Basics Fashion Design 04 Developing A Collectio PDF

BASICS Elinor Renfrew
FASHION DESIGN Colin Renfrew
04
DEVELOPING
A COLLECTION
v n
grow or cause to grow a group of accumulated
and become more mature items of a particular kind
advanced or elaborate
BASICS Elinor Renfrew
FASHION DESIGN Colin Renfrew
04
DEVELOPING
A COLLECTION
An AVA Book
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ISBN 978-2-940373-95-6
10 9 8 7 6 5 4 3 2 1
Design by Sifer Design

Cover illustration courtesy of Giles Deacon
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incorporate amendments in future editions.
2/3
1 Collection designed by
Poppy Dover.
Contents
Introduction 6
How to get the most out of this book 8
Collections and Collections designed

What is a collection? 10 their influences 52 for different markets 78
How to start a collection 12 Background 54 Haute couture 80

Research and development 18 Conceptual influences 56 Ready-to-wear 84
The team 26 Form and function 58 Mass market 90
Showing the collection 32 Futuristic influences 62 Home shopping 96
Global influences 64
Interviews Political influences 66 Interviews
Giles Deacon 38 Archivism 68 Ian Garlant 98
Shelley Fox 40 Jens Laugesen 100
Richard Nicoll 42 Interviews Ohne Titel 102
Markus Lupfer 44 James New 70 Emily Craig 104
William Tempest 46 Kenneth Mackenzie 72 James Spreckley 106
Colin McNair 48 Sophie Hulme 74 Simon Kneen 108
Louis Armadola 50 Will Broome 76 Gordon Richardson 110
Developing a Collection
4/5
Specialist collections 112 The student collection 138
Childrens wear 114 The brief 140

Footwear and accessories 116 Your portfolio 146
Knitwear 120 Research and development 148
Fashion jewellery 122 Presentation 156
Corporate collections 124
Interviews
Mark Eley 126
Sibling 128
Katie Greenyer 130
Holly Berry 132
Bill Amberg 134
Nicholas Kirkwood 136
Glossary 160
Featured designers 162
Useful resources 164
Acknowledgements and picture credits 168
Working with ethics 169
Contents
Introduction 6/7
1 Backstage at Prada A/W08.

I also like to work on fabrics that supposedly dont sell, Catwalking.com.
like kid mohair. I was forbidden to use it but of course it

became a best-seller for us.
Miuccia Prada
All designers go through the same stages when

developing a collection. Whether they have their own
label or are employed by a large company, the starting
point and processes are invariably the same: research,
design, development, editing and presentation.
Basics Fashion Design: Developing a Collection

will guide you through the different aspects of the
development process. The first chapter asks What is a
collection? It provides an overview, explaining who and
what is involved. Chapter 2 looks at the common themes
used by designers, from global and political influences to the
more abstract themes of humour and fantasy. Chapters 3 and
4 introduce different types of collections: looking at market
level, from haute couture to the high street; and specialist
collections, such as childrens wear and jewellery. The
final chapter is focused on you, as a student, to give
you guidelines and inspiration for designing your
own degree collection.
Underpinning each chapter are interviews with designers

from all over the fashion industry, who share their own
experiences of developing collections. These exclusive
interviews include illustrations and archive images.
Basics Fashion Design: Developing a Collection is richly

illustrated with images from international collections, both
on and off the catwalk, in addition to archive material.
Introduction
1
How to get the most out of this book
This book introduces different aspects of developing a collection.

Each chapter provides numerous examples of collections by
leading designers, annotated to explain the reasons behind the
choices made.
Key fashion design and development principles are isolated

so that the reader can see how they are applied in practice.
Captions Examples
These provide image Imagery accompanying
details and commentary the content, visually
to guide the reader in the describing design
exploration of the visuals development and
displayed. inspirational collections.
What is a collection? 26 / 27
The team The designer
1 Yves Saint Laurent in his The development process is cyclical and dependent upon a The designer is the central member
design studio in Paris, 1965. number of team members and specialist activities. The team will of the team and he or she is ultimately
responsible for creating the collection,
2 Giles Deacon backstage usually consist of a designer, a pattern cutter, sample cutter, sample from the initial design stages, right
at his A/W09 show. machinist and a costing/production manager. There may also be through to overseeing first samples
Catwalking.com.
people who specialise in sourcing fabric and trims, print designers for selling. The designer will brief a
team of assistants or the studio
and graphic designers. staff to create further research
or feedback for development.
As the number of collections being developed increases, so too will
Designers can have multiple working
the number of staff in the team or business. Many larger companies relations, dealing with everyone from
(designer and retail) have established separate business units or fabric and trim merchants, yarn
divisions to cater for the business demands and development suppliers and textile designers
to buyers, merchandisers, costing
processes involved. As such, within the largest fashion businesses, clerks, accountants and PR agents.
it is possible to have senior design positions with a responsibility The designer will take the responsibility
for a very specific product area, such as mens casual knitwear for all decision making and amendments
to any aspect of the process.
or womens jersey separates. The ability to communicate is just
as important as being creative; in
fact, it is often key to success.
Research and development > The team > Showing the collection
What is a collection?
1 2
Introductions
Special section introductions
outline basic concepts that
will be discussed.
8/9
Clear navigation Headings Additional information

Each chapter has a clear These enable the reader to Box-outs elaborate on
heading to allow readers break down text and refer subjects discussed in
to quickly locate areas of quickly to topics of interest. the main text.
interest.
1 2
The pattern cutter Sample machinist Sample cutter Studio manager
The pattern cutter will work with The sample machinist is different Some studios employ sample In a company that employs a team 13 Toiling the process of The blocks
the designers images and drawings, from a machinist on a factory cutters who work at great speed of designers and pattern cutters, a modelling on the stand to Designers will usually compile
which convey the direction and look production line; they are skilled at and accuracy to cut out the first studio manager coordinates all the creating flat pattern a series of blocks from which
of the collection. Often working with adapting new designs. They work sample patterns in the correct fabric functions between the sampling and by Camila Rossi. styles can be developed. A
the designer and sample machinist, closely with the pattern cutter to for the sample machinist to make up. production processes. This is block is a basic pattern shape
the pattern cutters responsibility is make up the toiles and first samples Smaller companies will expect the important if the company works covering the upper body and
to help realise an idea or vision in cut in cloth. The toile is made first: pattern cutters to perform this task; from multiple sites. the lower body, as trousers
three dimensions. it is a replica for shape but will not sometimes it is part of the sampling or a skirt. Each designers
be finished with overlocking or any process that is often given to blocks are refined basic
Working predominantly with the detailing. Details such as buttonholes students on work experience. shapes, often unique, and
overall silhouette sketched by the and pockets will be drawn on to the Sample cutters are also responsible the result of painstaking
designer, the pattern cutters skill is calico. Once the initial toiles are for cutting out lays, which are layers measurements, fittings and
to interpret the shape and proportion assembled, the designer and pattern of fabric with the patterns laid on top placement of darts and seam
for the new collection. The handle cutter will adjust the size and position and cut with a band knife or rotary lines. Blocks are often closely
and use of appropriate cloth to of collars and pockets and adjust cutter to produce multiple samples. guarded secrets; they form
achieve the overall silhouette is one hem lengths before cutting the This process is usually computerised the basis for excellent cut
of the key skills of the creative cutter. sample in the final cloth. In larger in larger companies, which enables and fit when modified. Toiles
Pattern cutters are also employed to companies, a sample-room manager samples to be cut out in factories derived from previous
work on less creative pieces, such will ensure that deadlines are met that are based overseas. collections may be included
as adapting previous patterns and across a wide range of sampling for future reference and
grading samples. Nowadays this requirements. Machinists will be designers can also unpick
process is more often done on a given bundles of cut work and a sourced garments to study
How to get the most out of this book
computer, but it helps if the cutter designers annotated sketch or a full cut and construction
knows the principles of grading specification sheet (which contains a techniques. This practice is
a pattern according to different drawing, accurate measurements used within companies across
body shapes and sizes. and detailed trims and finishes). all market levels.
Chapter titles Running footers

These run along the bottom of Clear navigation allows the
every page to provide clear reader to know where they
navigation and allow the reader are, where they have come
to understand the context of the from and where they
information on the page. are going in the book.
1 YSL A/W08. Collection

All creation is just recreation a new way of seeing designed by Stefano Pilati.
Catwalking.com.
the same things and expressing them differently.
Yves Saint Laurent
A collection is a range of garments, accessories or products

that are designed and produced for sale to retailers or direct
to customers. This range of pieces may be inspired by a trend,
theme or design direction reflecting cultural and social
influences, and it is usually designed for a season or
particular occasion. A collection is a grouping of outfits
or looks that are presented in a variety of ways, from
catwalk presentations to online web pages. Collections
are usually constructed from a combination of silhouettes,
colours and fabrics, with the emphasis varying depending on
the designers particular aesthetic. This chapter introduces
the concept of the collection. It explains who and what is
involved in the development process, from the early
design stages through to production and promotion.
What is a collection? > Collections and their influences
1
12 / 13
How to start a collection
Any successful or financially viable collection requires an enormous

amount of research, investigation and planning. Successful designers,
manufacturers and retailers have a clear understanding of their
customers needs as well as understanding their position in a highly
competitive market. In addition to the creation and realisation of
any collection, there are a range of issues that need to be
considered if the final garments are to hang in customers
wardrobes. For example, a collection may include a range of
white shirts. If the cut, construction and retail price is favourable
and there is a customer base for the shirts, and if the range is
delivered to stores at the right time and the stores pay for the stock
within an agreed time frame, then there is a good chance that this
is enough to start a fashion business. By offering a product that is
not currently available, or one with an added-value quality, fashion
buyers will consider stocking pieces from the collection. If the
pieces sell quickly (and therefore at full retail price) there is an
opportunity for the buyer to either reorder and replace stock
or plan to order the following season.
How to start a collection > Research and development
1 Christian Dior menswear

S/S08. Belgian designer Kris
Van Assches debut
collection for Dior Homme,
showing a tableau of male
models in white evening
shirts with 1980s-inspired
trousers. The arrangement
reflects Irving Penns classic
group of couture models.
Catwalking.com.
1
Market research
In order to gain an understanding director at YSL, designs up to 20 this way, later expanding into a range
of current fashion stock and ranges collections a year, covering every of product areas based on their hero
across market levels, many, if not all, occasion for menswear and product. For example, Calvin Kleins
designers will conduct a comp shop. womenswear. The pre-collection first collection was a range of
This term refers to comparing stock will account for up to 80 per cent womens coats and Ralph Lauren
in competitor retail outlets, regardless of the seasons sales, with main began his vast empire with a small
of market level. Quality of fabric, catwalk collections aimed at collection of ties.
construction and detailing are carefully press and publicity.
studied alongside prices and origin of Buying and selling presents a
manufacture. This provides a great Many small fashion businesses challenge in predicting how much
deal of information that is useful lack the infrastructure to provide fabric will be required for production
when planning and selling a fashion accurate market and marketing of orders, and the possibility of
collection. Ultimately, it will be the information. However, intuition reordering within a season. Too
fashion buyers who make the and awareness of fashion directions much fabric can result in funds tied
decision to order fashion ranges will help a start-up label become up in stock, which then needs to
and their decisions are based on commercially successful. The buyers be sold or reused. Too little fabric
a combination of the following: are usually cautious when adopting ordered can result in lost sales
historical knowledge of their new designers and therefore use a and reduced profits. The same
particular customers; sales figures, system of sale or return, which consideration must be given to
which track how many items of offers new talent the opportunity to production time whether it is a
each piece within a collection showcase their collections alongside small team of machinists or a
were bought the previous season; more established brands; they can large-scale factory.
delivery and availability of stock; then be picked up as the next new
quality of merchandise; exclusivity; name if their collections sells.
and price. Designers are increasingly Another way of launching a new
producing pre-collections in addition fashion business is by concentrating
to the main seasonal collections. For on one particular piece. Many
example Stefano Pilati, design successful designers have started
14 / 15
1 A look book showing a

white shirt collection by
Richard Nicoll.

Identifying the customer
The muse By careful investigation and This information takes into account
Ideal or inspirational competitor analysis, designers can social and economic influences and
customers are sometimes begin to identify a specific market how customers lives are defined
known as a muse usually area and customer for their fashion by a range of factors. Successful
a woman who embodies vision. At times, designers will create fashion producers are able to define
the designers style or an imaginary situation where their customers in relation to the
approach to fashion. Many characters are involved in a plot, business, from the past and present
designers will adopt a muse journey or scenario. Characters may to the future. It is possible to start
who will act as a supplementary be well-known historical figures or with a fashion view, or purist
input into the development of completely fictitious, but this collage approach to fashion, where an
each collection. John Galliano of people and events can provide a aspect of the process perhaps
worked with Lady Amanda rich starting point for imagining, creative cutting informs the final
Harlech, only to lose her to visualising and defining colours, pieces. The customer, occasion
Karl Lagerfeld at Chanel, fabrics and shapes without and cost remain considerations
where her input continues as constraints. John Gallianos if the final garments are to work in
part of the design process. collections exemplify this method any commercial context. However,
Models may also be and his designs illustrate the huge not all pieces within a collection are
influential figures either range of possibilities in collaging designed on a commercial basis.
through their own personal fragments of inspiration. Whilst this Catwalk showpieces work as a
style, or as a face to be makes for a romantic or stylised promotional tool to attract the
used in advertising approach to customer profiling, press, which helps to reinforce the
campaigns for the most large companies are able designers popularity and currency.
designer or the brand. to define every aspect of their
customers through sales and
specialist marketing information.
1 Stephen Jones has

collaborated with John
Galliano for over 15 years.
John Galliano S/S09.

Catwalking.com.
2 Illustration by Stephen
Jones.
1
16 / 17
Creativity versus wearability
What really makes Stephens millinery so unique is his personality, his elegance and
refinement. Everything he does looks simply blown together. That is the art of millinery.
John Galliano
Creativity is a subjective issue, as all coverage. Established fashion unusual venues and presenting the
fashion expresses a creative vision houses stage catwalk shows for clothes in experimental new ways.
and process. Wearability is also both haute couture and prt--porter But irrespective of the approach,
subjective and rests with the and designers are encouraged to whatever the market level and
consumer, who can make personal create spectacular, theatrical shows customer, the commercial reality
judgements about self-image, as a prelude to the advertising is that creativity and wearability
acceptability and suitability, depending campaigns. Showpieces are often are mutually interdependent if a
on occasion or lifestyle. Todays the result of creative collaboration. fashion business is to succeed.
consumer is inundated with fashion John Galliano, for example,
choices and the medias infatuation collaborates with milliner Stephen
with fashion, celebrity and influence Jones and Alexander McQueen
provides enormous coverage of how collaborates with milliner Philip
fashion and style can be portrayed. Treacy to enhance their catwalk
Many designers will create extravagant statements. This type of collection
showpieces whether they are hats, is more about storytelling than sales.
shoes or garments which are Other designers are innovative in the
deliberately included to excite the way they present their collections
fashion press and gain maximum at low cost, by staging shows in
2
Research and development
Themes and directions for collections can be enhanced and

developed from primary research, regardless of location, time or
season. The research process is an ongoing aspect of the
designers role and it is unlikely to start from scratch.
When developing a collection with the staff team on-site, the

designer will begin by explaining the overall look or theme for the
new collection. This may be in the form of images and drawings on
inspiration or mood boards, as well as sourced garments, fabric
cuttings (sometimes taken from vintage garments) and trims, all of
which may be key to the new collection. After discussing shapes and
fabrics, the first patterns and toiles will be prepared. These toiles will
be recut and refined a number of times in the process from initial
idea to final reality. Most designers and manufacturers will hire a
model, known as a fit or house model. This is crucial in refining
and confirming exact proportions, detail placement, movement and
overall look. Models are hired specifically for their height and body
1
1 Designer > inspiration > 5 Designer > show
visualisation > briefing to producer for venue, music,
sample team, including set, ticketing, models, hair
pattern cutter, sample and make-up.
maker and finance
(costing and business).
>
>
2 Designer > business 4 Designer > business

manager for final costings manager and retail buyers
and ordering for production to establish orders and
(materials and manufacturing confirm production.
time).
>
>
3 Designer > stylist for

final show presentation.
>
18 / 19
dimensions, as this information will be crucial to the pattern cutter

and also when casting models for a show. Once garments have
been bought for retail they will be resized, with changes made to
length, proportion and so on. This is important if exporting to some
international markets, or may simply reflect the type of customer,
who may demand a less extreme version of the showpieces.
Depending on the season being developed, additional specialist

freelance team members may be contracted to work to specific
pieces or looks. These may include knitwear specialists, beading
specialists, embroiderers, hand-craft tailors or fashion-print
designers. As the team grows and the variables within a collection
increase, the designer must control this range of activities to ensure
that the original vision or brief is still in view. Freelance designers
who contribute to the collection may be briefed at the onset or
commissioned to produce individual pieces, such as shoes or
hats, which will highlight a particular aspect of the collection.
9 Designer begins to gather

information for the next
collection or season and
> plans trade visits to underpin
this activity.
How to start a collection > Research and development > The team
>
>
6 Designer > business 8 Designer > business

manager and PR to manager to review orders,
establish press information, confirm production and
future editorial coverage and delivery. Final costings to
show; guest lists, which may be agreed.
include VIPs or sponsors.
>
>
7 Designer > PR, to cover

post-show interviews or
requests for editorial
coverage. Possible requests >
for loan garments to be
used in photo shoots. 1 This diagram illustrates each
stage in the process of
developing a collection.
Fabric fairs
A key part of the designers role Linea Pelle are staged twice a year,
is sourcing fabric and they will visit usually in January or February and
trade fairs twice a year before the June or July. Another fabric fair,
start of the following season to Texworld, covers fabric produced in
source the newest fabrics (or, if they the Far East at a sixth of the cost of
have an established relationship with European fabrics and is becoming
fabric mills, they may develop their more and more popular because it
own fabrics). Premire Vision is the offers a cheaper alternative to
most famous of the fashion fabric Premire Vision. Smaller fairs are
and trend exhibitions and draws also emerging, such as Tissu Lille in
designers and manufacturers from France and the Turkish Fabric Fair in
across the world. Other fairs include London, which welcomes students,
Pitti Filati in Florence, which deals as well as designers. Trend direction
mainly with yarns and colour, and information is gathered from the vast
Linea Pelle in Bologna, which range of exhibitors.
specifically deals with leather and
leather-based products and trends.
Premire Vision, Pitti Filati and
2
20 / 21
At all the fairs manufacturers display

their ranges on fabric hangers, often
organised as trends or stories.
Designers and manufacturers visit
these exhibitions with a view to
order sample lengths, which are
delivered in time to plan and develop
the new seasons ranges. Most
exhibitors at Premire Vision are
happy to deal with business of all
sizes for sample orders, but have
a required minimum order to ensure
production is viable for particular
prints, colourways or fabrics. For
smaller orders, manufacturers may
levy a surcharge or combine the
orders, which delays delivery time. 3
A number of the more established
designers will request certain fabrics,
prints or colourways as an exclusive
purchase. This additional cost is
passed on to the customer and is
reflected in the final garments price.
1 A selection of trade fair

catalogues: Premire Vision
and Tissu Premier are the
main fabric shows and Pitti
Filati showcases yarns.
2 A sample book of shirtings

by Ringhart.
34 Trade stands at fabric fair

Premire Vision.
4
Trend forecasting
Existing and emerging fashion trends Trend forecasting companies or As fashion has evolved and
constantly provide stimulus and trend futurologists will give presentations information sources are now widely
information is seen as a key element internally to larger organisations to available online, the trend forecasting
across all the creative industries. establish a direction based on the industry has responded to provide a
Traditionally, trends have been clients needs and aspirations. One wider range of products. These
identified and packaged for example is Li Edelkoorts Paris-based include trend intelligence, trend
designers as forecasting packages, forecasting company, Trend Union, management, international retail
where colours, fabrics, yarns, which produces the magazines View trends, customer trends, advertising,
silhouettes and graphics are collated on Colour and Bloom. Clients use catwalk shows and technology
into books or presented online and these prediction manuals as starting trends; all available by subscription.
used to predict key looks for the points for their next collections. Another forecasting agency, Studio
forthcoming season. This detailed Li Edelkoorts aim is to open the M, based in London, works closely
trend information may inform or imagination of our clients and act as with clients all over the world to
influence a collection in greater a stimulus. The books give a new produce bespoke packages for
depth than a single seasons direction, but its up to the client to inspiration. They take influences
direction or look. interpret and take further. from tear sheets, photographs,
objects, fabric taken from source
22 / 23
1 2
pieces, paintings or any other 1 A montage of trend boards

