betty Facebook page doesnâ&#x20AC;&#x2122;t have a large following of people. This is due to my efforts being placed on growing the Instagram page, as Hella Betty is a company that benefits from visual aids when informing customers of stock, photoshoots and other things that the brand could affliate with.

In the near future, I have plans for hella Bettyâ&#x20AC;&#x2122;s Facebook page to have a great deal more follows. Something that the brand will be launching soon is Betty of the Month. This is a competiton that will encourage girls and women to submit photographs of themselves doing something good for others, something out of their comfort zone of wearing an item of Hella Betty products. With this competition, the winner will recieve a prize, branded around Hella Betty and will have their good deed photograph shared across both social media platfroms.

Although this is something that many other companies engage in, I want to focus on empowering woman that are local to the area in which Hella Betty is based and enable a community of women to be built from this.

DEVELOP

D E V E L O P

MOTIF DESIGNS The branding for Hella Betty was based mostly on my own personal preferences and centred around things I am interested in and what I think a future Hella Betty customer should also be interested in. Motifs are popular amoungst lots of high street stores. Pretty Little Thing often use motifs when promoting new lines of clothing and when posting to their instagram feed.

Since a lot of my interests lie with things I find to be cute or sweet, I created a set of six motifs in Illustrator that I new could become iconic motifs the more I used them in my branding. I wanted to be able to engage with my customers at any age and so produced a series of motifs that were inter-changeable and could be used in different ways for diffeent forms of promotion.

These motifs were used as stickers, formed part of Instagram posts, lookbook and a press release. Maintainging consistency with the motifs meant that I began recieving positve comments about them via social media.

At this stage in the project, I didnâ&#x20AC;&#x2122;t feel as though I had narrrowed down my colour palette just yet so was still free to explore wirh colours and patterns. As Hella Betty is a sustainable clothing brand, and because palm leaves make a reappearance as a pattern each summer, I designed a palm leaf pattern that I could use for packaging and possibly clothing tags.

During most of summer 2017 and now as we approach summer 2018, things that are either shiny or resemble a unicorn are often popular among people of college and university age range. Hence designing two unicorns to be used in future merchadise for the brand.

a photography moodboard

SHOOT ONE

PHOTOSHOOT

P H O T O S H O O T

STUDIO SPACE Around the time of deciding what type of aesthetic Hella Betty should have, experimenting with photography was key. In my mind I knew I wanted to use as many denim products as possible and I had an idea of the type of styling I was interested in but in terms of photographing clothing on a model, I was stuck for ways to do it.

This photoshoot was more like a trial run. It taught me that my style of photography was not adequte enough for the type of brand I was trying to push. Relying on styling alone wasnâ&#x20AC;&#x2122;t going to be enough to gain interest on social media.

This photoshoot taught me that I am very interested in the product I am trying to sell and have many ideas on how to push it but that photographing inside a studio with incorrect equiptment wasnâ&#x20AC;&#x2122;t going to cut it. This lead me onto the decision to plan a photoshoot at another location using several different models, including the one feature in these photographs.

SHOOT TWO

PHOTOSHOOT

P H O T O S H O O T

PEGGY PORSCHEN With an already established aesthetic throughout Hella Betty instagram, I wanted to continuing inspiring followers to think pink, follow your heart and embrace life. What better way to do this than by eating cake! Peggy Porschen, based in Kensington, London was the perfect spot to capture the true essence of being bold, eating whatever the hell you want and being comfortanble in your own skin. Despite the previous shoot not going to plan, I felt I worked well with my model and was keen to use her again.

The shoot took place outside of Peggy Porschen, on their cleverly crafted porch covered in beautifully colour coordinated flowers. The perfect backdrop for a blue themed shoot.

This was sale. pect,

photoshoot was purposfully shot for social media and in no way advertising any merchadise that may be for I felt that by seperating the merchadise from the social asI was set to achieve a much better standard of picture.

Nailing my models appearance was less about what she was wearing and more about how she was feeling. Keeping the shoot casual meant my model was comfortable posing in front of a crowd of people.

Something that we would want all Bettyâ&#x20AC;&#x2122;s to feel they could do!

LAUNDRETTE Since planning a shoot is not something I have paid much attention to before, I felt it essential to plan out the next shoot to the full. Shooting in a Laundrette is something that I felt fitted the aesthetic of my brand well.

Since I had previously used only one model, I planned to use seven for this shoot, each wearing a denim garment different to the others.