imagery that complements the by Studio M. Trend companies
story, and use them to create A1 www.thefuturelaboratory.com
trend boards. They can dip-dye a 2 Trend information by www.carlininternational.com
series of colour swatches on base Studio M, incorporating www.trendstop.com
fabrics to create a palette; provide fashion flats. www.fashioninformation.com
samples of embroidery and specialist www.promostyl.com
trims; and remake elements such as www.kjaer-global.com
collars taken from vintage garments www.stylesignal.com
to interpret looks. By offering a full
service, clients can then pick and
choose elements as required for
their own collections.
Archiving
Archiving is now common across are evolutionary and changes, common visual language. Photography
all levels of the fashion market, where additions and deletions will occur plays an enormous part in the
discarded ideas or prototypes can be throughout the development time documentation, development and
revisited and reconsidered for future frame. Research and development archiving of fashion garments. With
collections. Source pieces can include activities are interactive and often the accessibility of digital photography
items from a designers own archive dictate even last-minute revisions and wireless technology, it is now
of past collections. These pieces and changes. The designer or design possible for designers to source and
may form part of a new collection, director will have the overall and final collate an endless number of images
as replicas cut in different fabrics or decision on the complete collection for personal reference databases.
prints, for example, or may instead content and look.
influence fresh development.
Sometimes a collection can be Photographic archiving is used to
created using rails or grids where record the development of draped
images, garments and fabrics are toiles on stands as staged versions
collated into a three-dimensional of an idea, or images of the collection
collage that captures a theme or in individual outfits or looks. The latter
design direction, illustrating the is useful when allocating outfits to
colour, shapes and details involved individual models and planning the
to create a cohesive look. This is running order for a fashion show.
useful for all team members involved Many designers use photography to
in the development and realisation compile images for possible research
processes and it helps to inform and, because much of the collections
decision making. It is important to development is visually based, this
note that the processes involved saves time and establishes a
1
24 / 25
Editing collections
Regardless of how or when a creative process involved within Useful archive sources
designer begins a new collection, the fashion industry, it accurately Wayne Hemingway set up an
there will inevitably be problems that acknowledges the complexity and online archive for the Land of
challenge the most careful planning. convergent energies involved. Lost Content museum. This
Deliveries, mistakes and delays are huge collection of popular
variables that must be expected and Editorial decisions are based on British culture images is a
managed. Additional problems can the whole collection working as useful resource for students
occur when the designer subcontracts envisaged at the outset. The and industry alike.
or employs freelance specialists designer may acknowledge that <www.lolc.org.uk>
to collaborate on the collection some pieces or outfits have not
and the final show. worked as well as hoped, or may
perhaps look repetitive. Changes
Even when most pieces are complete, or rejections exist as part of the
fitted and photographed as outfits or development process and are
looks, further changes may be required common at every market level.
if the whole collection is adrift of the
original vision, or the range is
imbalanced in colour, garment type 1 A series of boards by Holly
or fabric. During the development Berry, showing photographic
cycle, it is very common for ideas archiving.
to be rejected, for new aspects to be
introduced to the collection plan, and 2 Final, edited collection by
for nearly everything to run late. Kingston graduate Alison
Whilst this is the popular view of the Gaukroger.
2
The team
1 Yves Saint Laurent in his The development process is cyclical and dependent upon a
design studio in Paris, 1965. number of team members and specialist activities. The team will
2 Giles Deacon backstage usually consist of a designer, a pattern cutter, sample cutter, sample
at his A/W09 show. machinist and a costing/production manager. There may also be
Catwalking.com.
people who specialise in sourcing fabric and trims, print designers
and graphic designers.
As the number of collections being developed increases, so too will

the number of staff in the team or business. Many larger companies
(designer and retail) have established separate business units or
divisions to cater for the business demands and development
processes involved. As such, within the largest fashion businesses,
it is possible to have senior design positions with a responsibility
for a very specific product area, such as mens casual knitwear
or womens jersey separates.
1
26 / 27
The designer
The designer is the central member

of the team and he or she is ultimately
responsible for creating the collection,
from the initial design stages, right
through to overseeing first samples
for selling. The designer will brief a
team of assistants or the studio
staff to create further research
or feedback for development.
Designers can have multiple working

relations, dealing with everyone from
fabric and trim merchants, yarn
suppliers and textile designers
to buyers, merchandisers, costing
clerks, accountants and PR agents.
The designer will take the responsibility
for all decision making and amendments
to any aspect of the process.
The ability to communicate is just
as important as being creative; in
fact, it is often key to success.
2
The pattern cutter Sample machinist Sample cutter
The pattern cutter will work with The sample machinist is different Some studios employ sample
the designers images and drawings, from a machinist on a factory cutters who work at great speed
which convey the direction and look production line; they are skilled at and accuracy to cut out the first
of the collection. Often working with adapting new designs. They work sample patterns in the correct fabric
the designer and sample machinist, closely with the pattern cutter to for the sample machinist to make up.
the pattern cutters responsibility is make up the toiles and first samples Smaller companies will expect the
to help realise an idea or vision in cut in cloth. The toile is made first: pattern cutters to perform this task;
three dimensions. it is a replica for shape but will not sometimes it is part of the sampling
be finished with overlocking or any process that is often given to
Working predominantly with the detailing. Details such as buttonholes students on work experience.
overall silhouette sketched by the and pockets will be drawn on to the Sample cutters are also responsible
designer, the pattern cutters skill is calico. Once the initial toiles are for cutting out lays, which are layers
to interpret the shape and proportion assembled, the designer and pattern of fabric with the patterns laid on top
for the new collection. The handle cutter will adjust the size and position and cut with a band knife or rotary
and use of appropriate cloth to of collars and pockets and adjust cutter to produce multiple samples.
achieve the overall silhouette is one hem lengths before cutting the This process is usually computerised
of the key skills of the creative cutter. sample in the final cloth. In larger in larger companies, which enables
Pattern cutters are also employed to companies, a sample-room manager samples to be cut out in factories
work on less creative pieces, such will ensure that deadlines are met that are based overseas.
as adapting previous patterns and across a wide range of sampling
grading samples. Nowadays this requirements. Machinists will be
process is more often done on a given bundles of cut work and a

computer, but it helps if the cutter designers annotated sketch or a full
knows the principles of grading specification sheet (which contains a
a pattern according to different drawing, accurate measurements
body shapes and sizes. and detailed trims and finishes).
28 / 29
Studio manager
In a company that employs a team 13 Toiling the process of The blocks

of designers and pattern cutters, a modelling on the stand to Designers will usually compile
studio manager coordinates all the creating flat pattern a series of blocks from which
functions between the sampling and by Camila Rossi. styles can be developed. A
production processes. This is block is a basic pattern shape
important if the company works covering the upper body and
from multiple sites. the lower body, as trousers
or a skirt. Each designers
blocks are refined basic
shapes, often unique, and
the result of painstaking
measurements, fittings and
placement of darts and seam
lines. Blocks are often closely
guarded secrets; they form
the basis for excellent cut
and fit when modified. Toiles
derived from previous
collections may be included
for future reference and
designers can also unpick
sourced garments to study
cut and construction
techniques. This practice is
used within companies across
all market levels.
3
Costing manager Buyers and merchandisers Stylists and PR agents
All garments within a collection that Fashion buyers are judged by Designers and producers will
are produced to sell must be costed. sales and departmental profitability. work with a fashion stylist when
This is either the responsibility of the As such, most buyers are keen to considering the presentation of the
designer or, in larger companies, a investigate new lines or designers collection for press, buyers or the
costing administrator. Costings are capable of adding to an established consumer. Usually working on a
based on two main components: retail business. Quality, reliability of freelance basis, the stylist will
materials (direct cost) and labour delivery and reordering are essential oversee each element of the
(indirect cost). Costings are a key considerations in addition to cost. collection to ensure that the original
part of technical packs, which The relationship between designers vision is realised. The stylist may also
include detailed specification sheets and buyers is important and can be the main contact person for
of sketches, measurements, fabric launch a successful career, such as coordinating a catwalk show; they
and trim references and special Joan Burstein at Browns in London, can work on footwear, accessories,
instructions for finishes. who bought John Gallianos hair and make-up, as well as the
graduation collection and featured music used as part of the show.
The costing process links sampling it in the stores windows. Experienced stylists transform
and production and ensures that the the most basic fashion piece into
designers vision is carried through to In large, multiple companies the a key look or trend and inspire a
the shop floor. Samples are reworked role of the merchandiser is equal wider audience of designers
and sometimes fabrics substituted if to that of the designer; they often and producers.
the cost is too high after margins are work together to create and edit the
added (margins can be up to 250 collection to a price. Merchandisers PR agents can also work in a
per cent for some stores to cover are responsible for the pieces of stylist capacity, being responsible
their costs). Samples are being a collection that end up in store. for the look of the catwalk show
increasingly sent to factories in They are accountants and decision and working with photographers
the Far East to be copied at a far makers with a creative understanding to create editorial and advertising
cheaper rate for both fabric and for the product. In the USA the for magazines. PR agents also
labour. But with the current and merchandiser is the designers distribute look books and arrange
increasing emphasis on sustainable other half. In the UK, however, appointments with buyers.
and organic fabrics, costs are also merchandisers deal with figures
increasing so marketing plays an and quantities, working alongside
important part in promoting the the buyers, who are responsible for
added value and social conscience. ranging and selecting from the
directive of the design team.
Working to budgets, the designer,
merchandiser and buyer are all
responsible for a companys
commercial success.
1 Designer Natsumi Zama

fitting a final garment for
a photo shoot.
30 / 31
Resources
A typical start-up designer

business may well be located in
small or adapted premises. The
basic requirements, if samples are to
be made in the design studio, are a
cutting table, industrial machines and
pressing equipment. There should be
allocated space for storage of fabrics
(current season sampling fabric and
production fabric), trims, pattern
paper, final patterns and hanging
equipment. A space for meetings
and showroom for visitors is
desirable for a professional
appearance. Most rental spaces
for fashion companies will be
configured to allow for all these
functions. Depending on how
a collection is produced, it is
common to outsource most
activities to specialist providers such
as pattern cutters and sample makers.
This relies on subcontractors or cut,
make and trim outworker units being
able to understand the designers
requirements and specifications.
Regardless of the exact provision

of resources, overheads and costs
must be carefully managed and built
into the garment costings. Many
designers starting out with a new
fashion label fail due to inadequate
knowledge of the business side.
Some of the most successful
designers, such as Yves Saint
Laurent, Giorgio Armani and UK
designer Betty Jackson founded
their businesses with a business
or financial expert thereby
allowing clear role definitions
within the company.
1
Showing the collection
1 Look book of graduate Most designer collections are shown internationally as part of a
collection by Nicolas Barton. seasonal show schedule of spring/summer and autumn/winter.
2 Shelley Foxs Philadelphia This traditional method of showing the latest looks is the same in
Florist exhibition at the every fashion capital, with a week-long schedule of fashion shows
Stanley Picker Gallery,
Kingston University. attracting buyers and press. Major fashion houses rely on these
shows to promote their brand and will more often sell through a
smaller salon show or exhibition to targeted clients or through
pre-collections aimed specifically at loyal customers. But increasingly
designers are choosing to show their work in alternative ways, either
through an exhibition, installation or online presentation. Nick Knights
broadcasting website <www.showstudio.com> showcased Shelley
Foxs early installations. The website continues to promote alternative
ways of showing collections. He promotes the work of Gareth Pugh
and Aitor Thorp, showing films of their installations instead of
traditional catwalk shows. Some designers collections are based
on fashion as fine-art pieces or collaborations with artists. These
garments may be influential to fashion designers but are rarely seen
as fashion pieces: they are not intended to be worn as clothing, but
serve to broaden our perceptions of clothes.
1
32 / 33
For example, in the 1930s, Elsa Schiaparelli collaborated with Capsule collections
surrealist artist Salvador Dali to create playful trompe loeil prints and Some designers offer an
additional, smaller collection
accessories. This collaboration was intellectually interesting, highly in December/January, known
influential and is still referenced today. Fashion designer and artist as the cruise collection (or
Lucy Orta <www.studio-orta.com> uses garments as a narrative holiday collection in the USA).
These collections are
element within a series of internationally acclaimed exhibitions. primarily summer lines,
There is no immediate fashion application to these images, yet the prepared and available
influence of this work can inform the fashion process and consumer. before the new spring ranges
are fully delivered into stores.
Cruise collections are popular
Another example of fashion collections showcased for enjoyment, with wealthy customers who
rather than immediate commercial application, is the curated holiday at this time of year.
Increasingly clients want
exhibition, such as Superheroes: Fashion and Fantasy at the exclusivity. Designers such
Metropolitan Museum of Art in New York, a thematically curated as Nicolas Ghesquire at
exhibition of fashion pieces based on comic-book characters Balenciaga have reintroduced
specialist capsule collections.
and their style. In addition, retrospective exhibitions, designed Similar to haute couture,
to celebrate a designers career, may create a fresh interest in these collections are shown
a particular style or look. Examples include Giorgio Armani, to private customers and
are not available to a
Viktor & Rolf and Bill Gibb. wider audience.
The team > Showing the collection > Giles Deacon
2
Look books
Whilst often spectacular, fashion made on what the customer will 1 Menswear look book by
shows may not be necessary for want when the items are available. Chris Owen.
commercial success. Although the This buying or selection process may
catwalk shows are attended by take place on the designers 2 Look book of A/W09
buyers and press, the pieces bought premises or else in a rented studio. collection by Danielle Scutt.
for retail may be significantly different Designers who show in London, for
(i.e. more wearable) and are selected example, may be invited to sell at
before the seasons collection is events such as Trenois or Rendez-
shown. Designers and retailers Vous in Paris. They can rent a salon
compile each collection into a look for the duration of the selling period
book, where each piece is ranged as usually up to two weeks so that
looks and photographed as such. buyers can make appointments to
Away from the catwalk, decisions are see the collection.
2
34 / 35

Catwalk shows
Catwalk presentations are a

way of showing collections in an
experiential, idealised context in
order to create press coverage as
well as orders. Costs and workload
increase dramatically and at times
may create no orders for the
collection. However, many designers
secure financial support or backing
for their catwalk shows, which are
seen as essential in building a
designers business or brand.
All fashion shows follow a similar

process in production, the variables
being budget and scale. The budget
must allow for venue, models, music, 3
hair, make-up, show producer,

ticketing and promotion. Costs tend
to be high and planning is exhaustive
as shows are typically live and
scrutinised by the press, buyers
and fashion experts. Decisions
36 / 37
have to be made on each aspect of 12 Catwalk presentation of

the production and invariably there graduate collection by
are problems that demand patience Alison Gaukroger.
and flexibility. At this stage of the
process deadlines become critical, 3 Make-up artist Vaida
as the show will be scheduled for an Mygnete with model
exact time and date and rehearsals backstage.

are required to ensure that the
models have time to change
and also understand any
choreography requirements.
The collection will usually be

shown as looks, or exits, where
each piece is coordinated to
present the designers vision. Larger
collections will be shown by colour,
fabric or occasion. Shows usually
last about half an hour, depending
on the number of looks or exits.
Giles Deacon, fashion designer, interview
1 2
How do you start your collections? How many collections How do you develop your
We start the next collection before do you design? prints and knitwear?
we finish the one we are working on. There are eight in total: two main I have a long working relationship
For example, the autumn/winter collections, spring/summer and with designers Fleet and Rory, who
2009 research started three weeks autumn/winter for Giles; two interpret the feel of the collection or
before the spring/summer 2009 pre-collections for July and prints. Ideas develop in conjunction
show. We need to keep up the pace November; and four collections with the print designers. Rory works
in the studio as certain staff are on a a year for New Look. through drawings and Fleet works
monthly salary, so we are producing texturally. Syd will work large-scale
all the time and do pre-collections as How many are in your team? knitwear showpieces and fine gauge
well. When researching for the new There are nine full-time, four knitwear samples are made in Italy.
collection I use stuff that has been part-time and a number of students. We also use Swarowski crystals on
collected all year round and I work embroideries and prints.
in sketchbooks. How do you compile
a colour palette? How do you communicate
How do you develop new shapes? I do it instinctively, starting with core with your cutters?
Patterns that havent worked in the black and navy and adding a few I sketch ideas for our creative cutters
past are reworked. Cutters work on new colours for trims. Choosing a who work on patterns and draping
new shapes from inspirational mood colour is not a major problem. on the stand. They draw in cloth on
boards; finishes may come from any the stand, working spontaneously
surplus garments for new fabrics. I Where do you source putting things on and often create
also set mini projects for assistants your fabrics? happy accidents that are made
and students who will go around the Japan and the UK, France for denim, into toiles for the collection.
shops looking at how garments such lace from Austria and I develop crpe We photograph everything
as those at Prada and Lanvin are fabrics in UK mills who will produce and keep notebooks.
made. The interpretations of new 30 metres specifically for us.

styles need to look like they come
from Giles.
38 / 39
3 4
How do you produce your Do you collaborate with 14 Illustrations by

first samples? anyone else? Giles Deacon.
All samples are made in the studio Yes, Stephen Jones for the hats,
and if I am travelling, the team will Christian Louboutin for shoes. Also
send images of development LCF, Swarovski and MAC are
samples by phone. sponsors. I also work with Dell Intel,
LG Phones, Tanqueray No. Ten and
What do you define as a range CPL perfumes.
within a collection?
Little families. I use a range grid Do you work with a stylist?
which gives me an overview, for Yes, Katie Grand. We have meetings
example 70 per cent dresses, ten throughout the season and finalise
per cent coats, ten per cent skirts colours and fabrics together.
Showing the collection > Giles Deacon > Shelley Fox
and ten per cent tops.

Where do you sell your collection?
How much do your dresses sell for? We have a showroom in Paris
They start at 600 ($950) and go up to show to store directors and
to 2,000 ($3,200) in the department head buyers for two weeks after
stores. Everything we show is for the shows.
sale. A special one-off gown sold in
Barneys or La Moda can go for
30,000 ($48,000).
How many looks do you show?

About 42, with the first ten looks
setting the feel of the show.
Shelley Fox, fashion and textiles designer, interview
12
How do you start your How many collections do How and where do you
collections? you design? source fabrics?
My collections dont start with Now that I am located in A combination of Premire Vision for
a blank sheet of paper. With the New York, and working around my good basics such as great suitings
Philadelphia Florist, I found three professorship at Parsons, I could and shirtings from the UK. I have
diaries in a flea market and lived only manage one project a year or developed an identity for making my
with them for three years; then, when over a longer period. I think it is still own fabrics, such as felting from my
a fellowship came up at the Stanley important for me to develop my own graduation collection, using yarn
Picker Gallery at Kingston University, way of working. I stopped producing supplied by John Smedley, knitted
I thought the diaries could be used collections to sell in 2004. The next at Nottingham Trent and felted in
for the project. I am constantly big project after that was Fashion washing machines. For production I
collecting things but I dont always at Belsay, an installation that was train assistants in the felting process
know when and where I am going to staged in a 19th century house in to know the right handle. No two
use them. I never dump an idea once Northumbria, England. It was based garments are the same in production
the collection is done as ideas will go around clothing but as packed walls and the beauty is in the uniqueness.
somewhere else in the future. I think rather than mannequin displays.
there is a constant thread of interest Do you commission textiles,
weaving its way through each Do you compile a colour such as knit, print, weave
collection, with a different point palette and, if so, how? and embroidery?
of view depending on how you I am not an overly colourful I have worked with knitwear
are feeling at the time. In 1998 I collection designer as I tend to focus designer Tomoko at Livingstone
produced my first installation, called more on silhouette and texture, but Studios for chunky hand-knits when
the Braille collection, which became there have been collections where I she was still at the Royal College of
an iconic collection in the Joseph have worked with scorched yellow Art. She worked on a couple of
store during London Fashion Week. wools, morse-code-printed fabrics collections for me. I also worked
It has since been shown in a number and burnt sequin fabrics. Colour is closely with Todd and Duncan who
of international exhibitions; most not a priority at the beginning of a sponsored yarns for three seasons
recently in the exhibition called collection. The all-white Philadelphia and then the clothing was produced
Archaeology of the Future by Florist collection came about from in a factory in Hawick, Scotland.
forecasting guru Li Edelkoort, in a white fabric I sourced from a
Paris and Eindhoven. company in Japan; it was more
about fabric manipulation than print.
40 / 41
How do you develop your How many looks on average per

shapes and silhouettes: collection are for catwalk only? 13 Shelley Foxs Philadelphia
flat pattern, draping or I made 12 outfits for my MA Florist exhibition at the
modelling on the stand? collection at Central Saint Martins Stanley Picker Gallery,
The early circle cutting was based but I have done up to 45 outfits, Kingston University.
on cutting up crude drawings to which can cost too much money to
create new silhouettes. It was a repeat in different colours and fabrics
process that developed over some for production. The collections were
early collections; it was influenced by often confusing when they got too
my partner who is a fine artist and big. I keep the best press pieces
has a different head on my work. and usually a copy of each piece
Shapes are also developed on the for archive and sell the rest through
stand and then photographs taken of sample sales.
the details; the design is developed
back and forth between drawing and Do you have any second
photography and eventually we work lines to the main range?
on the cutting. Once the fit is right on No, as I never really designed the
Giles Deacon > Shelley Fox > Richard Nicoll
the stand the shapes are then made collections that way. It was more
into a flat pattern. important for me to focus on the
main collection.
How do you create your first
samples and how many are How do you work with stylists
made for each collection? and PR for selling the collection?
First samples are made in the I have worked with different stylists
studio but the knitwear goes out to in the past such as Nancy Rhode
be sampled in the factories straight and, more recently, Jane Howard for
from spec sheets, which have the Spectres show at the V&A. I also
already been sampled in toile form worked with Abnormal PR they
in the studio. For my own label, held each collection for six months
agents used to select samples to show to press and worked with
from Japan that were relevant to me closely on the shows.
them and they were remade.
Richard Nicoll, fashion designer, interview
1
42 / 43
What was your first collection Where do you produce 1 Look book of S/S09
after graduating? your samples? pre-collection by
After freelancing for other companies I have them made in factories in Richard Nicoll.
(Topshop, Matthew Williamson and Poland and France for tailoring and
Bora Aksu) and assisting stylists, dresses; shirts are made in England.
Mandi Lennard PR asked me to
do a small capsule collection of eight How many pieces on average per
dresses for autumn/winter 04 called collection are for catwalk only?
Twisted. This was developed from About 1015 per cent are for catwalk
my graduate collection, which was only and are couture pieces.
sporty with engineered panelling
based on couture techniques. Lulu How many pieces/exits are in
Kennedy at Fashion East saw it and each collection and does this
sponsored the winter version, which vary by season or line?
included jackets. I met my business It can be anything from 23 outfits to
partner who turned my spring/ 39 (which was the last collection and
summer 06 collection into a reality too many); usually about 35 for the
and sold it to b Store in London. I main collection, with fewer in a
did three New Generation shows, pre-collection.
which were unprecedented; one
of them was a slide show, which How many second lines to
was a collaboration with a stylist. the main range do you have?
I design a range for Thomas Pink,
How do you start your which started out with shirts and
collections? has now moved into dresses (I have
I start with silhouette, then research, done a photo shoot using model
which starts with mood then colour Ben Grimes, which is very different
palette. I produce a basic toile that for them). I also design a range for
informs a few outfits. I design the Designer Collaborations at Topshop.
components separately, such as five I also do a shirt range called Richard
ideas for five bottoms, then sleeves Nicoll Shirt for Barneys in New York.
separately, so that pieces build up.
I then draw the outfits in line-ups. Do you collaborate with
other sponsors or brands?
How many collections I work with Christian Louboutin on
do you design? shoes, Serapian for bags and Ksubi
I design two collections twice a for sunglasses. I do the entire look
year and two pre-collections. with the running order, including
accessories. My hats for the
How many are in your team? collections are made by
There are four cutters, one for Jeffrey Pullman.
tailoring, and I work with Jacob,
Shelley Fox > Richard Nicoll > Markus Lupfer
who is a stylist.
How and where do you

source fabrics?
I source fabrics from stock that mills
carry and also agents, such as an
Italian agent that carries specialist silks
from Tessio and I use fabrics from
Canepa in Switzerland for shirtings.
Markus Lupfer, fashion designer, interview
How do you start How do you develop your shapes How many second lines to the
your collections? and silhouettes? main range do you design?
I go to Premire Vision to look Before and after Premire Vision Markus Lupfer for Topshop only.
for fabrics with an idea of something I will collect a file of initial ideas and
I have researched before. I find new tear sheets to create a library; this Do you collaborate with other
things, developments in fabrics, then is where the pyramid starts. The sponsors or brands?
do more in-depth research looking in pyramid represents the ideas being I have collaborated with Kangol,
libraries and markets for themes refined and edited right up until the Mulberry, Ruffo and Cacharel with
and inspiration. Researching is final collection, which is the peak. Clements Ribeiro, who I used to
24-hour looking, with fresh ideas work for. I dont have any
every season. For my own collection I start with particular sponsors.
flat patterns, then modelling on the
How many collections stand and back to flat patterns. How do you edit and present
do you design? the collections to your clients?
Four: two seasonal collections Where do you create your first Through my PR for Markus Lupfer
for Armand Basi in Spain and two samples and how many for and with a stylist for Armand Basi.
for my own label Markus Lupfer in each collection?
London. For pre-season ranges Samples for Markus Lupfer are Where do you sell your
I will have a core range and add made in London; for Armand Basi collections?
embroidery or dip-dye for a they are made in the factory in Spain. I sell in Japan and Germany. I am
flexible service. For Armand Basi I have to draw up a going to be selling the Markus Lupfer
range plan of first designs early on as knitwear and jersey pieces online for
Do you compile a colour it is a ready-to-wear line and I need to ASOS, which is very exciting.
palette and, if so, how? provide all the designs as accurately
After Premire Vision I decide on as possible. Only during the fittings Any advice for graduates
colourways to sample, depending on can I change styles. If a look is not in who want to design their
the season, but I always keep it open place I will have to drop it so that I can own collections?
because fashion is a chameleon and focus on the range plan of designs You have to be determined and have
it is important to change with how going into the collection. The range to love it. If you are not 100 per cent
you feel and bring in personal soul. will consist of coats, jackets, trousers, about it then dont start!
dresses, tops and skirts. About 810
How and where do you dresses will be in the final collection
source fabrics? depending on the season.
Italy, France, Germany and Japan.
I also go to Moda In, a fabric fair in On average, how many looks per
Milan, but it is not as important as collection are for catwalk only?
Premire Vision. I also visit agencies For Armand Basi usually about 35,
and specialist mills. which are approved by their PR.
Do you commission textiles: knit, How many looks are there in

print, weave and embroidery? each collection?
Knit and jersey for Markus Lupfer For Armand Basi looks vary and can
and knit, jersey, woven and leather be between 125 and 150 pieces for
for Armand Basi. I give research each collection. For Markus Lupfer
inspiration to knitters and embroiderers there are 70 pieces in each
to develop things in the season; if collection. For jersey they include
commissioned too far ahead things tops, dresses, jackets, trousers and
may change within the collection. skirts, and for knitwear they include
I source embroideries in India for dresses, tops and cardigans.
Armand Basi and in Hong Kong
and the UK for Markus Lupfer.
1 Markus Lupfer resort

collection 2009.
1
44 / 45
Richard Nicoll > Markus Lupfer > William Tempest

William Tempest, fashion designer, interview
How do you start You graduated in 2007 how did and the company had arranged an
your collections? you get to this stage so quickly? apartment for me, but at the point
I usually start by visiting libraries, During my time at college I had where my contract was going to be
sourcing images and looking at worked at Giles on placement and extended, I was contacted by a
how clothes are worn. My ideal continued this during my final year. company in the UK who had seen
woman would be someone like I spent one season at Giles when my work at the degree show. The
Charlotte Rampling; intelligent and I graduated. Whilst at college I company were interested in working
interesting, not a glitzy person. I won a scholarship, sponsored by with me, to back me as a designer.
prefer to think about real women, Marchpole, in London. Marchpole I decided this was a great
and this influences my own has links with Jean Charles de opportunity, and returned to
design style. Castelbajac in Paris, which led to London to pursue this collaboration.
an interview and the offer of a
How would you describe position there. I was one of Monsieur How did you start your own label?
your design style? de Castelbajacs assistants. It was I approached a number of
Evening wear, glamour with a twist. great and I learned a lot. In France, organisations to find out more about
Comfort is important. I check the fit the employment law means that after support and showing in London. My
myself with the models and listen to three months the contract can be backer has financed a show for me
their comments as the garments are extended towards a permanent and is happy for me to develop my
being developed. I dont like to position, which is what the company own range in this way, whilst working
design for stick-thin women. planned. Living in Paris was great with them.
46 / 47
How did you develop this

new collection?
Its a spring/summer collection, and
I started by looking at my graduate
collection glamour with an edge or
twist. I went to Harvey Nichols and
Selfridges to look at price points for
similar fashion commercially viable
pieces. Then I went to Premire
Vision in Paris for fabric sourcing;
I had made a number of contacts
whilst at Giles, so that was really
helpful. Im working on 12 outfits
for this collection.
Is it tough doing everything

yourself, in terms of
managing it all?
Well, its about 40 per cent
creativity and 60 per cent business
and managing. Total organisation is
required to make it work. I produce
weekly plans to ensure that everything
is going to schedule. Working for
Giles and Castelbajac was invaluable
too hands-on experience in how a
business works.
Markus Lupfer > William Tempest > Colin McNair
12 A/W08 collection by William

Tempest.
2
Colin McNair, menswear designer at John Varvatos, interview
13
How do you start your How many collections do you design? How and where do you
collections? We design four collections a year source fabrics?
We start with the colour palette resort, spring, pre-fall and fall. Each Fabric/yarn fairs such as Milano
and then usually go to vintage collection is approximately 120 Unica, Premire Vision and Pitti Filati
appointments in London, Paris and pieces, which does not include all and trips to Asia and Europe where
New York and collect new pieces we the colourways and different we visit mills and look at their
like. This kicks off a mood, feeling or fabrications we offer. Its big! collections (we also have the mills
look, along with what John Varvatos visit us in the office). We mainly
himself is thinking and his direction. How many are in the design team? use fabrics from Asia (China,
We will also be reading magazines Theres John (CEO of the company), Korea and Japan) and Italy.
for looks, proportions and ideas; who is heavily involved in design.
we try to visualise what we want I have four designers for the younger Do you commission textiles: knit,
to achieve. We will look at vintage line: one for wovens (outerwear, print, weave and embroidery?
patterns for shirt and tie layouts, jackets, shirts, pants); one for We dont commission as such. We
knit and sweater swatch suppliers for denim and casual; one for knits and buy vintage shirtings from vintage
stitches and patterns. Along with this sweaters; and an assistant. I oversee suppliers and put them into work
we will start to look at fabrics for all a team of technical designers who with our weavers and printers. I buy
categories at fabric fairs and suppliers work on specifications and fitting, sweater stitches and patterns from
we work with each season. We will commenting through development knit designers.
discuss as teams what we are and production stages. I also work
thinking and bounce ideas off each with one graphic designer. The main How do you develop your shapes
other. Based on all the above I will collection line has four designers on and silhouettes: flat pattern,
also start to play with graphic ideas wovens, three designers on knits draping, modelling on the stand?
for T-shirts and begin working with and sweaters and one for We design the clothes and send out
graphic designers. We also look at accessories. They are also technical packs to factories to follow
past seasons and build SKU (single supported by technical design. for making the first prototype.
kimbled unit) plans in terms of how Technical packs consist of all
much we developed last season and Do you compile a colour designs, detail sketches, specs,
what was actually sold. We have palette and, if so, how? materials and all the information
meetings with sales teams to discuss This is the first thing we do. We a factory needs to construct a
good sellers and bad sellers, meet collect colours I like and images garment. We usually have old styles
with retail stores to get feedback and of colour and start putting them to refer to for fit, on which we base
talk to customers. together in a way that fits with new styles. If its a new factory or a
season and inspiration. We have a new fit we usually try to send an
colour library of old fabric swatches, example from past seasons or a
pantones and yarns that we pull from. vintage garment to copy.
48 / 49
15 Illustrations by Colin McNair

for John Varvatos.
45
Where and how do you create How many pieces or exits are
your first samples? How many in each collection and does this
approximately are made for vary by season or line?
each collection? Yes it varies. I find the more focused
A lot! The first stage is the most and edited the collection, the better
experimental, so we put a lot of it sells. We usually develop and
work into this to see what looks best. sample the collection, which is
We cancel things when we see them then edited by sales by 30 per cent.
if they dont look good and thats They sell the edited selection and
generally how we edit down to what then usually find the collection is
we sample/show to buyers. First edited by a further 20 per cent as
samples are made from the tech some things dont sell. We cannot
packs we send out. We then get a predict what buyers will buy and
first prototype back and fit/comment you have to offer a selection.
on it. We send these comments
back to the factory and they proceed How do you present the
to make a sample in the correct collections to your clients?
fabric with all the correct trim, wash The sales team sells the collections
William Tempest > Colin McNair > Louis Armadola
and finishing. If we are on time or from our showrooms, which are

we feel we need to see it again, we in-house also.
make a second prototype before
making the actual sample. How do you work with stylists,
marketing and PR for selling
What do you define as a the collection?
collection or a range? Stylists work with John to style the
A group of clothes that can show. After the show, the collections
consist of different categories, such will be sold by the sales team and
as outerwear, leather, pants, jackets, after selling season, the collections
denim (jeans), shirts, knits, sweaters then go to PR who send out to
and accessories. magazines, photo shoots and clients
for selling and promotions.
How many pieces on average per
collection are for catwalk only?
None: the catwalk is taken directly
from the designed collection.
Louis Armadola, chief merchandising officer at Brooks Brothers, interview
How do you start How many are in the design team? Where do you make your
your collections? Ten in total led by the creative first samples?
We are not a fashion-forward director, with guest designers The first samples are made in the
company but we are customer for specialist ranges, such as factories where they are produced.
driven. First we analyse how product Thom Browne for the Black Fleece Tech packs are produced by the
lines perform, what sold and why, range, Junya Watanabe for a technical department, who also
such as fit of garment. We study reinterpretation of the classic Brooks produces patterns and first
trading reports and are influenced Brothers button-down shirt range. samples. We also have a tie factory,
by the sales history, for example a Designers work as part of a three- where fabrics are sourced from Italy
dress season can affect the sales of pronged attack: merchant plus and England.
skirts. Secondly, we will be inspired designer plus product developer.
by archive designs from 190 years How do you produce new
of trading as a heritage brand. Do you compile a colour palette? shapes and silhouettes?
Thirdly we are influenced by global We use classic colours for our The design team develops new
trends. The design team will visit foundation palette supplemented by shapes based on existing styles.
Premire Vision and catwalk shows colours from trend services, Premire The process evolves rather than
to get trends and forecasts together Vision and Pitti Filati. Our V-neck producing revolutionary new shapes;
with looking at the history of sweater for men will be produced in for example slim-fit shirts, if the
Brooks Brothers. 30 colours. trends are for a slimmer silhouette.
How many collections How and where do you Do you commission knit, print and
do you design? source fabrics? embroideries for the collections?
We have four major deliveries in Up to 50 per cent are sourced in Knitwear is sourced from outside
our main range: fall, holiday, spring Italy, the remainder from Japan. services, based on sketched
and summer. We have two deliveries details. Prints are designed from
in fall and only one in summer. A our own archive.
delivery can be from 100 to 200
styles. For Thom Browne, current
guest designer on the Black Fleece
range, we have two collections
each with 50 styles in total.
1 Vintage advertising for

Brooks Brothers.
50 / 51
How many second lines

do you produce?
Brooks Brothers has a manufacturing
division for uniforms for hotels,
airlines and the military.
How do the designers

communicate their ideas
for the new collections?
They work to a designer brief which
is a road map for the direction of the
collection. They will work closely with
the merchants for styling and
sampling. The designs then go into
work in the form of samples. They
are taken to an adoption meeting
where designers and merchants will
work for days putting together the
collection of 50 styles that will be
bought for the stores.
How do you promote the collection?

We spend 50 per cent more than
other companies in advertising and
promotion. We produce a catalogue
and look book to promote each
collection. The Brooks Brothers
customers are loyal to the brand
and feel part of the family. We have
store events and email customers
for their feedback. Brooks Brothers
is known as the place you were
taken to for your first blazer, so there
is a sentimentality associated with
the brand, similar to Tiffany & Co.,
representing generations of style.
Colin McNair > Louis Armadola
1
Collections and their influences 52 / 53
1 Ralph Lauren S/S08.

I am not just making a dress, I am telling a story. While Catwalking.com.
the dress is important its just one part of the story.
Ralph Lauren
It is possible to group or identify common themes in fashion,

those which influence the creative process in developing a
collection, or how we choose to wear clothes. Recurring
influences include traditional costume, active sports,
workwear, the military, politics and futurism.
Each new collection can explore a subtle redefinition

of these recurring influences through the use of colour,
fabrics, proportion and juxtaposition. Many designers
establish successful brands based on a visual identity
that celebrates a particular theme. This chapter provides
some examples of designers sources and influences in
What is a collection? > Collections and their influences > Collections designed for different markets
designing collections. Although by no means an exhaustive
list, it illustrates how designers respond to influences and
translate them into a fashion reality reflecting their own
design identity. It does not seek to identify consumer
groups or particular fashion tribes or subcultures, but focuses
instead on some of the sources of creative fashion and those
designers renowned for defining a particular identity or style.
1
Collections and their influences
Background
1 Vivienne Westwood in iconic Every season, designers strive to develop their signature look or
tartan bondage suit c.1977. visual identity through their collections. Often they reference a
2 Martin Margiela A/W02. number of sources and influences relevant to the current political
Catwalking.com. and social climate. For example, the emergence of deconstruction
and reconstruction is evident during times of recession, such as in
the early 1990s and during the economic downturn of the late
2000s. New, radical directions in fashion are often a reflection of,
or a reaction to, the excesses of the time.
Vivienne Westwood transcends all influences and themes with her

iconic collections. During high unemployment in the UK in the early
1970s, she and partner Malcolm McLaren were instrumental in
launching the aggressive uniform of the anti-establishment punk
movement. Her use of tartan is legendary, from the early bondage
trousers to the exquisite tailoring of recent collections.
1
54 / 55
The glamorous, hedonistic, luxurious look of the 1980s was led by The Antwerp Six
Italian designer Gianni Versace, the King of Excess. This upwardly A gang of fresh new fashion
talents is determined to put
mobile period in fashion allowed women to dress for success. Belgium on the map.
Of course, other designers reacted to these excessive styles. Elle USA, 1988.
Rei Kawakubos Comme des Garons collection caused a strong
The original six designers
negative reaction in the early 1980s: her startlingly avant-garde, to bring Belgian fashion to
all-black collection in Paris was famously called Hiroshima Chic the forefront were Dries Van
by the press. The Antwerp Six and Martin Margiela were inspired by Noten, Ann Demeulemeester,
Dirk Bikkembergs, Dirk Van
this reactionary approach to design and their unique methods of Saene, Walter Van
deconstruction continued to influence fashion throughout the 1990s: Beirendonck and Marina Yee,
a direct reaction to the excesses of the time. who all graduated from the
famous Antwerp Academy of
Fine Arts. The strict four-year
training, with its origins in
Parisian haute couture,
encouraged them to look
inward on a journey to
self-expression. According
to their course director Linda
Loppa, the designers were
all original but shared the
same perfectionism.
Martin Margiela
A contemporary of the
Antwerp Six, Margiela also
graduated from the Antwerp
Academy of Fine Arts. He
launched his label Maison
Martin Margiela in 1988 and
since then has challenged
the fashion world with his
conceptual approach and
presentation of collections.
He is famous for not giving
interviews. Even the store
uniform is avant-garde
white lab coats make
staff look like they work
in a cult laboratory.
Background > Conceptual influences
2
Conceptual influences
The origins of contemporary, conceptual fashion may well be