Shooting in a laundrette meant having the proper measures in place to ensure saftey during the shoot. As my models were under 18 it meant having parental consent before shooting any photos. This posed a roblem as many parents of the models felt that the style of photograph I was after was not something they wished their children to par-take in.

Because of this, my idea to shoot in the laundrette was scrapped and I began working on a shoot idea that was more free and lessed staged. This is something that I wanted the brand to value anyway, so opting for something less sultry and posed and making use of the great space around us, relocating the shoot toa part of the New Forest would be the next course of action.

Figure 38 - 42

PHOTOSHOOT

P H O T O S H O O T

SHOOT THREE

NEW FOREST Based on previous shoot experiences I discovered that my skills as a photographer had been exhasted and I was in need of a real photographer that could realy capture the essence of Hella Betty. I was offered the opportunity to use a local photographer trying to build his portfolio.

Since Hella Betty is a sustainable company, it seemed befitting to photograph the clothing in the wild. Choosing a secluded spot in the New Forest, myself and a team of people helped arrange the outfit changed, hair and make-up and general care of the model.

This shoot involved working with our natural surroundings and embracing the local wildlfie as well as ensuring all major denim details were cleverly caught on camera.

Working with a photographer was easier than first epected. I was able to relay any ideas I had and found it easy to explain the types of shots I wanted. The shoot was kept professional and to a tight three hour time schedule, whereby the photographer took over 500 photos and 6 video clips.

I then went on to use these images to creat a Spring Summer lookbook for Hella Betty. I was able to highlight the really good elements of the denim pieces that were ready for sale and was able to maintain the brand personality through out.

PHOTOSHOOT

P H O T O S H O O T

PHOTOSHOOT

This shoot gave me the opportunity to experiment with different styling approaches. Whilst maintaining a care free and cute outlook, I wanted each shot to tell its own story and for the most part, allow those that view the photgraphs to understanding the female empowerment message that Hella Betty is conveying.

#hellabetty

#vintagedenim

#sustainablefashion

#bettyofthemonth

PRESS RELEASE

D E V E L O P

PRESS RELEASE The aim of our press release was to inform potential customers of our presence in the vintage market. Informing people of who we are and what we stand for is vital to our long term success. Launching our Etsy shop on April 6th, we wanted to inform people of our social media links as well as links to our online store.

Maintaining a theme throughout the project was important, and since I was trying to uphold a green and sustainable brand value, adding our palm leaf motif to the press release was very fitting.

At the bottom of the press release, noted are the four main hashtags used throughout Hella Betty social media.

Sticking to these hashtags helps to build the brand identity and leads to many people discovering us on social media and becoming involved in the brand.

DEVELOP

D E V E L O P

PACKAGING Before deciding upon packaging ideas, I wanted to take into consideration my own experiences with packaging when odering online. I often find there is too much plastic used and unessesary amounts, always plastic bags inside of plastic bags. When thinking about my own packaging, I wanted something that was practical, durable for shipping and also kept the product in perfect condition. Pouches are often used for coffee and other food products. With a recycled plastic lining, these puches are made using Kraft paper and are 100% recyclable. This idea was perfect for my product and I went about ordering samples of the puches from different comapnies. One in particular, Packlinq, based in the Netherlands, sent samples that were great sizes and were certified made from 100% recycled materials.

This was precisly what I was looking for and was keen to get designing a print for the packaging.

Using the motifs I had already designed, I tried using these and a form of packaging branding and designed the six below. Each packet would be vacuum sealed shut and would have a Hella Betty shipping label over the top as a second form of packaging security. This was both stylish and eco-friendly.

DEVELOP

D E V E L O P

PACKAGING QUOTES Now that designs were in place for packaging, I needed to gather up some quote for how much it would be to have them all printed, based on my requirments for biodegrabale ink and pouches.Taking to the interent, I found a handful of companies that specialised in the Kraft pouches and so entered the requirements nessesary for printing and waited to recieve written repsonses on cost.

The Pouch Shop Quantity: 1000 Total Price: ÂŁ432 Delivery: Delivery time will be 10 to 12 days. Where possible within 48 hours.

This quote was to have 1000 Kraft pouches, with plastic windows printed with one of the mocked up designs.

The Bag Broker Quantity: 1000 Total Price: ÂŁ271.20 Delivery: Delivery time will be 10 to 12 days.

The quote was for 1000 Kraft pouches with circlular plastic windows and one printed design.

I then went on to recieve quotes from comapnies outside of the UK that explained they didnt do print runs as short as 1000 so could not be considered as a viable option.

After considering the amount of pouches I would be having printed and based on the nature of this brand being in its infancy, it did not make financial sense to pay out a vast amount of money for such a large batch of pouches that I was yet to find out if they would even be used. This led me to decide against the puches as packaging.

ALthough environmentally the best option for Hella Betty, at this early on in the brands development, it was not a sensible option to have a big batch of packaging printed.

Although Hella Betty will not be using these pouches at this stage in the business, there is potential for them to be used at a later date as the brand begins to grow in popularity.

Still wanting to maintain an exclusive feel the the company, packaging will be made simpler and more personalised. A simple mailing box with the customers name and address will be on the outside of the box. Once the box is recieved and opened, inside will be a parcel, hand wrapped in recycled tissue paper with a thank you note placed on top.

Inside the tissue paper parcel will be our exclusive Hella Betty printed canvas bags, for which the product will be inside the bag along with our Hella Betty swingtag. Although not as intricate as the original packaging designs, everything is clear and consise and made using 100% recycled materials.

DEVELOP At a later date, these phone cases will be available on the Hella Betty website and Etsy store.

D E V E L O P

MERCHANDISE Hella Betty sells denim via its Etsy shop and has future plans to sell on other websites as well as itâ&#x20AC;&#x2122;s own site with itâ&#x20AC;&#x2122;s own domain. As well as selling on other platforms, selling other merchandise besides denim is a good way of maintaining a brand face. Below are a series of phone cases designed using the Hella Betty colour palette and motifs.

These phone cases will be silicone based and printed all over with the Hella Betty branding. There are plans for these phone cases to be released once every month and a half with different motifs and colours that will change with each new season.

All phone cases were designed using illustrator and mocked up on Photoshop. They have also been posted onto the Hella Betty Instagram page, whereby they recieved a positive reaction from followers.

FACEBOOK

GARMENT SUPPLIERS

INSTAGRAM

FINANCE

F I N A N C E

Glass Onion Vintage is based in Yorkshire and has been in production since 2006.The company started out life as director John Hickling, selling selected pieces of vintage on Ebay and at Londonâ&#x20AC;&#x2122;s Camden market, within a few years Glass Onion Vintage emerged as the UKâ&#x20AC;&#x2122;s leading vintage clothing wholesaler.

Finding a supplier for Hella Betty was an easy enough task. I wanted a company that was local enough that I could travel there should I want to and one that was inexpensive but good quality. Glass Onion Vintage have been supplying vintage clothing to many since 2006 and have been supplying vintage clothing to Bournemouth Vintage Kilo sale for a number of years.

I actually found the company after being invited to a vintage kilo sale on Facebook. I discovered that the kilo sales supplier was Glass Onion, based in Barnsly and set about finding more out about them. My initial engagement with the company consisted of asking for a price list and a stock list and enquiring into a little more information about the comapny itself Upon recieving their price and stock list, I listed stock that I felt I would be able to sell, based on my previous denim research. Communication with the company was easy and all done via email. They were very quick to respond and within a few days of initial contact I was ready to order from them.

After spending ÂŁ288.00 on stock and delivery, I recieved 40kg worth of denim and was ready to launder and sell the stock on the Hella Betty Etsy shop.

FINANCE

F I N A N C E

WHAT IS THE COST Stock: Canvas Bags: Business Cards: Swingtags: Stickers: Promotional Cards: Laundry: Photography: Lookbook: Brandbook: Packaging: Website:

£288.00 £138.00 £28.99 £15.00 £15.99 £5.00 £10.00 Free £30.00 £12.00 £4.99 £5.00

The invoice for clothing was sent from Glass Onion Vintage and outlines what I purchased, how much of each and how much each KG of stock cost.

Figure 43

The items listed to the left are for all of the costings that went towards starting the Hella Betty brand. In total £552.97 was spent on the start up of the company. From working out the cost of paying for stock and other essential items for the business, It helped me have a better undertsanding of how to work out the prices of the clothing I would be selling on the Etsy shop.

Working out the prices for each clothing item was done based on two factors, general research about the product and what the product was typically being solf for elsewhere and was also based on the amount of profit I was set to make out of the initial upfront costs.