credited to the Japanese designers Rei Kawakubo, Yohji Yamamoto
and Issey Miyake. For decades, these designers have been producing
the most intriguing, provocative fashion by creating new ways of
cutting and constructing. Conceptual collections are often beautiful,
timeless, ageless and dislocated from most visual narratives;
however, they can also be too challenging, abstract or unrelenting
in identity, diminishing their influence on fashion trends. Designers
Hussein Chalayan, Helmut Lang and Jil Sander are all known for a
minimalist, exacting aesthetic, which owes much to the rigours and
precision of innovative architecture and reductive product design.
There is usually little or no decoration to obscure the essence of the
proportions, cut, finish or quality of fabrics used. Beauty derives from
the garments core components and construction.
1
56 / 57
Hussein Chalayan is not just a fashion designer. His interests range across
many disciplines; his work crosses so many boundaries.
Donna Loveday
2
Background > Conceptual influences > Form and function
Hussein Chalayan
Hussein Chalayan trained as an Afterwards of autumn/winter 1 Jil Sander A/W08. Creative
architect before studying fashion 2000, which featured a set of director Raf Simons (who
at Central Saint Martins, London. 1950s furniture in a white room. originally trained in technical
He is known for his conceptual The models dressed in the design) has continued the
collections and intellectual furniture covers and a wooden labels conceptual aesthetic.
approach: for example, he buried table transformed into a skirt; Catwalking.com.
his graduate collection to see this has since become an
how it would decompose. iconic statement of Chalayans 2 Afterwards collection by
Chalayans collections reflect his conceptual aesthetic. Hussein Chalayan, A/W00.
explorations into product design Catwalking.com.
and aircraft engineering: he
created a jumbo jet dress that
spread its wings and has made
dresses grow and disappear
through technology. One of his
most famous collections was
Form and function
1 Christopher Bailey for Functional garments, such as military wear and expedition clothing,
Burberry Prorsum A/W08. have long influenced fashion designers. Menswear in particular
Catwalking.com.
continues to reference iconic military garments, workwear and
2 Original poster advertising utility clothing, being updated in fabric, colour and details.
early Burberry uniforms.
34 New designer Sophie Military clothing has informed fashion partly due to the
Hulme references military
influences to create her performance and ergonomic considerations of the wearers
luxury sportswear pieces. activities and environment, as well as its overall look. This
consideration has attracted a number of designers, such as
Robert Cary-Williams, whose army background influenced his earlier
collections for colour and silhouette. Specifics such as camouflage
have created an entire fashion agenda, involving recolouration and
reapplication in unexpected contexts. The outcome may be as
simple as Calvin Klein showing a military-inspired parka worn over
a neat, single-breasted suit, with a shirt and tie. This exemplifies
how a number of designers derive their inspiration and have
created influential and successful fashion brands.
1 2
58 / 59
Often one item of clothing emerges and creates a new fashion

descriptor. The safari jacket, the riding jacket, the cargo pant
and the biker jacket are all examples of this type of fashion transition.
Occasionally, a garment defines an entire fashion category of its own,
such as the Barbour, a waxed cotton shooting/fishing jacket that has
become an iconic fashion statement in its own right. Another
example is the trench coat; British companies Aquascutum
(who pioneered the first waterproof gabardine) and Burberry
(who launched the first trench coat after clothing the British army
during the First World War) continue to produce these traditional
foul weather garments but have updated them to satisfy todays
fashion-conscious consumer. The trench coat is now considered
to be a fashion wardrobe staple and has itself been the inspiration
for jackets, dresses, evening wear and childrens wear.
Conceptual influences > Form and function > Futuristic influences
3
Workwear
The origin for this source and

aesthetic is arguably Levi Strauss,
who in the late 1800s created the
first work overalls using twill cotton
from Nimes, in France. This twill
cotton denim has since been
popularised by nearly every known
designer and an infinite number of
manufacturers across the world. In
music, films, politics, youth culture
and high-end fashion, denim is used
as a basis upon which unlimited
fashion stories can be created.
The cloths traditional construction
details can be reworked with
endless possibilities: it is ageless,
global and accessible to every social
group. When asked if there was a
garment he wished he had created,
Yves Saint Laurent answered the
blue jean.
1
60 / 61
Sportswear
In the early 1980s American The sports world has inspired a 1 Fashion denim range by
designer Norma Kamali launched a number of fabric and garment Poppy Dover.
fashion business celebrating the use developments specific to athletic
of traditional sweatshirting as a performance and associated 2 Menswear collection by
fashion fabric. This proved successful activities. The international interest, Peter Perrett, influenced by
at a time when exercise and healthier appeal and support for modern traditional sportswear and
lifestyles were beginning to dictate a sport has proven irresistible to classic functional garments.
new style of clothing. Kamali recently designers and producers.
revisited this type of fashion by Companies have been swift to
collaborating with Everlast in the collaborate with a number of
USA to design an extensive range fashion and product designers to
of fashion sweats for todays body- raise consumers awareness of
conscious woman. Around the same sportswear as a credible, lifestyle
time in London, two British designers fashion statement. For example,
launched their Bodymap label, which sportswear brand Puma has
was a reductive, loose style based collaborated with designers such as
on Californian sportswear. Alexander McQueen. Fred Perry has
worked with Comme des Garons in
refreshing the iconic sports polo shirt
and Adidas has successfully created
Y3 with Yohji Yamamoto, to include
full catwalk presentation of this
sportswear and fashion fusion.
Conceptual influences > Form and function > Futuristic influences

Futuristic influences
The US designer Geoffrey Beene is regarded as a futurist: in the late

1990s he decided to no longer use historical references on the basis
that too many designers over-depend on them, restricting their
development as innovative designers. He was responsible for
redefining modern womenswear as we know it today.
In the 1950s and 1960s French designer Pierre Cardin, along with
his contemporaries Andr Courrges and Paco Rabanne, designed
futuristic, space-age fashion, which referenced science fiction rather
than historical and traditional sources. Futuristic fashion can be
obvious in its presentation (such as space-age clothes) but, more
importantly, it is about breaking new ground, taking fashion in a new
direction. For example, Cardin was the first couturier to launch a
ready-to-wear line and he was subsequently expelled from Chambre
de Syndicale in Paris. This represented the future of fashion as
reflected by the demands of society. Similarly, a few decades earlier
1
2
62 / 63
Ive always hated the idea of a retrospective: I dont like 1 Pierre Cardins futuristic
looking backwards, only going forward. aesthetic.
2 Gareth Pughs S/S09

Geoffrey Beene collection had both futuristic
and historical influences.
Catwalking.com.
in the 1920s, feminist Coco Chanel broke new ground when she 3 Viktor & Rolf A/W08.
Catwalking.com.
emancipated women from the restricting corsets of the Edwardian
period. Todays designers are no less radical. Menswear designer
Aitor Throup creates his clothes from his exquisite illustrations. His
work is futuristic in approach: he draws out the characters and
converts them into a wearable version. By not focusing on design
details he is freed up to produce a truly original final product. Gareth
Pugh has evolved and refined the futuristic aesthetic displayed in his
graduate collection. His exquisite pieces combine strong silhouettes
and bold colour, which represent the future of fashion today.
Form and function > Futuristic influences > Global influences
3
Global influences
1 Kenzo A/W08. Since the 1960s international travel has become affordable and
Catwalking.com. accessible to the majority of the developed world. This has greatly
2 Dries Van Noten A/W08. influenced our knowledge; how we can furnish our homes; choices
Catwalking.com. in the foods we eat; and how we dress. Ever since Yves Saint
Laurent first showed the Moroccan jellabah in the 1970s, designers
and fashion consumers have understood the value and attraction of
exotic, unusual garments, fabrics and accessories. Designers play
with juxtaposition, colour or multicultural references; garments such
as the Scottish kilt, Indian sari, Chinese cheongsam and Japanese
kimono have been continuously redefined in fashion collections.
Folklore and ceremony provides a wealth of information that can
inform fabric design such as tartan, ikat embroidery, paisley, prints
and jacquards as well as jewellery, footwear and accessories.
Some designers have developed distinctive identities based on the
celebration of international, cultural references for garments, fabrics,
colour and surface decoration.
1
64 / 65
Two such examples are Kenzo and Dries Van Noten. Kenzo has
championed the multicultural narrative, placing Russian floral prints,
for example, alongside brightly coloured tartans and Norwegian
snowflake knitwear graphics. Control of shape, silhouette and colour
is a hallmark of Kenzos work. The Kenzo style is clearly identifiable,
influential and has remained constant for over 25 years. Dries Van
Noten reworks ethnic influences, traditional textile techniques and
colouration into the modern wardrobe. His love of ancient folklore
and definition of adornment is carefully coloured from the sombre,
urban uniform to the most colourful, embellished evening pieces
using images and treatments inspired by a range of ethnic crafts.
Internationalism, folklore and ethnicity continues to excite and
contribute to many fashion collections. Examination of most
designers work will reveal the evidence of global influences.
Futuristic influences > Global influences > Political influences
2
Political influences
Fashion reflects society and designers will often reference political

change in their collections. Messages through the clothes that we
wear can be subversive or can be a bold statement to create a
reaction. Katharine Hamnett famously did this when she invented
the slogan T-shirt in the 1980s. These now iconic T-shirts were
basic white with large, bold black lettering featuring socio-political
messages such as anti-war statements. She intended for her
slogans to be copied and read by people all over the world.
Hamnett has now moved on to the global problem of ethics in
the fashion manufacturing process; she is one of the designers
responsible for introducing organic cotton to the masses.
Ethics and sustainability have become one of the main political

agendas in fashion since the millennium. A number of designers
have set up fairtrade and ethical labels, such as People Tree and
1
123, who publish manifestos to promote their beliefs. Larger
companies are becoming influenced by emerging fairtrade
organisations and are beginning to introduce their own
ethical ranges.
Designers collectively have a common strength of purpose

to challenge convention and break new ground in response
to current affairs. For example, Alexander McQueen continues
to reference topics such as war and religion in his memorable
collections. He sets out to make his audience face certain issues,
once featuring Aimee Mullins, a Paralympic athlete and model in
his show. Jeremy Scott, whose first Paris collection was made of
hospital gowns, also sets out to provoke people with his collections,
which convey a message, an idea or a thought. Stella McCartney
believes that fashion is political on a daily basis, that it is about
people expressing themselves through what they choose to wear.
She is passionate about animal rights and refuses to include fur or
leather in her collections. Jean Charles de Castelbajac uses political
references in addition to his fine-art influences and translates these
through humour in his colourful collections. His spring/summer 09
collection included a knitwear piece that featured an image of
Barack Obama, the first African-American president of the USA;

1 In 1984 Katharine Hamnett
famously met Margaret a bold statement that reflects the changes in American society.
Thatcher wearing a political
statement T-shirt.
2 Obama dress by Jean

Charles de Castelbajac,
A/W09. Catwalking.com.
2
66 / 67
Global influences > Political influences > Archivism

Archivism
1 Matthew Williamson for In a fashion context, archivism refers to the way in which
Pucci. Catwalking.com. designers look back to previous collections for inspiration. In
2 Emilio Pucci at work, particular, the original aesthetic of a well-established label may be
Florence, Italy in 1959. revisited decades later, with collections referencing the same design
3 1950s orange suit by influences and detailing. For example, Italian nobleman Emilio Pucci
Balenciaga. was popular throughout the 1960s (and again during the 1980s) for
4 Balenciaga S/S08. his use of wild, colourful patterns taken from Renaissance paintings,
Catwalking.com. filigree, feathers, animals, stained glass windows and ceramic
tiles. He designed simple belted dresses, bodysuits, boatneck
tops and pants in silk jersey. These iconic, bold prints continue
to be referenced today, with creative directors such as Matthew
Williamson bringing the label up to date for the modern consumer.
Another example is Nicolas Ghesquire at Balenciaga, who

has continued Cristbal Balenciagas reputation to challenge the
definition of aesthetics through a combination of strong silhouette,
colour, proportion and fabrics. His interpretation of the founders
original vision has been internationally applauded as a considered
way of redefining fashion; it is evidence that enquiry and intellectual
content in fashion can be colourful and dramatically beautiful.
1 2
68 / 69
He experimented with printing on velvet or towelling, weaving wool with ribbon,

hemp with silk; constantly searching for better forms of stretch material. Pucci
took textile technology as far as he could at the time.
Valentine Lawford
3 4
Designers such as Karl Lagerfeld for Chanel and John Galliano

for Christian Dior continue to reference the fashion houses
iconic statements, playing with scale, logos and accessories.
These designers continue to update the signatures of the past
in glamorous and sensationalist garments. There are many more
designers who approach collections in this way, such as Jean Paul
Gaultier at Herms, Marc Jacobs at Louis Vuitton, Christopher Bailey
at Burberry and Marco Zanini at Halston. These fashion sources
Political influences > Archivism > James New
fluctuate in importance and influence due to trend directions and

fashions ever-changing aesthetics. Many designers change direction
from season to season or combine additional source materials and
influences to refresh their signatures or styles. It is useful to see how
other designers derive influences; it will in turn help to inspire you,
and enable you to analyse and reflect on your own thoughts,
preferences and creative identity.
James New, menswear designer at Vivienne Westwood, interview
How do you start your How and where do you How do you produce samples
collections? source fabrics? and how many approximately
First a theme or mood is decided Fabrics are sourced from Paris are made each collection?
upon, whether its abstract or real. and Italy at fabric fairs. A great Samples are made in Italy at the
It could be anything of interest or amount of time is spent sourcing factory for the mainline; sometimes
something that I would like to know fabrics through many different up to 70 first samples are created
about or learn. Another consideration companies and after looking through so that each style can be viewed.
is whether there is a message to be fabric collections, orders for small For the Japanese licence, samples
conveyed to the customer; this could cuts of fabrics are requested for are created in Tokyo and about
be political, a current affair or anything which may be of interest at half the amount as for the
theatrical or comical in some way. that time. Gradually relationships with mainline collections.
It is my belief that humour is very particular companies are built up and
important in clothes. I want a man you realise that you seem to favour What do you define as
to look like a gentleman, a poet, a certain companies over others and a collection or range?
romantic, and have a sense of therefore you begin to disregard A collection for me is a story of
humour. This can be created in some. Especially in menswear you clothes that reveal a theme or mood
the clothes. know which companies you need with the use of fabrics, silhouettes
to see, those who do great wools and shapes with colours and prints.
How many collections and beautiful shirtings; but of course
do you design? I am always on the lookout for new How many pieces are
I design two collections: the designs and structures in fabrics so for catwalk only?
mainline collection, which is sold it's vital to know what is new at the Four to six pieces are usually for
internationally and seen on the fabric fairs so that you are the first catwalk only; these are called
catwalks in Milan; and the Japanese to find beautiful cloth. showpieces and they are only
licence collection, which is sold only created for the theatre of a show
to the Japanese market. How do you develop your but can be made for special order.
shapes and silhouettes?
Do you compile a colour Shapes are developed in several How many pieces/exits are in
palette and, if so, how? ways. Sometimes I take an archive each collection and does this
Colour palettes are vital for a piece, which I am very fortunate to vary by season or line?
collection; it is important to me have in-house at the Westwood It changes a lot; there are many
to create a feeling of colours for studios. These include all key pieces pieces and the collection gets
each season. I look for colours from previous collections; the archive bigger every season as sales
everywhere, from any reference. dates back 30 years so its full of increase. In the autumn/winter
I prefer to find fabrics and take the ideas and shapes to rework. I can collections we have more coats
colour from scraps of cloth. Images alter them and bring them to a more and for the spring/summer
from magazines and pictures are contemporary level and adjust them collections we have
very helpful too. We are constantly to be totally different garments by a lot more jersey and T-shirts
surrounded by beautiful colours: in changing details, silhouette and of with prints, as one can imagine.
the city and the countryside, even course the fabric. Flat patterns are
when we walk to work. As a used to make new shapes and ideas How many second lines to
designer you should absorb as in three-dimensional form. Samples the main range do you have?
much information as possible are made in calico and are then sent There is one other line, which is
as it will help you to get inspiration. to the professional pattern cutters the Japanese Man licence. This is a
I find too many people busy listening who use their more advanced skills collection designed for the Japanese
to their MP3 players and not to develop the sample to get the taste and customer without losing
appreciating what is going on around best shape. I am then able to see it the Vivienne Westwood image and
them; for me, the more you see and made properly and alter it to my feeling. It also caters for the
read the more ideas you gain. design taste if needed. Japanese body and sizes are
created especially for them. It is
intended to be a more commercial
range than the mainline collection.
70 / 71
How many pattern cutters feedback on customers' comments 1 Vivienne Westwood

do you have and how do you and their view on what will make the menswear A/W09.
communicate your designs collection stronger, for example what Catwalking.com.
to them? colours, fabrics and styles are
There is one pattern cutter for performing well. It is very good for a
each line, one in Italy and one in designer to listen to the other team
Japan. Communication of the members from all departments so
designs is achieved by drawing on that more advanced designs and
spec sheets and writing descriptions collections can be developed. Our
and measurements so everything is design director Andreas Kronthaler
clear for them. does the styling for our collections.
Do you do in-house reviews

of the collections?
There are constant in-house reviews
of the collections as they continue to
be developed. There are meetings
updating the design process to the
production, as well as relaying the
look with the marketing department
in order to increase profit every
season. There are also talks with
buyers and the press office to get
feedback so that the customers are
satisfied and new customers
targeted for the future.
How do you present your

collections to your clients?
I present collections to clients by
doing a short presentation with the
use of mood boards and garment
samples. I talk about price points,
fabric treatments, styles and the
fabric itself; for example, the weight
and quality and the composition of
the fabrics.
How do you work with stylists,

marketing and PR for selling
the collection?
Archivism > James New > Kenneth Mackenzie
There is a close link with the

marketing department to make sure
garments are being created that the
customer will want. There is good
feedback on sales, which allows the
best sellers and worst designs to be
seen. This enables good decisions to
be made on what to repeat and what
not to do next season. By talking to
the press and our directors I get
1
Kenneth Mackenzie, fashion designer and founder of Six Eight Seven Six, interview
How do you start your collections? How did you source your fabrics? When did you change how
My collections are personal and We would go to Premire Vision. It you develop your collections?
not largely defined but often use was restrictive finding fabrics. We I had a break from my business,
constant Six Eight Seven Six themes were always trying to evolve new designed for A Life in NY and had
drawn from cultural and artistic styles and even if we found a fabric a lifestyle change, bought a bike and
influences. Six Eight Seven Six is five years after we first launched it, went camping, then returned to the
always striving to go its own way and we didnt have the confidence to business in 2005. This time the
not be a slave to arbitrary trends and re-run a style years later. In the ranges, rather than moderate
targets. Fundamentally, we aim to early days, we didnt want to leave collections, were more technical
create clothing with design, longevity Premire Vision without all the fabrics and mainly sportswear. The 2006/07
and quality. This guiding principle but now we have become more collection was based on geodesic
drives us to develop an evolving relaxed and flexible in how we domes with technical fabrics.
wardrobe reinterpreting the classical develop stuff. It is a good discipline Influences were also small-scale
confines of menswear by blending to know your manufacturers and architecture in Japan with transient
the latest fabric and manufacturing fabric mills to start with. nature creeping into the house.
technology with proven traditional
materials and construction. Taking How many garments did you make? How many do you have
inspiration from art, music, idealism, When we went to Premire Vision in the design team?
architecture, product design and we took with us a collection in linear I do all the design. I work with
nature, we try and evolve an form of 2025 pieces. We would find a stylist, Adam Howe, and have a
aesthetic that resonates with our fabrics that would fit in two to three photographer, Norbert.
lives and the lives of our customers. styles for minimum orders. Sometimes
We is an important concept at Six it didnt work because the factories Where do you produce
Eight Seven Six, for while we are found it difficult to make 25 styles your garments?
built round a central core, we are in three different fabrics. In factories in Portugal and Scotland.
in essence a collaboration, with a From the spring/summer 2008
shifting cadre of artists and How did you develop samples we had worldwide orders so
outsiders. We dont really do shapes and silhouettes? we cherry-picked a couple of existing
collections now, although we use Our influences were always styles and changed these to produce
the same influences for research. similar and still are: classic menswear six styles. These were produced over
with vintage sportswear. We were three to four months. We removed
How many collections producing military with softer the fillers, such as the knitwear and
did you design? accessories, such as shoes with T-shirts to go under the jackets and
From 1995 to 1998 we did two truckers at the end of the 1990s. concentrated on a few special
collections a year for spring/summer Clothing became smarter so we pieces. We are focusing on what we
and autumn/winter, which we did knitwear as a reaction. do well, as we are a small company.
wholesaled to stores. We started by We use five or six UK companies and
finding garments, mainly workwear one in Portugal for our manufacturing.
and military, such as army surplus
from markets. We simplified the
garments and took them into
modern fabrication.
1 Pieces from the Six Eight

Seven Six A/W06 range.
2 Six Eight Seven Six S/S06.