Based on the pricing strategy of a 2.7% mark up. So for example I ordered 5 kilos of printed t-shirts at £6.00 a kilo. This worked out to £30.00 for that batch of t-shirts. Once receieved, I counted that of the stock recieved I had 30 t-shirts putting them at £1.00 each.

So for each £1.00 t-shirt, times that by the 2.7% mark up and I would be looking at selling each t-shirt for £2.70. This seemed an unrealistic pricing strategy and so I times the original £30.00 price for the 6 kilos by the 2.7% markup and divided it by how many kilos I had purchased.

So in this case it would be £30.00 times by the 2.7% which comes to £81.00 and then divide that by the cost of each kilo of stock.

The total mark up for each t-shirt comes to £13.50 and after factoring in the costs of the business start up that leaves the company with a profit of 6.50 per t-shirt sold.

This system was used to work out the costings and profits made for each item purchased from Glass Onion Vintage and helped me to work out the correct prices to sell each item of clothing for.

FINANCE

F I N A N C E

OTHER SUPPLIERS Fox Vintage Wholesaler

I found this company through Instagram when I was researching Glass Onion Vintage. The company is similar to Glass Onion but has slightly different guidelines they follow rather than Glass Onion. For example, Fox vintage do not launder there garments and they cannot guarentee the the clothing quality upon delivery.

The company operates as both a clothing wholesalers and as an idenpendent store selling on ASOS marketplace. They don’t have a website specifically for wholesalers to purchase bulk amounts of clothing but they are easily accesible via email are are friendly and helpful.

An email exchange I had with one of the memebrs of staff at Fox Vintage was a good one.

I was sent a detailed list of the stock and products they had to offer and was informed that they do not launder their stock and that I may find a wider variety of stock in another wholesalers.

For the same 30 kilo batch of stock, from Fox Vintage I was quoted £350.00 including delivery and tax. Unfortunately I refused to go ahead with the purchase as I felt spending an extra £62.00 than what I was quoted from Glass Onion and there was no guarentee of quality, plus laundering charges, for a start up business this initital cost was too great.

Bulk Vintage Wholesaler

Bulk Vintage Wholesaler are based in Philidephia, USA. Looking to outsource stock from abroad in a bid to see if prices were cheaper, I found this company through a mutal contact of Fox Vintage Wholesale.

They have a full functioning website, where customers can purchase vintage clothing either by piece, by bulk buying in kilos or by weight. Shipping costs from the US are based entirely on weight so to get an accurate list of prices from the company, I emailed them with a list of the stock I was interested in and asked how much it would cost to have it shipped.

For the same 30 kilo batch of stock, it would cost $293.00 or in pounds that would be £206. So for stock, from this company it made sense to buy the garments from this company and have them shipped. However this price was only quoted based on stock and VAT, not including delivery.

Delivery would take between 1 and 2 weeks and would cost $188.85 which in pounds is £132.92. Adding the shipping costs to the cost of the stock worked out to be £338.92. Although not a huge price difference between Bulk Vintage and Glass Onion, the delivery schedule is what persuaded me to chose Glass Onion as there was a guarenteed quick delivery.

ETSY

D E V E L O P

ETSY SHOP When selling clothing, it is important to chose the correct platform to ensure maximum sales. Because of the nature of my brand, having a website didnâ&#x20AC;&#x2122;t make finacial sense. It would involve me paying a monthly fee of ÂŁ30.00 to host a website with my Hella Betty domain and there is no guarentee of any sales. Using a selling platform that already exists was a logical place to begin.

Etsy is an online platform commonly used by small boutique businesses. As an e-commerce website, they are focused on handmade or vintage items and supplies, as well as unique factory-manufactured items.

PRESS PACK

Press Pack - Printed Hella Betty canvas bag - Hella Betty business card - Set of four Hella Betty branded stickers - Two Hella Betty promotional cards - S//S Look Book - Hella Betty chocolate lips lollipop

Hella Betty Printed Canvas Bag

D E V E L O P

PRESS PACKS

Hella Betty Branded Stickers

Hella Betty S//S Look Book

Hella Betty Business Card Hella Betty Promotional Cards

P R O D U C T

FLATLAYS

#bettyofthemonth #sustainablefashion #vintagedenim #hellabetty

Hella Bettyâ&#x20AC;&#x2122;s final flatlay includes: - Denim Product - Swingtag - Thank You Note - Look Book - Stickers - Business Card - Canvas Bag - Polaroid - Chocolate Lolly