72 / 73
Do you collaborate with anyone? How do you sell and promote

We plan to collaborate with old- your ranges?
James New > Kenneth Mackenzie > Sophie Hulme
fashioned companies, such as We produce a news bulletin for each

Cleeve who supply Jermyn Street. style, showing the research, pricing,
We have sourced a vintage shirting styling and technical changes. We
from Japan at Premire Vision, which still wholesale but stores pay upfront
we will use with a traditional British now. We have a personal relationship
manufacturer to produce a fusion. with buyers and the customers and
There are certain technical processes we get instant feedback on our
that traditional factories wont do. We ranges for the next styles.
are also using finished products from
Eastern Europe, particularly Slovakia,
and then we modify them. The
process is still vertical from fabric,
trim, pattern to garment. We also
collaborate with Folk clothing for
2 technical styles, usually 200300
pieces across two styles.
Sophie Hulme, fashion designer, interview
How do you start your How do you compile a Do you have any sponsors or
collections? colour palette? collaborate with anybody?
I find stuff, old things I have I have a feeling about colour and I have a PR called Cube but
collected and objects that I make usually have a base of neutrals with have no sponsors at present.
into 3D garments, which I then a few accent colours, such as greys I would like to collaborate with
sketch. I then design individual with aubergine. Sampling is limited other people to produce special lines
pieces rather than a whole look. I am so I will swatch other colourways in future. I might possibly work in
not trend-led but I build a wardrobe especially for buyers. Japan with artists and go back to
of key pieces that are designed to illustrating, which I only do for
last. Each season I develop a new How and where do you editorial at the moment.
trinket, which collectively will form source your fabrics?
a giant charm necklace. I go to Premire Vision in Paris and Who are your stockists?
select stock fabric from mills and I showed at Rendez-Vous in Paris
How many collections do you small companies in Italy, France and the first season, where Selfridges
design each year? Korea. I buy between 50 and 100 and b Store in London bought my
I design in two season brackets: metres and commission colours. I collection. I will also have my
autumn/winter and spring/summer, also visit Linea Pelle in Bologna to collection in the Convenience
which are aesthetically different with source leathers. Store in London.
signature pieces running through. I
dont have a big fashion show but Do you commission
have seen buyers from the beginning your own textiles?
with look books. Often they buy my I design my own prints and have
pieces themselves, which is how my them printed in repeat; and I have
graduate collection was bought by fabric sequinned in India.
Selfridges.
How do you develop your
How many are in your team? shapes and silhouettes?
In my first season it was only me but I start working in 3D on the stand
for this season I have a freelance and dont use blocks.
pattern cutter, a design assistant for
specs and cutting, and some student How many samples
helpers on work experience. I have a do you produce?
production manager for department I made 25 for the first
store orders as I make to order and if autumn/winter season and 35
the stock is delivered a day late the samples for spring/summer in a few
order can be cancelled. colourways, as it is expensive to
produce samples.
1 Sophies graduate collection

featured military-inspired
pieces, such as this
sequin parka.
2 Illustration by Sophie Hulme.
1
2
74 / 75
Kenneth Mackenzie > Sophie Hulme > Will Broome

Will Broome, fashion designer and illustrator, interview
How do you start your How did you start? 13 Illustrations by Will Broome.
collections? I submitted A5 sketchbooks,
It varies from season to season. which were used on the catwalk,
Working with a designer such as the clothes, bags and stickers
Marc Jacobs, they might ask what I on everything.
am developing at the moment. It is
an organic process and we How many illustrations do you
collaborate through dialogue. There produce per season?
is a lot of time involved as we are Usually 25 drawings, maximum,
working in partnership because they which I collage to get a new image.
know and like my work. I have been Once they are sold they are
collaborating on the Marc by Marc exclusive to Marc Jacobs.
for six years. For autumn/winter 2004
I designed the multiple skull and
panda prints for the womenswear
collection and T-shirts for menswear.
Then Wedgwood approached me to
design their 250th anniversary china
as they liked my style. They gave me
carte blanche to work how I wanted.
I felt it an honour to be asked by a
heritage brand such as Wedgwood.
Describe your style of illustration

Cute with darkness behind: cutouts,
naive, mainly in black and white. I
dont use a computer to generate my
work, only to scan. I choose to work
with lack of precision and a return to
the hand-drawn. I use paper stolen
from the photocopier, pads of
coloured paper and Berol fine
liners (a red one for thick lines and
turquoise for fine lines). I work in
sketchbooks on the go and draw
something every day. I used to get
in trouble at school, but now I am 1
a professional doodler!
2
3
76 / 77
Sophie Hulme > Will Broome

Collections designed for different markets 78 / 79
1 Haute couture dress by

Above all it was Christian Dior who was my master Lanvin-Castillo, shown at
the Savoy Hotel, London
and was the first to reveal the secrets and mysteries on April 1st 1957.
of haute couture.
Mark Bohan
Within the global fashion industry collections are designed

for various market levels. At each level it is important to
understand who the target customer is and how the collections
will be presented. To define the key areas of contemporary
fashion, the following market levels should be noted: haute
couture and bespoke tailoring, prt--porter or ready-to-wear,
designer labels, luxury brands, high street or mass-market
brands and home shopping.
This chapter introduces each of these market levels,

discussing how the collections are developed and how the
Collections and their influences > Collections designed for different markets > Specialist collections
design and development process differs at every level.
1
Collections designed for different markets
Haute couture
Haute couture is the highest, most specialist market level.

Established houses such as Chanel, Givenchy, Gaultier, Dior and
Lacroix are members of the Chambre syndicale de la haute couture
and show their couture collections in Paris over three days in
January and July. Currently there are only 12 full members compared
with over 100 in 1946. Only garments that are hand made in France,
by members of the Chambre syndicale de la haute couture, can be
labelled as haute couture. But the Chambre may also invite guest
designers, such as Martin Margiela, Valentino and Giorgio Armani,
to show alongside other members in Paris. In 2008 Boudicca, the
English design duo, were honoured with an invitation to show
during Paris Haute Couture Week.
Chambre syndicale
de la haute couture
This was the initiative of the
first known English couturier
Charles Frederick Worth.
Couture houses that are
members of Chambre
syndicale de la haute
couture must meet and
maintain strict criteria,
including specialist aspects
of the manufacture process
and the location. All
processes are controlled
within the atelier or studio
(which may sometimes just
be the artisans working in
their own homes).
1
80 / 81
The origins of haute couture The atelier
The origins of haute couture can Traditions continue with the couturiers Couture gowns rely on the
be traced back to the early 17th of today. Within the atelier, which is craftmanship of the ateliers,
century, when France was the usually owned by the design house, where specialist handwork is carried
centre for luxury silk textiles in each garment type is created within out to the designers and clients
Europe. Aristocratic women would a specialist area. The flou is an area specifications. The atelier is the
commission makers to produce specialising in dresses and draped laboratory for developing and
personal gowns and accessories garments. The tailleur focuses on maintaining new fabrics, beading,
for social and court occasions. tailoring for suits, jackets and coats. cutting, embroidery and the highest
Makers, known as couturiers (from The chief dressmaker is known as level of handwork and finish. Chanel
the French couter to sew), would the premire and assistants are has bought five ateliers, including
create one-off clothes for clients and apprentices. Couture houses are Lesage, which specialises in flowers,
include their names on labels sewn traditionally separated by skills into braids and feathers. Other houses
into the garments. the flou and tailleur. However, with in Paris, such as Dior, also use this
more money to be made in daywear atelier (Dior no longer owns its own
than evening wear, the boundaries specialist ateliers).
are now blurring. For example,
Karl Lagerfeld at Chanel
commissions the dressmakers to
work on unstructured jackets, which
brings a lightness to the tailoring.
Haute couture > Ready-to-wear
1 John Galliano for Dior

haute couture A/W09.
Catwalking.com.
2 Modelling on the stand.
2
Developing a haute couture collection
Designers begin haute couture selections. Clients buy close to the that the garments are personally
collections in much the same way season, seeing a show in January fitted to their measurements and
as ready-to-wear. John Galliano, for for that spring (unlike ready-to-wear, body proportions. A series of fittings
example, starts his haute couture which shows for the following will take place, using calico toiles.
collection by drawing sketches and season). This ensures exclusivity The toile records the exact cut, fit
selecting fabrics. Each season, for the client, who values the privacy and finish and will also detail
showing the couture collection allows and service only available at this level information for linings, interfacing
potential clients the opportunity to of the market. Then, after seeing the and embellishments. The fittings and
see first-hand the possibilities for collection, a client will make an client selections are confidential and
next seasons wardrobe. appointment with the vendeuse reflect the exclusive nature of this
Appointments are then made with (saleswoman) in the salon. Having fashion market. Regular clients will,
the designer/house to attend private made a selection, the client must over time, have a personal form
viewings and make individual have the pattern adapted to ensure made to their exact measurements.
82 / 83
1 Chanel haute couture

S/S08. Catwalking.com.
The future of haute couture
Special occasions Due to the extremely high costs

Haute couture is aimed associated with the production
exclusively at women, and purchase of couture clothing
with many of the clothes and the growth in popularity of
designed for events such as ready-to-wear, there are fewer
the Oscars ceremony in customers able or willing to buy
Los Angeles or the Cannes couture. Many couture houses
Film Festival in France. have closed their ateliers, although
During these events the the label may continue in accessories
designers set up hotel or fragrances. In addition, changes in
workrooms to ensure that society mean that many social
the client has fittings right formalities have disappeared and so
up to the event. there is less demand for this type of
clothing. It is estimated that there are
approximately 300 women across
the world who can afford to buy
haute couture. As such, many
designers and fashion houses
will loan evening gowns to young
celebrities to freshen the image of
couture. Over the last 20 years a
number of designers have expanded
into this level of the market, including
Versace, only to retreat when the
cost and competition have proven
to be unworkable or unnecessary
to develop the core business.
Haute couture > Ready-to-wear
1
Ready-to-wear
Ready-to-wear, or prt--porter, covers any collection that

consists of garments produced in volume distinct from the one-off
garments in haute couture. Couture is establishment and classic,
whereas ready-to-wear is young and subject to trends and change.
A ready-to-wear collection is created for a wider customer base and
will be produced in standardised sizes. Ready-to-wear can span
from established design houses, who also produce couture, to
international and smaller designers setting up independent labels.
The origins of ready-to-wear
Ready-to-wear in the USA Couture houses first began to Many aspects of design and
This can be traced back produce cheaper lines for their products were being reconsidered
to the beginning of the in-house boutiques in the 1930s. and exciting design ideas dispensed
20th century, following the Then, after the Second World War, with existing aesthetics and
Industrial Revolution and the the couture houses established materials. In the 1970s Yves Saint
introduction of the sewing boutiques to cater for a changing Laurent launched Rive Gauche
machine. Immigrants from world by offering off-the-peg ready-to-wear for women and men.
Eastern Europe with tailoring collections, known as prt--porter. The Rive Gauche collections
skills settled in New York These collections were based on popularised his avant-garde
and set up workshops in their couture lines at an affordable approach to style, luxury and the
crowded tenements to price. Up until 1950, Italian and contemporary fashion consumer.
service the growing American fashions relied on Based on the reputation of the
population. After the First Paris couture and highly skilled hip Left Bank district of Paris,
World War, companies dressmakers would copy designs. Saint Laurent created an enticing
began to visit the Paris Early forms of licensing were image of the modern consumer in
shows and buy patterns to established by couturiers such as touch with contemporary cultures
copy for the American Christian Dior, who sold patterns and a global traveller who understood
market using cut, make and muslin toiles to the USA to be copied cultural and creative diversity and the
trim outfits in New York. By and sold in department stores. courage to question convention.
the end of the Second World Saint Laurent successfully built an
War this was replaced with After the death of Coco Chanel international fashion empire based
licensing deals, which was in 1971, Paris entered into a period on ready-to-wear whilst creating
less costly than buying of transition and the couture houses shocking (for their time) fashion
couture samples to copy. were struggling against mass statements, including the safari suit
production in the UK. The and Le Smoking a tuxedo-style
couture houses reacted by suit for women. It could be argued
offering affordable, diffusion that this look and many others

collections inspired by their couture from Saint Laurent provided the
styles. By the end of the 1970s the basic template for the modern
House of Chanel had launched its womens wardrobe.
own ready-to-wear lines and Dior
launched Miss Dior. Haute couture
continued to influence the designers
ready-to-wear collections in fabric,
colour, silhouettes and theme.
1 Yves Saint Laurent outside

his new store in New Bond
Street, London in 1969.
1
84 / 85
Haute couture > Ready-to-wear > Mass market

1
86 / 87
Luxury brands
The current fashion market covers Currently, international ready-to-wear

product areas that extend far beyond designers have businesses aimed at
clothing and personal accessories. different levels of the market.
Designers and retailers have created Regardless of market niche, each
brands to define a lifestyle or design branded collection is created and
language that is communicated to produced in the same way. The
consumers. As with other industries brand is clearly identified as targeting
this creates a demand based on specific customers or occasions,
want rather than need. In todays whilst aiming to capture the
world, there are trends in every designers identity either through
aspect of life and we are all, to some design or advertising. Pricing,
extent, aware of what is fashionable. fabrics and finish are all used to
differentiate each line.
Over the past 20 years, the designer
ready-to-wear market has expanded International designers provide the
to include an enormous range of main content for the ready-to-wear
labels, diffusion lines, accessories shows during Fashion Week in the
and other branded products. Pierre fashion capitals of New York, 2
Cardin was the first designer to London, Milan and Paris. In addition
expand into a range of fashion and to the published schedules for these
non-fashion areas. Cardin designed renowned shows, fashion weeks also
and branded eyewear, fragrances, take place across the world, in cities
Cadillac cars, footwear, telephones such as So Paolo, Melbourne,
even chocolates. This expansion was Shanghai, Tokyo, Madrid, Rome and
ultimately perceived as diminishing New Delhi. The fashion industry is
the brand, with the result that the international in consumer awareness,
Cardin name became devalued and demand, production and promotion,
unfashionable. Gucci suffered the with brands such as Louis Vuitton,
same fate, coming to represent bad Gucci, Prada and Dior being
taste. Gucci re-evaluated their recognised, demanded and
heritage and prior status by available across the world.
cancelling a large number of licences
and by appointing Tom Ford as
design director to refocus ready-to-
wear. Following his first ready-to-
wear collections in the mid-1990s
Ford successfully repositioned Gucci
as a global leader. His influence was
used to redesign the Gucci store
interiors, fragrance packaging and
editorial campaigns collectively
refining the companys position as a

luxury fashion house. When Yves
Saint Laurent was sold to the Gucci
group in 2000, Ford applied the
same approach to reinvigorate the
YSL brand again with acclaim; he
repositioned YSL at the forefront of
modern ready-to-wear fashion.
1 Gucci A/W95. Tom Fords

first collection for Gucci
redefined the luxury brand.
Catwalking.com.
2 Futuristic dresses by
Pierre Cardin.
Contemporary designers
1 Comme des Garons S/S08. This term is used to denote a Collections by contemporary
Catwalking.com. group of younger, less internationally designers are usually sold through
available designers, whom the media an international range of fashion
2 Blues collection displayed watch for future trend influences and specialist boutiques and concept
in The Convenience Store, the mass-market producers stores such as Dover Street Market,
London. scrutinise and reproduce in an Browns, b Store and The
attempt to align their merchandise Convenience Store in London,
with key catwalk trends or looks. Colette in Paris, Corso Como in
At times, the designers look may Milan and Jeffrey in New York.
be achieved through key accessories These independent retailers
or by reworking garments to create specialise in selecting exclusive
a fresh or controversial fashion collections from international
statement. designers alongside up-and-coming
labels, which creates a halo effect
Contemporary designers will for new talent. The ultimate goal for
show twice a year either as part small designer labels is to sell
of the main ready-to-wear fashion collections that they can produce,
week schedule or alongside these deliver and continue to supply.

scheduled shows, which is known
as off schedule. Regardless of Some designers are showmen
schedule details, these shows are who launch collections to attract
often extremely popular, reflecting major investors. Alexander McQueen
their exclusivity and limited did this and gained his first couture
distribution. Many of the collections position at Givenchy. Gareth Pugh,
shown by less-established designers whose graduate collection was
are favoured by the press due to the theatrical and extreme, now
significance of the show, either in produces exquisite collections
terms of design or general direction backed by an Italian company,
or sometimes simply because of the which enables him to show
outrageous clothes. in Paris.
2
88 / 89

Mass market
Across many mass market or high-street retailers, each fashion

collection or range is scheduled to be available in store at prescribed
times. Known as drops, the collections will be staggered into early
and high season. This fast fashion offers the customer a changing
retail experience, as subsequent items or stories will be delivered in
a number of weeks. Most retailers will continue to offer core ranges
that evolve from season to season, reflecting a more conservative
customer or clothing area. Core ranges include mens suiting,
separates and accessories. Nightwear, underwear and sweatshirt
separates are also typical core lines these are much less influenced
by high-fashion trends or directions. Many retailers aim to offer new
ranges every two weeks, although this merchandise strategy is
mainly featured within fashion-focused retailers such as H&M and
Topshop. New ranges are displayed in store as soon as delivery is
received. The ranges are often promoted on the retailers website
or in the fashion press as news or buy it before it goes.
The supplier
Marks and Spencer Only a few chain stores have in-

UK company Marks and in fashion until the Autograph house design teams. They rely on
Spencer, and the other high- range was launched in 2000, the design teams employed by their
street chain stores that followed, which really changed the suppliers or manufacturers and who
were not design innovators but companys profile. Designers are usually specialists in their core
suppliers of basic goods, much Betty Jackson, Julien MacDonald product, such as jersey or mens
like US company Gap during the and Katharine Hamnett all tailored trousers. As a result, the
1970s. Things began to change designed upmarket capsule buyer will essentially design or
when head of design Brian ranges that were to be sold compile the collection by sourcing
Godbold employed Paul Smith anonymously under the pieces from a number of suppliers.
as a design consultant. In the Autograph label. M&S were also Increasingly, chain stores are using
1970s and 1980s the market one of the first chain stores to suppliers with factories in places
became saturated with basic support up-and-coming where labour and fabric is cheap,
products, which in turn created a designers, funding Hussein such as Asia, South America and
need for conspicuous design. Chalayan and Matthew Eastern Europe. The buyers will
M&S bought American brand Williamson for the New begin with a base colour palette and
Brooks Brothers in the 1980s, Generation show at London mood boards to show their suppliers
but didnt become an influence Fashion Week in 1998. the intended theme for the collection.
The suppliers will then provide
samples and have weekly meetings
with the buyers and merchandisers.
Designers who work for suppliers
have the opportunity to shop the
world for sample garments.
90 / 91
In the UK, many factories were choice, with the customer aware that 1 Marks and Spencer
once vertical, which meant they the items may be sold out in a few advertisement in a womens
produced both the cloth and the weeks. With the rapid and popular magazine from 1958.
finished garments. However, most development of inexpensive, fast
of the mills and factories have now fashion, many consumers are now
closed down due to increasing costs concerned about the ethics and
and competition from mass sustainability of this market level.
production overseas. Some factories These concessions are being
Ready-to-wear > Mass market > Home shopping
will be commissioned to produce a reflected in the emergence of

range of garments for the overall retailers marketing eco-fashion
collection, but this is rare. One as organic, fairtrade or socially
exception is Spanish retailer Zara, responsible. This is a complex
which is a vertical producer. The and challenging area for designers,
companys business structure manufacturers, retailers and
enables production of both fabric consumers. But as an increasing
and garments, thereby allowing for number of environmental and
complete flexibility in production and social factors are demanding
styles. With its own retail outlets, that we reconsider how and why
Zara is able to control every aspect we consume fashion, along with
of the design, production and retail a growing responsibility within
chain, whilst keeping costs in control the choices we make, this will
and stock change responsive to undoubtedly change future
fashion direction and sales. Stock is considerations for fashion
therefore planned to offer ongoing designers and consumers.
Developing mass-market collections
For corporate branded companies Once the garments have been

with in-house design teams, the shown there will be further
design process is similar to that in adjustments to the collection by
high-end fashion. The design team the merchandiser, who collaborates
will start developing a new collection with the designer to finalise what to
whilst still working on the previous buy and in what quantities for their
one. Elements are often carried retail stores. The different ranges are
across, whether they are successful displayed on large, portable grids,
pieces from a previous collection or each representing drops or deliveries
core pieces that sell every season. into store; this process is called
Inspiration boards, or mood boards, rigging in the US and range
will be collated by the design team building in the UK. Rigging can
from their sourcing trips around the represent different colour stories
world. These boards form an for different labels within the brand.
important basis for the design They give buyers, merchandisers
process, reinforcing the design and designers an overview of the
teams vision for the new collection. collection. The editing process
Information pinned on the mood should involve distilling and
boards include colour swatches, refining looks into tight ranges,
sketches, photographs, tear sheets, which represent the spirit of the
text, illustrations, fabric samples and overall collection.
actual garments, which can be
bought for fabric, colour and
embroidery references.
Approximately three months before

the design process begins, the fabric
designers will visit mills to develop
specially woven sample cloth known
as blankets. Once sketches have
been produced and edited, sample
garments are made: first in an inferior
cloth, such as cotton calico or
muslin, and then in the sample cloth.
Over the next few weeks silhouettes
will be developed; this is an ongoing
process where many pieces are
discarded in favour of garments that
reflect the mood of the season. And
so begins the editing process, where
approximately 40 per cent of the
original sample garments will be
shown to the client or on the
catwalk. As many as 150 pieces

will be made, which represent
around 50 looks or exits on to
the catwalk or runway.
1
92 / 93
1 Tech packs
Technical packages, or tech
packs, are given to factories
to produce prototypes for
the collections. They usually
contain specifications,
measurements, fabric,
trim and lining information:
basically everything needed
to produce a garment in
the factory.
1 Marks and Spencer

womenswear collection
S/S09.
2 Banana Republic rigging.
2
Designer collaborations
Many retailers have designer ranges more expensive collection. Some accessories. Isaac Mizrahi, Todd
as part of their main merchandise. pieces can be cheaper versions of Oldham and Michael Graves have
These ranges are manufactured to current or past seasons pieces. all helped Target carve a distinctive
prices that are more widely affordable The creative process is exactly the and design-led profile amongst
than the designers main collections. same as if the collection were in a US retailers. Alexander McQueen is
In exchange for the designed range higher market segment, with costs the latest designer to join the Target
and use of the designers name, the saved in the fabric choices, team, designing exclusive ranges
retailer will arrange the sourcing, production volume and profit margin for the brand. Japanese company
fabrics, production and visual at retail. Many retailers have identified Uniqlo has also followed this trend
promotion. This arrangement can the value and prestige of promoting a by employing Jil Sander as its
be mutually beneficial and profitable guest or celebrity designer to enliven design consultant.
for both parties concerned. and extend core ranges. This
strategy creates opportunities for
The collections are usually designed a new customer group and will also
as capsule ranges, pieces that can attract the designers fans. In the US,
be easily put together in whole outfits Target has pioneered this strategy,
or looks. Their appeal and success employing a diverse range of
depend on price and creative designers to create collections
alignment with the designers main, of clothing, homewares and
94 / 95
Celebrity collaborations
Perhaps the most successful products and collections. For Moss 1 Ben de Lisi, Betty Jackson,
celebrity collaboration of recent times to launch a fashion line for Britains John Rocha and Jasper
has been the partnership between most successful high-street fashion Conran are just a few of the
Sir Philip Green, owner of Topshop, retailer is a shrewd and interesting designers who have
and model Kate Moss. Taking business development. collaborated with UK
inspiration from her own wardrobe of department store
vintage garments, Kate Moss directs Debenhams.
an in-house team of designers.
Although not trained or experienced 2 The collaboration between
as a designer, Moss has become a Kate Moss and Topshop has
living fashion icon and is associated been incredibly successful.
as being the face of a number of
brands. Her status and profile is a
match for many of the brands and
designers who have used her image
to promote and define their own
Home shopping
1 <www.netaporter.com> Originating in 1950s America, the idea of home shopping was

2 <www.asos.com> to capture the attention of a generation of wives and mothers
who stayed at home. One of the original catalogues, Sears, was
3 <www.theoutnet.com>
expansive and covered an enormous range of home and lifestyle
4 <www.yoox.com> products and appliances, as well as fashion. This company and
many others became embedded as part of the American way of life;
soon after, this form of shopping arrived in Europe and the UK.
The clothing ranges presented in these catalogues were

extravagantly illustrated or photographed, often in exotic or
aspirational locations and settings. But whilst the clothing ranges
were seasonal, they were made in large numbers and stock size
and the quality was often average. Garments were designed to be
only seen from the front, so the silhouette and backs of garments
were basic and dull. This form of fashion production and retail
became known as dowdy or downmarket until entrepreneur
George Davies launched the Next Directory in 1982. The directory
transformed the notion of home shopping. Customers had to pay to
receive a copy of the catalogue, which was glossy and featured real
fabric swatches alongside photographs and a measuring tape. This
interactive experience, coupled with fashion photography by Bruce
Weber, featuring models from design magazine campaigns,
transformed the idea of home shopping into something cool,
informed and exciting. The ranges were clearly influenced by
fashion trend and current influential designers. This was the first
British retail organisation to understand the concept of total look
merchandise and styling. Some items might have been fairly basic,
but the overall image and packaging created the desired halo effect
for the high-street fashion consumer. For ten years the visual and
merchandise format established by Next was influential in endless
retail spaces and stores across the UK.
96 / 97
E-tailing
Home shopping today includes before it is available in some stores. time for availability within the
online retail, which offers fashion Up to two million women log on traditional buying timescale
consumers a huge range of a month to browse through 200 autumn/winter becomes available
merchandise across all brand leading labels. during August and spring/summer
and price levels. comes online in January and
Reflecting a younger customer, February. The original concept was
At the top end of the market is ASOS has developed an online to copy and sell copies of celebrity
Net-a-porter, which retails pieces fashion business which, like a looks or red-carpet fashion
from collections brought directly number of other e-tailers, limits ASOS is an acronym for As Seen
after the designers catwalk show. availability and produces a large on Screen. The company has since
Net-a-porter was launched in 1999 number of ranges across each evolved into a successful fashion-
and has revolutionised the way traditional season. Ranges are centred organisation that strives
women shop. It is successful in its designed and produced in a to produce the latest fashion
ability to buy quickly from designers number of countries and stock is looks at competitive prices for
and showcase merchandise even carefully planned on prior sales and men and women.
1 2
Mass market > Home shopping > Ian Garlant
3 4
Ian Garlant, creative director of Hardy Amies, interview
How do you start the collections? Is your customer getting younger? Do you ever have anyone bringing
Its a non-stop process; there isnt Yes, but I think the biggest single in a piece from another design
a beginning, middle and end. Its change is the increase in professional house and saying they want
one collection that evolves almost women who come here for their something similar?
directly into the next. We have an working wardrobe. Yes, but I wont copy another current
autumn/winter collection and a designer. It is better that they go
spring/summer collection. The Is it less about evening wear and there and get it. If they have seen a
ethos doesnt really change but the special occasion dressing? picture of something special or their
colouring, styling and presentation The two are not mutually exclusive. grandmother has got something, or
changes all the time. The handwriting Some might be corporate entertaining they have had an idea somewhere,
and the way we work is fairly for someone exceedingly glamorous. then fine, absolutely. Thats a creative
seamless. Professional women need to make a process in itself, and I think that is
confident, strong presentation of part of the whole discussion in
Would you ever show as part themselves and clothing is of course arriving at something you are both
of Couture Week in Paris? the ideal way to do that. We have a happy with. Im doing a dress for
It is unlikely simply because of the couple of exceedingly high-powered, someone that is loosely based on a
cost. There is always a salon show professional women who are very Madame de Pompadour style. Its an
here but there have been occasions low key, the last thing they want is a amazing ball gown. Shed seen a
where we show outside the House fuss. What they want is privacy and picture and said she would like
for charities, press and licensees. service as money is not an object. something like that done.
They are very clear about what they
Do you still separate between want; its quite anti-fashion. Do you also work with other
the tailoring and the dressmaking? suppliers, such as specialist
It is still separate but there is a How many looks are there in embroiderers the same as
crossover and there is now more of a one show? the ateliers in Paris?
relationship between the workrooms. It varies hugely from collection to We work with Hand & Lock in
collection actually. For the Golden London and we work with
Do you collaborate with anyone Age of Couture at the V&A museum embroiderers in India.
on shoes and accessories? it was over 100. The most recent
We work with Harry Winston for the one was 30-something so it depends
jewels and for many years it was on the time and how much we can
Cartier and Tiffany & Co. Freddie Fox get done.
used to do the hats when Hardy was
here, then we went to Philip Treacy Are you fairly sure that what you
on a few occasions. We now work show will be ordered?
with Stephen Jones for hats and When I put a collection together, I
Nicholas Kirkwood for shoes. Jimmy have got a pretty clear idea of what
Choo has also done some shoes for will sell, what might sell and whats
our clients so it moves around. used for window dressing or fun, to
kick off some other ideas. One case
in point this season is a style that we
have not sold much of but we have
sold a lot of this cloth in other styles.
So its a very good way of maybe

demonstrating the cloth.
98 / 99
How long is the process from

the initial meeting until the final
garment is delivered?
It can vary vastly from four weeks to
a year. If you have got someone who
does not live in England and they are
only available for fittings when they
are here, maybe twice a year, then it
will take longer. Quite a number of
clients come in from abroad, and
what happens after a period of time
is that every time they are in England
there is something to pick up,
something to fit or something
to discuss.
Do you keep a stock of fabrics?

Not much as we dont produce that
many garments. We are only talking
about some hundreds, not
thousands, of units. In a season we
can produce up to 100 different
styles including different colourways
and special designs from the original
collection. These are normally from
merchants who give us short lengths
of cloth usually Parisian, Swiss
Italian and Spanish.
Is that difficult for clients who do

not want to be dressed the same
as somebody else?
Yes, there are one or two occasions,
such as Ascot, where I have to be
slightly careful. A genuine couture
client does not regard the design
as necessarily exclusive, but more
about having clothes made for
their private wardrobe.
Home shopping > Ian Garlant > Jens Laugesen
1 Hardy Amies
couture A/W07.
Jens Laugesen, fashion designer, interview
What happened after you How many trilogies have How do you develop your
graduated from the MA? you done so far? silhouettes and shapes?
Lulu Kennedy chose me as one of I have done 12 so far, starting I look at the architecture of the
three graduates to show at Fashion with Ground Zero from my graduate garments and draw line-ups of
East part of London Fashion Week. collection, which was about silhouettes I want to use that season.
I showed a 25-look collection based deconstruction and reconstruction. I research garments by hanging them
on the 16 looks from my graduate Then Outsize, which was about on a white wall, then I draw directly
collection, which was called Ground analysing the design process; then on to the toiles I have made as
Zero. I also designed ranges for Future Now to Modernity; and lastly replicas of the vintage garments. I
Topshop under New Generation. Interior. Here I went back to my sketch only for the pattern cutters
Danish roots and studied the work of and give them technical details.
How do you start your a Danish artist mixed with glam rock Sensibility in cut and proportion are
collections? and Paris couture. important and also understanding
Instead of every season coming how the vintage garments were cut
up with new ideas I design trilogies, How many collections by recreating the original. I am
which are three collections in do you design a year? interested in turn-of-the-century
succession based on the same One main spring/summer collection, military garments and Victorian shirts
theme. This way I dont have to one for autumn/winter and pieces that are cut for function.
come up with new themes for sometimes a pre-collection for the Then I mix the elements to create
every collection but develop and US market, as buyers want to buy a hybrid a Victorian shirt with a
evolve from the first one. In the early and also to see what will be 1960s dress, maybe; reconstruction
1990s designers were conceptual; coming out in the main range. About from the past in a modern context.
now it is the process that is 80 per cent of the orders are placed
conceptual. I learnt to do this at before the show, with 20 per cent How many cutters do you
Central Saint Martins where the being confirmed from the catwalk employ in your studio?
method that Louise Wilson uses is three months later. I have two to three cutters working
to continually break down the with me every season and then I
process to understand and analyse, How do you source your fabrics? direct students to work on toiles.
in order to rebuild again. As a result I go to Premire Vision and agents
of my background in couture, my come to me. I use fabrics from Italy How do you edit your collections?
work is cerebral but wearable, where they will supply 100 metres; I look at the final line-up in toiles,
which is important. for an extra charge of 30 per cent I then I analyse jacket shapes and
can buy short metreage of a special trouser lengths for details. I look at
How do you research fabric. I also buy from small ateliers the silhouette of that season and
for your collections? in Lyon in France and from photograph each toile from the front,
Ideas develop from found objects wholesalers in the UK such as side and back. I have to be objective
mostly garments. I go to flea Whaleys, Pongees and Henry and then I work with my stylist to edit
markets and buy vintage rather Bertrand. I commissioned a special the final collection.
than recent clothes. silk brocade for one collection based
on a vintage garment I found. I buy
traditional wools for tailoring, then
use them in a modern way. I also buy
yarn from Loro Piana in Italy for my
knitwear ranges.
100 / 101
Ian Garlant > Jens Laugesen > Ohne Titel
1 Illustrations by
Jens Laugesen.
Ohne Titel, fashion label, interview
How do you start your

collections?
Theres a sense of intuition, then we
develop shape and colour. We are
designing for intelligent, confident
working women who appreciate
suitings. We know ourselves what
we want to wear and this influences
our collection. We also start
collecting things that interest us.
How many collections

do you design?
Two: fall and spring/summer. We are
looking at resort cruise in the future
as a collection of easy pieces
between the two main collections.
How do you source fabrics and

do you compile a colour palette?
We visit Premire Vision in Paris,
which is inspirational and totally
necessary. Reps from yarn mills will
also visit us. We have contacts from
our previous jobs as designers and
are confident in sourcing and putting
together colour for the collections.
Through discussion and research
we will come up with colour chips.
We also use the archive at the
Fashion Institute of Technology in
New York, a library and archive of
vintage garments.
How do you develop your

shapes and silhouettes?
We drape fabric on the form
(mannequin) and use a fit model
in the studio. We work directly on
toiles and photograph them.
Where do you show

your collections?
In a gallery in the West Village on Who buys your collection?

schedule. We subscribe to Fashion Madonna has bought our clothes,
Calendar, who set up dates and give but we really sell to real women:
us a good position on schedule gallery owners, politicians and
during New York Fashion Week. business women.
Where do you sell your clothes? Do you consider sustainability?

Selfridges and Start, a boutique in Not yet, but we dont use sweat
Hoxton, London, but not in New York shops. We make in Italy and 90 per
yet. Selfridges will buy 11 of one cent of our fabrics are from Italy. We
style and for exclusives, 1520 also source prints in China but know
styles. Because of selling a small the factories as quality is important.
range for the collection we have to The French will buy to order and we
look at every piece as being shown offer a stock source using colour
on its own. chips for our prints.
1
1
Ohne Titel A/W08.
102 / 103
Jens Laugesen > Ohne Titel > Emily Craig

Emily Craig, senior designer at DKNY, interview
How do start your collections? How and where do you What do you define as a
On a big season (such as fall or source fabrics? collection or a range?
spring) we start by going to Premire We have a fabric department here, A concise, coherent collection of
Vision in Paris where we begin which is responsible for most of the pieces that both work together as
sourcing the fabrics for the season sourcing, but we go to Premire looks and complement each other.
and getting an idea for mood and Vision as a design team together, or
colour; at the same time we carry source or develop new fabrics out of On average, how many pieces per
out shop and brand research and do Asia and Europe. collection are for catwalk only?
vintage shopping. We have a big Most of the pieces that make it to
vintage/antique library too, with Do you commission textiles: knit, runway are adopted on the line for
anything from Victorian costume and print, weave and embroidery? our stores especially in New York,
military uniforms to ethnic embroidery Yes we do occasionally commission Europe and Asia. Some of the very
and biker jackets. This is all in-house prints and textiles or buy swatches fashion-pushed pieces are used for
so its convenient. There is also a from textile companies, but we also press only.
Donna Karan archive housing pieces have an in-house graphic
from each collection dating back to designer/textile artist who creates How many looks are in each
the very first collection in the 1980s. original prints and artworks for us. collection and does this vary by
We have meetings with the whole season or line?
design team to discuss ideas, share How do you develop your For a big season there are
thoughts and often well have a fitting shapes and silhouettes? approximately 300 styles and 500
with a model to try out silhouette I tend to sketch mostly but I also single kimbled units, and for the
ideas and looks. work on a mannequin, either draping smaller seasons there are about 150
or working with vintage pieces. We styles and 320 single kimbled units.
How many collections also have an amazing sample
do you design? room/atelier in-house (now quite a How many pattern cutters do
We design four collections a year: rarity for New York) and I work one- you have and how do you
fall, resort, spring and summer. on-one with the pattern cutters to communicate your designs
Within each collection, there are develop the silhouettes and toiles. to them?
three deliveries. We also send specs and We have two main pattern cutters
development to Hong Kong. who work all year round on collection
Do you compile a colour development. I work with one who
palette and if so, how? Where and how do you create specialises in tailoring and outerwear
Generally our creative director will your first samples and how many and there is another pattern cutter
compile the colour palette but we all are made for each collection? who specialises in soft and feminine
discuss it and offer ideas. It can often For my styles, as I do tailoring and pieces. There are also several pattern
be based around a great print weve outerwear, most of the development cutters who work on production
found or from newly sourced fabrics, is done in-house. Some of the soft patterns; they occasionally help out
vintage garments or a photo. pieces are made in-house too. This with development too. I give my
gives us the opportunity to continue pattern cutter a sketch and
developing the collection right up sometimes an image or a garment
until the line opens. Most of the along with it to help explain exactly
development of the first samples is what I want. I will discuss it with him
done in Hong Kong. and he will make suggestions or
changes. Then he makes a toile or

muslin for me to look at and fit.
104 / 105

of the collections?
Yes, we have edit meetings. This is
when we present the collection to
the president, executive vice
president, merchandising and sales
teams. We have these meetings at
the beginning of the season when
we present the first protos and then
with the final protos for line adoption
before market opens.
How do you present the

collections to your clients?
We have a big showroom where the
collection is hung in deliveries along
with some looks and accessories,
and when the big clients come in we
do small presentations with models
to show the key looks. At this stage
though, the sales team generally
takes over. We will have a big walk-
through presentation to explain the
collection to the sales and marketing
teams. This is where we hand over
the collection to them and they are
responsible, along with the president
and executive vice president, for the
selling and marketing.
1
Ohne Titel > Emily Craig > James Spreckley
1 DKNY womenswear.
James Spreckley, menswear director at Reiss, interview
How do start your collections?

Emotion-led discussions with the
team lead to visual brainstorming
sessions. We visit galleries
internationally and use sketchbooks.
We need to understand the current
climate and create a visual mood
and create concept boards for
colour, fabric and trim.
How many collections

do you design?
Four per season for garments in
group drops and four per season for
accessories. For spring/summer
there will be two groups and for
autumn/winter the same, with some
trans-seasonal drops depending on
the season.
How many are in the design team?

Ten in the menswear team covering
knit, woven and leather. There are
senior designers, junior designers,
assistants, product developers and
an office manager. Menswear is
separate from womenswear but we
work on the same floor in a different
studio.
Do you compile a colour

palette and if so, how?
From the concept mood boards
there is a lab dip process using
vintage fabrics from garments or
images. We only look at trend
predictions as confirmation. We will
always have a capsule colour
collection, which is the core colour
palette, and introduce new tones of
these. Every season there is
exclusive colour development in-
house and the lab dips then go out
to the factories for sampling. We can

have between 45 and 55 variations in
tones within colours.
1
106 / 107
How and where do you How many pattern cutters do How do you present the
source fabrics? you have and how do you collections to your clients?
We go all over the world to source communicate your designs By presenting to the store managers.
vintage pieces for development to them? They will be given look books and a
purchasing in New York and Los We have eight pattern cutters who design pack to outfit build for
Angeles. We utilise Premire Vision work with the menswear design window displays so that the Reiss
and Moda In, as well as Turkish team. They work from sketches and identity is maintained. It is important
fairs in London for denim shirting tear sheets and there is a verbal that the outfits are shown how they
and suitings. presentation by the designers. The were designed from the outset.
whole process is hands-on and Information is key throughout the
Do you commission textiles: knit, about communicating information. business, from mood board to
print, weave and embroidery? We also have fittings two days a managers who need stories.
We buy vintage textiles and prints for week on a fit model.
exclusivity in design.
How do you develop your shapes of the collections?
and silhouettes: flat pattern, The design team will have
draping, modelling on the stand? presentations to the store managers
We model on the stand and flat who will give feedback and review
patterns are produced by our own the collection. We cant change the
in-house pattern team. range once it is done but we can
change the way it is promoted
Where and how do you create through window dressing.
your first samples?
We make our first prototypes in-
house and through the factories.
What do you define as a

collection or a range?
A range is driven by the merchandise
but a collection is presented as a
creative look. There are ranges within
collections, which are updated
following sales information and fed
back into the collections.
How many looks on average are

there in each collection?
For our catwalk shows we have five
looks of 30 outfits, so there will be
300 garments in one collection, with
Emily Craig > James Spreckley > Simon Kneen
about 125 accessory pieces and 20

shoe designs. Seasons do vary, so
the size of the collections will vary.
1 Reiss menswear A/W08.

Simon Kneen, creative director and executive vice president at Banana Republic, interview
2
1
108 / 109
How do you start your collections? How many are there in your How many stores do you
We start with inspiration from design team? have all together?
anywhere exhibitions, vintage There are 62 people in the team of There are 400 stores in the USA and
pieces that we can rent for a season research and developers. Print 500 globally, so we represent the
and shopping in major cities designers re-colour vintage prints mass market, each store
worldwide. We have got to get into it and are creative and imaginative. representing 8,000 square feet of
or it is just stuff. The process should There is a CAD team and a merchandise. We also have an online
be pure and inspirational. We then pre-production team and a mainly business for the same merchandise.
prepare mood boards; this involves British design team. We have five levels of the total
making colour chips from our in- collection Level 1 for large stores
house colour library and from bits How do you develop your and Level 5 for smaller stores where
of vintage garments or fabric to silhouettes? merchandise is edited according to
produce a palette, as well as We talk through the looks as a the store size and location. When
sketching and creating images group. We use house models for we launch a pre-summer range for
from rigging vintage garments. fitting garments. We look at trends front of store, the second delivery
in Europe but as the company is must flow from it to give a strong
How many collections do you bi-coastal we have to be aware of fashion message.
design all together? our customer. Banana Republic
Quarterly, that is, four hits a year covers the east and west coasts
spring, summer, fall and winter, with of America. The GAP headquarters
overlapping elements including are in San Francisco, where the
previews of menswear and merchants and buyers are based,
womenswear. The main collections and the designers are based in New
we design by store layout: front, York. We always filter the brand
middle and back. The front of the before designs hit the stores to
store is high-fashion mens and minimise risks. Our monogrammed
womens to give an impact of the collection has a higher price point
best of the brand. The middle is city and can be pushed more. Three per
styled, work-appropriate suiting and cent of the collection is high risk and
basic outfitting including the core only delivered to 30 stores.
chino business. The back of the
store is weekend chic, calypso Where do you create your samples?
styling, holiday, textile and organic We sample everywhere, all over the
ranges. These are brighter and more world. We produce specifications for
specialised areas of clothing and new shapes in tech packs.
accessories, such as swimwear in
summer and denim ranges. How important is sustainability
and being eco-friendly?
James Spreckley > Simon Kneen > Gordon Richardson
Do you collaborate with anyone? It is not a conscious decision,

All design is done in-house but we but one step at a time. Our
do collaborate closely with our manufacturers are using fewer
vendors (manufacturers) in the chemicals, which has evolved over
execution of the design. Franchise time. It is a daily routine for them,
goods include licensing of perfumes, not a gimmick. Denim washes are
personal care, sunglasses and ecological through recycling water
jewellery. We also work with Clarks in after stonewashing.
the UK for mens shoes and Camuto
in Brazil for womens shoes.
12 Illustrations by Simon
Kneen, as used in the
New York and London
flagship stores to launch
the S/S09 collection.
Gordon Richardson, design and product development director at Topman, interview
1 2
How do you start your How and where do you

collections? source fabrics?
For Topman Design it is an in-house We will source readily available cloth
team effort. The team works on from the stock market in Hong Kong;
everything collectively, worked we may use existing cloth or ends of
around a theme. The theme is lines if quantities are small; for
usually a journey through life of a example, 100 metres of a fabric.
personality at different stages in time.
The spring/summer 09 collection Do you commission textiles?
was based on two mavericks: Jean If the theme is for chunky knits then
Prouv, an architect who pioneered a knitwear designer will outsource
the use of steel in furniture design; hand-knits with a company. We
and Graham Obre, who built the first have an in-house graphic designer
Olympic bike. The team will also look for our prints.
at trends and source vintage clothes
from markets such as Pasadena in How do you develop your
LA, for styling and proportion. shapes and silhouettes?
We use the vintage finds that the
How many collections team have sourced and photograph

do you design? the looks for silhouette and
Two main collections for Topman proportion. We mix up shapes: for
Design: autumn/winter and example, we might exaggerate a
spring/summer, which are shown shirt to get a strong look under a
on the catwalk at London Fashion tailored jacket or have a slim jogging
Week. The team will also be pant and top. The pattern cutter will
designing collections for the Topman create new blocks for the silhouettes
range, looking ahead and looking in the pattern room each season.
back on sales. They come up with Our design team communicates on
mini trends, which hit the stores at a daily basis with the pattern cutter
pay weekends. This is a small part to develop the pieces.
of the Topman range, which is
displayed at the front of the store
and represents a product trend area.
110 / 111
3 4
Where and how do you create How do you show the collection?
your first samples? We show as a part of London
We will send a block, a finished Fashion Week on the catwalk, which
pattern and toile with specifications is separate from our MAN show. The
to our key suppliers in the Far East, MAN show is a showcase of
who will produce the samples. We emerging design talent; four
usually sample five times what we designers are selected and
need for the show. sponsored by Topman. We then
produce photographs of the show
What do you define as a for a static book for wholesale and a
collection or range? look book for the brands.
A collection is an edited, focused
point of view and has a strong
identifiable character. A range is
broader and less specific with wider
appeal. A knitwear range for a
season will go across many different
categories, such as stripes, neck
interest or fleece lining. There is a
designer each season redesigning
Simon Kneen > Gordon Richardson
and updating the range.
Do you have in-house reviews

of the collection?
I will oversee the process from the
beginning; Alister Mackie will work
closely with me and comes in four
times a season. He is the fashion
editor of Another Man and used to
be the senior fashion editor at Dazed
and Confused so we are confident in 14 Topman menswear S/S09.
his opinion as to how the show
should look.
Specialist collections 112 / 113
1 Marni S/S08.
I would only ask you not to forget to play. Catwalking.com.
Alvar Aalto
Collections may be created within specific areas of

fashion, such as childrens wear, sportswear, knitwear,
jewellery, footwear and accessories. Most designers and
producers who specialise in specific fashion product areas
ensure that their collections are created and developed to
work with seasonal design trends and directions or at
least acknowledge and complement them.
Footwear and leather accessories (bags, belts and small

leather goods) can, at times, create strong fashion trends
and influences. These pieces can be used to style the most
basic items of clothing and update a fashion look. Many
established companies rely on sales of footwear, bags,
accessories and licensed lines to maintain their businesses.
Fashion jewellery is also available at all market levels and
Collections designed for different markets > Specialist collections > The student collection
has become integral to every fashion occasion and dress
code. Other specialist collections, such as childrens wear
and sportswear, are created or commissioned around
specific considerations and situations. This chapter
explores the development of collections within each
of these specialist areas.
1
Specialist collections
Childrens wear
1 Protest is a Mission of Trends within this area of fashion are subtle, but colour, shape
Passion. Childrens wear and thematic influences combine to create a niche fashion
by Laura Harvey.
movement that often reflects mainstream design in fashion and
beyond. However, a traditional approach persists, and designers
respond accordingly. The design and development processes are
similar to other fashion product areas in terms of fabric, colour and
shape development, sampling and manufacture. Time schedules
mirror the main fashion calendar. As is common in womenswear
and menswear, each designer and retailer has individual sizing
and labelling specifics, which are devised and monitored within
individual businesses.
Many international designers extend their collections from

womenswear or menswear into baby wear and childrens wear,
such as Baby Dior, Armani Junior, Moschino Kids and Burberry.
This is an area of the fashion industry that is often overlooked by
students when considering a career, but with most fashion students
concentrating on womenswear or menswear, there are potentially
more job opportunities within this specialist market.
1
114 / 115
Baby wear Toddlers
The moment of birth creates a By the time a child is walking, most Safety considerations
new range of fashion possibilities. fashion ranges offer complete looks It should be noted that this
Many new parents set about buying or wardrobe items including jeans, specialist fashion market is
clothes that will not only make the sweatshirts, shirts and tops, jackets, strictly controlled by health
child as attractive as possible to dresses, trousers and so on. Ranges and safety legislation, related
friends and family members, but often reference main fashion trends, to fabric compositions,
crucially, define the childs sex. including colour, wovens, prints and flammability, toxicity and
It is no accident that pre-birth gifts fabric treatments. Many fashion looks fastening security. Standards
are carefully gender-neutral in colour are reinforced through the use of are stringently monitored and
and graphics. Lemon, mint and aqua graphics in prints and motifs, as particular features of clothing
colours are all acceptable for both these embellishments can graphically for babies and toddlers are
girls and boys, but the traditional explain the look often with words, tested. In addition, human
pink and blue base colours will slogans or character names. The ergonomics play a role in
always be a factor in designing baby ploy is to communicate to the the design of the garments.
wear. There are, of course, variations purchaser. This market area is Babies and small children are
on this depending on geographical heavily covered with branded or unable to dress or undress
region. Italians, for example, will character merchandise featuring themselves and the logistics
happily dress a newborn boy in popular television, movie or of small limbs, sleeves, neck
garments with pink or coral-coloured toy characters. openings and trouser legs
trims and details. And the Japanese must be easy to negotiate.
have, for many years, seen black and Examination of this type of
khaki as suitable colours for babies clothing will illustrate a variety
and children to wear. of neck openings and closure
details, accommodating the
proportional differences
between a small child
and an adult.
Childrens wear > Footwear and accessories

Footwear and accessories
1 Louis Vuitton S/S08. Collections of footwear and accessories, such as leather bags,
Catwalking.com. can be created as individual fashion statements or may be
2 Bag and shoe design commissioned by a designer as a part of a complete fashion look.
development by It would be impossible to ignore the recent growth and interest
Natalie Frost.
within this fashion area and its influence on consumers choices.
1
116 / 117
Origins
This specialist area of fashion Over time, a number of makers and Global fashion brands Gucci and
has a history of tradition, craft, royal retailers emerged to establish the Louis Vuitton also both started out
patronage and heritage that endures origins of the upmarket brands that business in leather. Founded in 1921
beyond many clothing designers and influence fashion today. Herms was in Rome, Gucci began creating and
fashion houses. Medieval craftsmen established in Paris to produce horse retailing fine leather goods to wealthy
known as cordwainers made shoes harnesses for French noblemen and patrons. French company Louis
and other articles from fine, soft by 1880, had introduced saddlery. At Vuitton originally produced high
leather. Cobblers were specifically the same time, the company began quality travel bags and trunks, which
repairers, not makers. Trade groups its retail business. By 1914, Herms continue in a range of finishes and
were formed to regulate and had secured exclusivity in using the styles. The company made a
formalise tradesmen and in 1449, new zip fastener in France for leather strategic shift by appointing Marc
one such group, the Worshipful goods and clothing. Herms Jacobs as creative director. A
Company of Girdlers, was granted produced its first bags in 1922. Its collaboration with designer Stephen
a Royal Charter to regulate the most famous bag, created in 1935, Sprouse in 2001 saw the traditional
production of belts and girdles. was favoured by Grace Kelly, soon to monogram base fabric being
Other specialist companies were become Princess Grace of Monaco. splashed with anarchic lettering and
formed around specific leather The Kelly bag is still in production Sprouses name. This immediately
products, including footwear and and has a waiting list of 13 years. excited the fashion press and a new
gloves. In London, these trade group of luxury consumers, attracted
groups represented the highest by this exclusive, high quality (and
quality of craftsmanship. expensive) range. The company
followed this successful collaboration
by working with Japanese artist
Takashi Murakami to create two
distinct interpretations of the
monogram line, cartoon and
cherries. These, too, were hugely
influential and much copied.
Childrens wear > Footwear and accessories > Knitwear
2
Footwear
Many of the processes used in Lasts were traditionally carved from Specialist courses
production still rely on handcraft wood. At the very top end of the UK courses in footwear and
skills and many years experience footwear market, companies accessories are offered at
to achieve the highest quality such as Ferragamo would create London College of Fashion
standards. Footwear in the middle personalised lasts for special (Cordwainers) and De
and mass markets is mostly customers, made to individual Montford University,
produced in Brazil, China and specification. Today, rapid Leicester.
Portugal. Footwear made in Italy prototype technology can create
is more expensive and is therefore exact requirements for lasts; this
found in more upmarket brands. is both faster and cheaper than
Trainers and sports shoes are mainly before, thereby adding to the
produced in Thailand, China and designers scope for innovation
Vietnam, where significant and quick response.
investment has created a profitable,
quality-secured industry. Footwear designers such as
Mass-production of footwear has Christian Louboutin, Manolo
disappeared in the UK, mainly due Blahnik, Georgina Goodman and
to labour costs, market changes, Nicholas Kirkwood create beautiful,
and competition from other areas of desirable shoes. They design special
the world. Footwear is a huge and collections in collaboration with
popular area of the fashion market fashion designers along with their
for consumer and producers. As own ranges. Many of these shoes
such, the materials and methods are produced to the equivalent
used to create leather accessories standards of haute couture clothing:
and footwear are unique to this they are expensive, collectable and
product area. Twice each year, treasured by consumers across
Linea Pelle in Bologna showcases the world.
trends and developments in leather
and leather products. Around 1,300 Specifically aimed at fine shoes for
exhibitors from approximately 45 men, Churchs Shoes was founded
countries attend this trade exhibition. in Northampton in 1873 to produce
Exhibitors include tanneries, the highest quality handcrafted
designers and accessory/component shoes for men. The company is
manufacturers. Visiting professionals still acknowledged as a world
can find information on related trends leader in this footwear market.
and innovations in technology and
materials. This is the starting point for
many designers. The next stage is to
design the fashion shapes for the
new collection. A last forms the
basis of the shoe, and will dictate the
toe shape, heel height and variations
on the foot coverage for each style.
As for clothing, patterns are cut and
then checked against the last. Heels
(especially high heels) may be carved
or created separately, as these often
become embellishments or features
of the finished shoes.
1
118 / 119
Bags
The bags market is huge and varied. Bags and leather goods are usually 1 Boot designed by Nicholas
Like fashion clothing, soft leather developed by an accessories Kirkwood, A/W08.
bags and accessories are created by designer or team, and follow the
cutting pattern pieces to be stitched direction set by the fashion clothing 2 Shoe design development.
or glued into shape. The colour, finish to include colour, silhouette, 3 Wooden lasts used for
and leather craft techniques, such as surface embellishments or shoe-making.
carving, brogue work, burnishing and treatments. Each item is created in
spraying, can all alter and enhance the same way as garments, in that
the surface of many natural skins. patterns are created and samples
Stitching, printing, embroidery and are made for approval. Unlike
the availability of fixtures, fastenings clothing, however, the patterns have
and strengthening (known as to fit the skins; wastage can be high,
furniture or hardware) enable depending on the type of skin and
endless design possibilities. the size of the pattern pieces, and
taking into account any natural
flaws and imperfections.
3 Childrens wear > Footwear and accessories > Knitwear

Knitwear
Yarns Machine knitting is produced in one of two ways: flat-bed knitting

The advanced technology of creates flat fabric, which will be transformed into garments through
todays machines means that
one-piece, seamless cut and sew techniques; fully fashioned knitting creates garments
garments can be produced that are shaped on the machine. Flat-bed knitting includes the
as well as garments in the high-end, labour-intensive intarsia knitting, where yarns are laid in the
finest of yarns on fine gauge
(which means the number of courses of weft knitting to form irregular, one-off patterns and motifs.
needles per inch 16 or 12
for fine gauge). Traditionally Most fashion knitwear is weft-knitted; however, in the 1950s
yarns were made from
natural fibres, such as Ottavio and Rosita Missoni in Northern Italy developed colourful
lambswool, cashmere, patterned artisanal knitwear collections using warp knitting, which is
cotton, silk and wool. a cross between knitting and weaving. Whilst Missoni reigned in
Modern yarns are being
continuously developed and Milan another iconic knitwear designer, Sonia Rykiel was establishing
improved: synthetic fibres, herself in Paris. Rykiel was known as the Queen of Knitwear in the
such as polymide, polyester, USA and demonstrated what you can do with a bit of yarn. Her
microfibre and elastane are
all used to create high- collections were based on novelty and slogan sweaters with her
performance knitted fabrics. signature colourful stripes, classic nautical references and boy
sweaters. In the 1970s, Scottish designer Bill Gibb was inspired by
traditional craft and ethnic cultures; together with his partner, Kaffe
Fassett, he designed some of the most exciting knitwear collections
of the decade. Their use of vibrant colours, organic motifs and
extravagant layering of knit was influential in the development of
fashion knitwear. Gibb went on to collaborate with Missoni, stating
at the time, What women want to wear in the daytime is beautiful
knits. In the 1990s, Japanese designer Issey Miyake used new
technology to create integral warp knitting, launching his iconic
a-poc collection, which literally means a piece of cloth. This new
concept required the customer to cut up the synthetic knitted cloth,
with its computer-generated print, and produce tubular garments
that could be worn in a multiple of ways. This innovative process
resulted in a capsule collection of a dress, skirt, underwear, hat,
gloves, socks and a bag, all cut from one piece of cloth.
Knitwear collections have now come full circle, with designers

revisiting traditional handcraft techniques. Designer Clare Tough,
for example, combined knit with crochet for her Central Saint Martins
graduate collection. At the other end of the scale, London-based
designer Louise Goldin creates futuristic body-conscious knitwear
that breaks out of all the cosy limitations of sweater dressing. Her
complex bodysuits and dresses, created by layering the sheerest

of fine yarns, are arguably the future of fashion knitwear.
120 / 121
Footwear and accessories > Knitwear > Fashion jewellery
1 Louise Goldin S/S09.

Catwalking.com.
2 Missoni A/W08.
Catwalking.com.
1
Fashion jewellery
Popularised by Chanel in the 1920s, the wearing of fashion jewellery

has become a specialist fashion market in its own right. Known as
costume jewellery, the pieces worn were obviously imitations of
precious or fine jewellery; they were over-scaled and worn as
embellishments, rather than formalised signals of wealth or status.
Brooches, earrings and rings were worn at social events, weddings
and for cocktails, as a finishing accessory to complete an ensemble.
Development of new materials in the 1920s, such as Bakelite and
lucite, provided new scope for designers to explore different
shapes and finishes, whilst defining innovative ways of
wearing fashion jewellery.
Good fashion jewellery is a fashion statement in itself; it mirrors

mainstream and niche fashion directions, yet lives beyond the
seasons, trends and influences that inform the creative processes.
Jewellery designers may follow or acknowledge colour and trend
information as for fashion clothing.
1
122 / 123
Scale, surfaces, materials, finishes, fastenings and colour are 1 Jewellery collection by
ongoing considerations for the designer, as are trend developments, Giles for Evoke.
such as animal prints, geometrics, fluorescents, high shine and 2 Marni A/W08.
military, ethnic or nostalgic themes; these influences will dictate Catwalking.com.
specific colour and materials. A recurring trend in fashion jewellery

takes its cue from global influences, referencing ceremonial
jewellery and ethnic pieces.
A number of fashion jewellers are beginning to challenge the

definitions of particular types of jewellery and the materials used
to create them. Innovative approaches to knitted or crafted fashion
jewellery, and the opportunities in dealing with sustainable or
renewable materials, are beginning to challenge and redefine
existing notions of taste, aesthetics and product. Designers
including Marni, Moschino and Marc Jacobs produce seasonal
ranges of fashion jewellery to accentuate catwalk presentations
and the retail range. Many pieces are created alongside the theme
explored within the clothing collection and therefore help to reinforce
the narrative or trend being shown.
Footwear and accessories > Fashion jewellery > Corporate collections
2
Corporate collections
Corporate wear is designed to portray a companys image, brand

values and in most examples, brand identity. Issues related to health
and safety, wearability, durability and care are all factors that inform
the final range of garments. Considerations must also allow for the
wide range of wearers body sizing, working environments, religious
dress requirements and even personalisation limitations. Colour,
prints and logos are aligned to the companys branding in order
to promote a unified, professional image.
Banks, hotels, restaurants, retailers and service providers have

adopted the approach that employees should represent the
company and its mission statement values when dealing with
customers. More and more organisations are adding value to the
customer experience by employing recognised fashion designers
to create corporate fashion collections.
Perhaps the largest corporate investment in fashion, with

international recognition, is the uniform worn by national airlines.
These garments take years to develop, trial, amend and produce.
The range of separates must be suitable for the tasks required of
each wearer, whilst conveying professionalism and a dependable
authority. Many ranges must also have a fashion lifespan of up to
ten years, which presents huge challenges for the designer.
Many airlines are keen to employ internationally recognised

designers and as such, the garments have become iconic over
the years. Braniff International in the US famously employed Emilio
Pucci as part of its entire corporate makeover in the late 1960s.
The garments were unlike anything seen before or since; futuristic
and colourful, they were as close to fashion as corporate clothing
can get. In the 1970s, Braniff commissioned Halston to dress its
cabin crews. John Rocha has designed for Virgin Atlantic, Ferr for
Korean Air, Balmain for Singapore Airlines, YSL for Qantas, Julien
MacDonald for British Airways, Dior and Calvin Klein for
Scandinavian Airlines, Armani for Alitalia and Kate Spade for Song.
Renowned for the most chic flight attendants, Air Frances cabin
crews are currently dressed by Christian Lacroix. By aligning
themselves with international, premium fashion brands, these
airlines are communicating corporate values to customers, as

well as adding to the travel experience.
124 / 125
Fashion jewellery > Corporate collections > Mark Eley
1 Emilio Pucci designed

futuristic airline uniforms
for Braniff in the 1960s.
Mark Eley, of fashion label Eley Kishimoto, interview
How do you start your How do you develop your shapes

collections? and silhouettes: flat pattern, 1
On day one we sit down and first draping or modelling on the
ideas are put down in a sketchbook, stand?
all drawn from sketches, doodles The pattern cutters translate the
and illustrations. The beginning of the sketches through a combination of
whole story starts with a word, title flat pattern and draping. Working
or doodle. Research is collated from from past collections we use various
books, magazines, music listened to, ways of creating finished drawings
loose notes and from this a little story accurately into garments. We put
in a sketchbook becomes an epic. together the range plan methodically
grouped by fabric a top, skirt, coat,
How many collections using other colourways and varying
do you design? weights of fabric. Silhouettes can
One main line that is seasonal inspire prints and as all development
autumn/winter and spring/summer, is in-house we can be flexible.
including collections of shoes, We can also design prints for a
trainers, bags, small leather goods, particular silhouette.
jewellery and sunglasses. Also one
line for Cacharel. Where and how do you create
your first samples and how many
How you compile a colour palette? approximately are made for each
We mix a palette as we go along collection?
every season, with Scotdic used by We make all samples in-house using
mills for colour reference and buy three of the best pattern cutters and
stock colour fabric as well as greige two sample machinists.
fabric for dyeing. We mix dyes for
prints from the sketchbook. We set How do you present the
the trends and are niche, unlike large collections to the clients?
corporate companies who rely on A fashion show as part of London
colour trend predictions. Fashion week, a showroom in Tokyo,
London and Paris and online, which
How do you source fabrics? is more accessible to our fans
Through Premire Vision and worldwide.
agents known for greige fabric to
dye. We commission weave and knit How do you work with stylists
lengths from the UK, Italy, Spain, and PR for selling the collection?
Japan and China. We dont use stylists as they bring
together other peoples creative ideas
What do you define as a and put them in the magazines. This
collection or a range? is our world so we have control of
A collection is a random grouped the product and do this all ourselves
amount of things, including catwalk in-house. PR knows the collection
show pieces, whereas a range is a intimately from the first drawing to
planned number of products. A the final line-up.
range plan includes knits and
wovens, and covers dresses,
trousers, jackets and coats.
12 Illustrations by Eley
Kishimoto.
2
126 / 127
Corporate collections > Mark Eley > Sibling

Sibling, mens knitwear label, interview
How do you start your

collections?
We always start with a group
brainstorming session, discussing
themes or specific ideas that are
interesting to us. We do not work
to trends or market movements,
instead we rely on our own
instincts. We discuss images we
have collated or found garments
we may have gathered.
Are your collections seasonal?

Very much so: as we are knit-specific
it is very important to create pieces
that are still desirable in summer,
which is a challenge. Knit is
synonymous with winter and
warmth so producing garments that
have the correct feel for summer
is very specific yarn selection is
key to this.
How do you compile

a colour palette?
Colour is part of our initial
brainstorming, which will raise
questions and ideas for further
development and research. This will
be readdressed later in the process
when the collection has taken form,
1 to ensure cohesion as a range.
2
16 Pieces from Siblings

S/S09 collection.
128 / 129
Where do you source your yarns? Where and how do you create How many looks do you
Our yarns are sourced worldwide: your first samples? have in your collection?
Scotland, Italy and the Far East. We Our studio is a fully functioning knit We try to keep to around 15 pieces.
have established relationships with atelier. We have a wide variety of That includes garments that are to
many yarn agents, and we visit Pitti industrial machinery to allow us to appeal specifically to press rather
Filati, a yarn trade fair in Italy. create a great number of our first than sales.
samples in-house. This allows us to
How do you develop your experiment very much more than Do you work with a stylist and
shapes and silhouettes? most companies. We will have PR?
It is important for us to question simultaneously create knit swatches, We employ a stylist and a groomer
traditional shape and form with knit. experimenting with stitch and yarn, for every shoot we produce. It is
This has two very contrasting and toile the form for fit and important for us to consider other
outcomes for us: one is our drive to proportion. Knit is very different to professionals opinions and artistic
create new and abstracted forms, working in wovens because every vision whenever presenting our work.
challenging what is expected of both garment or design starts with a yarn. Our PR is all kept in-house. This is
a knitwear shape and a menswear We have to build our cloth from vital to us as it allows us to be
form. The other is our joy in creating scratch for every single piece. guarded as to whom we allow to
knitted reproductions of recognised This creates both great use our product and in what
design classics, such as the trench opportunities and problems. environment. This is necessary to
coat, leather motorcycle jacket, keep our identity clear and
boating blazer; feats of engineering Where do you show and consistent.
that are correct to the smallest detail. sell your collections?
We have a showroom in Paris during Do you consider sustainability
How many are in your team? Menswear Fashion Week, where we when producing your collections?
Our team has a core of six but this invite press and buyers to view the It is a consideration, and we will
will swell at peak times to about 12. collection. Also we show during always go for a more sustainable
We have people with a great variety London Fashion Week within MAN. option given a choice. Ethical
of skills: hand knitters, machine treatment of people and manpower
knitters, pattern cutters and is something we are very actively
embroiderers. conscious of.
34
Mark Eley > Sibling > Katie Greenyer
56
Katie Greenyer, creative director of Red or Dead, interview
How do you research?

We start off by having a gut feeling
on trends that have been cropping
up at catwalk shows and looks that
key stylists have been pushing. We
look at sales figures and see what
styles are doing well. We look at
trend predictions, such as
thefuturelaboratory, but usually our
instincts are right. We look at WGSN
(fashion and style forecasters) reports
to see if there is anything we havent
covered, plus to see what other
brands are up to.
We visit galleries and flea markets

across the UK and Europe to Russia,
China; you name it, if it is key to our
trends we will try and get there and 1
experience it for ourselves. We
research by going to films,
exhibitions, libraries and galleries.
We all have cameras and make
inspiration boards each week using
what we have seen and done. We
then publish these boards to all the
product teams. We are really our
own trend agency. We also have an
archive collection of products,
sketches, styles, which we revert to
quite regularly. We do have a
problem storing everything so we
tend to photograph it all before it
goes off to a warehouse. Our
inspiration boards contain fabrics,
details and anything that we can
chop off and stick on for reference.
How many do you have in your

design team? 2
The Red or Dead design team is
small but with all our licensing
partners we have become quite big.
We all work together, having
inspiration days so that everyone is
picking up on the same stories and
vibes. Its great getting together and
having product knowledge from each
different category.
130 / 131
Where do you produce How many looks are in

your samples? each collection?
In the Far East, India and Europe. We work to a phasing calendar that
splits the collection up into mini
How do you compile your collections. There are usually three to
colour palettes? four phases with injection capsule
From our inspiration and trend ranges throughout the season to add
boards. We use Pantone references newness. In each range they will be
and fabric cuttings for dyeing. We broken down into casual daywear,
normally produce four inspiration core and evening-wear stories.
boards: colour, shape, print and
graphics. How many people work on each
collection?
How do you present This is a mix of designers, product
the collections? developers and merchandisers,
We will do a presentation of all the spreading out to buyers and the
range and produce a trend guide for factories, who all play their own
inspiration, colour and packaging for valuable parts.
the sales team. We show at Bread &
Butter in Barcelona, Basel Watch Fair How many pattern cutters do you
in Switzerland, Mido in Milan and at have?
Pure London. None in-house, but the product
developers develop specs; they then
How and where do you work with the relevant factories to
source your fabrics? produce the patterns and garments.
You have to follow the trends and Each factory is specialised in specific
inform the factories what you are products and therefore patterns.
looking for, the factories then send
swatches to select from. As well as Do you have in-house range
this, the design team visits fabric reviews?
trade shows and markets for Yes, this is done at prototype stage
suitable fabrics. to ensure that the product is working
and is commercial, sits well as a
Do you commission textiles, collection and shouts Red or Dead.
such as knit, print, embroidery
or weave? Do you work with PR teams?
No, this tends to be done in-house. We work with our PR agency. They
work with all our different products
How do you develop silhouettes? and we have regular launches and
We research trends for the coming press days. So they are able to
season looking at the catwalk and understand our brand and we are
look on the high street to pick up on able to feed the press samples and
what people are wearing. Its then a stories with just a phone call.
matter of creating silhouettes and
Sibling > Katie Greenyer > Holly Berry
making them new and fresh and

on-trend with a Red or Dead twist.
What do you define as a

collection or range?
A collection is a range of garments
that covers all product areas so that
the consumer can be dressed head
to toe in Red or Dead.
12 Red or Dead inspiration

boards showing a wide
range of research.
Holly Berry, fashion designer, interview
How do you start your How many collections Do you compile a colour palette?
collections? do you design? Other than sporadic injections of
I have several visual bodies of One full trans-seasonal collection colour, I keep colour to a minimum in
research on the go at one time, per year, preceded and followed the collections. Due to the reclaimed
consisting of things Ive found in the by smaller sample collections and content of the product it is best to
factory, on the street and at markets: special limited edition pieces to use black, navy, white and grey,
photos, archived clothes, artwork develop looks. I find this a more which bring a uniformity to the
and textiles. Whichever body of sustainable approach to fashion pieces. Colour is enhanced with
research is more developed or of and it suits Britains pretty vintage prints, tartans and lumberjacks.
that time manifests itself as the seasonless weather. This allows
foundation of the next collection. me to produce pieces that arent
To back up this research, before dictated by fads and trends and
design development I analyse the acts as a backlash to the current
market, looking at the industry, what fast-fashion consumer culture.
our competitors are doing, cultural
movements, shifts in style, and
popular underground culture.
12 Illustrations by Holly Berry.

1
132 / 133
How and where do you What do you define as How many pattern cutters
source fabrics? a collection or a range? do you have and how do you
From textiles recycling plant LMB A group of garments all drawn from communicate your ideas to them?
and by digging, collecting, picking, one source of inspiration to build up One, Kara Messina. We work closely
cutting and storing. a capsule wardrobe of pieces (about together and use flat technical
1520). These can be worn together drawings and rough sketches.
How do you develop your shapes in many interchanging looks, but
and silhouettes: flat pattern, each piece must stand equally as Do you have in-house reviews
draping or modelling on the strong independently. of the collections?
stand? Yes, at all levels of the business; and
Through experimenting (cutting, On average, how many looks also out-of-house with PR press
layering, twisting etc) with classic are for catwalk only? focus groups using Cube PR.
shapes, inverting them into There are two to three show-only
something instantly recognisable pieces: pure unrefined inspiration How do you present the
but new. and unwearable creativity! collections to your client?
Show, showroom and look book.
Where and how do you How many exits are in
create your first samples? each collection?
In-house by me, the seamstresses About 1520. I design a balanced
and machinists as many times collection for example, not all
needed to get it perfect. tops or bottoms then fill in any
obvious gaps.
Katie Greenyer > Holly Berry > Bill Amberg
2
Bill Amberg, bag designer, interview
How do you start your How and where do you What do you define as
collections? source materials? a collection or a range?
I look at the best of the previous We use five different tanneries in the Each collection has ranges, making a
year then I look at the merchandise UK and Europe and we develop total of six. Each range has three to
for the entire line and identify roles. materials with our favourite suppliers. five pieces and three ranges include
Then I chuck it out of the window Leather is the predominant material small leather goods. Our three main
and start ideas. From my inspiration together with three main fibres: heavy ranges (classics, signature and
I pick up a concept, look at detail canvas, denim and specialist selvedge) all have a small leather
and also silhouettes established from weaves, such as tweed. We source goods range.
the previous season. The collection these from our main suppliers
evolves and usually only 20 per including a webbing supplier. How many makers do you have?
cent is new product. Eight people in total in our workshop
How do you develop your shapes? and we have two seniors and
How many collections We use four principles when apprentices.
do you design? designing bags: silhouette first,
I do two seasonal collections which you can see through the How do you sell your collections?
and mid-season drops. window; then the material for feel; By appointment in the UK showroom
then details and finally price. Interior during London Fashion Week. We
How many are in the design team? function is a requirement also. For also show at the accessories fair,
Three, all together. The head of example, mens luggage will need Premire Classe in Paris and Pitti
design covers three areas looking to hold a mans suit or a folded shirt Filati in Florence.
after the brand, which is wholesale, or the length of a shoe. We use flat
corporate and architectural patterns for shaping, and draping
contract business. for ergonomic bags, which can be
figure-hugging. We have our own
Do you compile a colour palette? workshop in London for sampling
Yes, I do mood boards but colours new concepts and use our factory
will be influenced by the tanneries, for developing samples from
who have their own colour palettes. existing shapes.
We also have a few special colour
samples done each season.
13 Designs by Bill Amberg.
1 2
3
134 / 135
Holly Berry > Bill Amberg > Nicholas Kirkwood

Nicholas Kirkwood, shoe designer, interview
How do you start your How many are in your How do you work on your shapes?
collections? design team? Once I have the initial paper pattern
Once production has finished I wait Just me! Christopher, who works from my drawing I will refine and
for a gap of two weeks, then I buy a with me, covers sales, marketing, change it by maybe adding pleats or
block of paper and with a 2D pencil I production and suppliers. He will adding a platform heel. I can get a
draw base ideas continuously for the range plan and merchandise each shoe sample made in two days from
next collection. My aesthetic is the group and is responsible for the 29 a new last shape and heel shape.
brand: architectural, feminine, or so samples I will produce in For a new heel I have an aluminium
masculine, extreme and always high different fabrications within the mould made in two sizes: 35 and 41.
heels. I divide the 17 or so styles into 17 styles in the collection. For production there will be four
four sections based on my sizes of heels: 36, 37.5, 39 and 40.5.
customers: Leader; Follower; Do you produce a colour The samples are one-offs and my
Exquisite and Intellectual. palette for each season? shoes have hidden parts to hold the
I go to the leather fair at Linea Pelle foot, disguised by a more
What is the next process after in Bologna at the end of October and extravagant outer part similar in
drawing your designs? see ranges of coloured leather. It is construction to architecture. Shapes
I draw on the vacuum form prototype important to have colour balance in are usually in stories of two.
last to make the first pattern (instead the range; for example, last season
of on masking tape on lasts, which is I did black shoes with electric blue Do you collaborate with other
the traditional way). I then hand this heels. I will usually choose four or designers or companies?
over to a modeliste (pattern maker) in five colours that sit well together. I design shoes for Pellini, who also
Italy. My shoes are high-end and I can also dye small quantities for has Jonathan Saunders as a
handcrafted rather than computer special colours. designer, and Alberta Ferretti in Italy
generated. as well as my main line. I have also
How and where do you made shoes for Hardy Amies, Chloe,
Do you look at the work of other source your skins? Boudicca, Gareth Pugh, Clare Tough,
shoe designers at all? I use mainly leather and suede and Basso & Brooke and Zac Posen.
Only to check that I am not doing I also use satin, which is stiffened
the same designs. My new designs with backing cloth especially for Do you have a PR company
are usually a new interpretation on shoes, all from Italy. Vintage shoes working for you?
a few styles. are often in kidskin but I dont use Yes, I use Relative PR, who
it for collections as I like to use also represent Christopher Kane
How many collections do new-looking leathers and special in London.
you do in a year? skins such as alligator.
Two main collections: one for
spring/summer and one for Do you commission embroidery
autumn/winter. I show in my studio or other surface decoration?
during London Fashion Week in I have worked with Swarovski to
September and February and I also soften the hard architectural,
show in Paris, Milan and New York. angular lines and this application
Micam, a trade show in Milan, will add delicacy to the shoe.
overlaps and I invite press to a
hotel there.
136 / 137
Bill Amberg > Nicholas Kirkwood
1 Nicholas Kirkwood cross

hash sandal A/W08.
The student collection 138 / 139
1 London College of Fashion

One desire that is getting stronger than all other RA show; a pastel
chiffon/Lycra collection
demands remains the desire to be unique. by Fiona Broni.
John Galliano
Studying on a fashion-based course offers you time to develop

your imagination, improve your professional awareness and
respond to a series of challenges.
Initial projects will focus on learning and applying creative,

practical and contextual skills within defined fashion project
briefs. These briefs may include designing and producing
two- and three-dimensional ideas as an individual or within a
team. For instance, you may have had to respond to the
parameters within a brand, season, customer, fabric type or
story, or perhaps had to consider additional factors such as
working with print or knit specialists as part of your study.
As a guide to the processes involved in the creation and

realisation of your final collection, the following activities
represent the key stages of process. Be prepared to keep
a cross-check between each stage, as you may need to go
back to revisit an element of research or early development
when reviewing your progress and considering the final
presentation. There are no clear end points to each stage;
even at the final presentation there are elements that could be
redeveloped or refined. This is symptomatic of fashion where
creativity is not just about problem solving but producing a
proposal or statement that should intrigue or connect with the
onlooker. The most successful student collections tell a story;
they embody a captivating narrative. The collection must
communicate this without the visual research or written
Specialist collections > The student collection
explanation. This chapter will help guide you as you develop

your own, final, student collection.
1
The student collection
The brief
1 Garment development by This may be referred to as the final brief, proposal, statement of
Laura Thompson. intent or concept outline. Regardless of its name, the activity and
2 On Being an Angel by process is the same. Begin by asking yourself what will showcase
Francesca Sloan. Collection your skills and creativity in the best way. Some students approach
based on photographer
Francesca Woodman this stage of their final collection with vague or unrealistic ideas,
contrasting with the being driven to making the ultimate, personal catwalk statement.
musician Patti Smith. Without reflection, research and a great deal of hard work, this will
not work. Creativity in fashion exists within a context and for this
final college collection, you create your own context, within your
brief. On the following pages, we will discuss the considerations
that should inform your brief and collection.
1
140 / 141
Your skills
You should think hard about your

particular strengths. For example,
are your skills in cutting and garment
making? Do you have a good use of
colour? Perhaps you have proven
abilities in collating research materials
to produce a confident, well-rounded
conclusion. Most employers are
looking for graduates who can
demonstrate an understanding
of the stages of design through to
realisation. The presentation of your
collection is important, but your
portfolio, personal presentation
and depth of understanding will
secure your first and subsequent
jobs. Decide what this collection
will say about your interests and
your awareness of fashion.
The brief > Your portfolio
2
Your customer
Consider defining your ideal

customer. By imagining a customer
you can begin to create your own
muse or inspiration. Where does
your customer live and what is in
his or her wardrobe? Where do your
customers shop and how do they
wear fashion to define themselves?
Go and visit the shops you would
identify as stockists for your
collection, and look at the existing
stock. Detail the prices and the
finish on the garments and begin
to inform yourself of the realities of
market levels, visual merchandising
and how fashion communicates
through branding and creative
identity. How do clothes connect
with customers at the point of retail?
When we buy fashion, what stories
do we tell about ourselves?
Your competitors
Your competitors exist in every Quality, luxury and rarity can be

fashion area, market level and defined in any product, so once
retail possibility. Your work may be you know who your competitors
innovative, or redefine a particular are, study their products closely.
area, technique or product, but There is no substitute for trying
fashion is a discipline that exists clothes on and seeing first-hand
in a wider context and constantly how the garment feels, examining
references itself past and present. the cut and stitching. Look too, at
Even if you approach fashion as art details such as buttons and the
rather than design, you will be able quality of any branding or labelling.
to find a range of practitioners and At the other end of the scale, you
collaborators who have taken this should be prepared to look at
view. Once you have a clear idea mass-market fashion as ranges
of your product and market type are often on-trend and produced
then you should be able to identify to appeal to greater numbers of
the competition. fashion consumers.
142 / 143
Remember, too, that your fellow These skills are easily showcased by 1 Sketch by Michela Carraro,
graduates are your competitors. collating your portfolio as a series of inspired by black lilies.
You could consider niche areas projects, to show diversity and
such as plus-size fashion, swimwear, competence across different 2 Illustration by Felicity Haf.
childrens wear and evening wear, for ranges, market-based studies
example, which will provide you with and self-defined work which is
a specific starting point. These can typically your final college project.
help position you for the future as
you will stand out from the hundreds

of womenswear-related graduates
who enter the jobs market each year,
and increase your potential in
securing employment. Most
employers look for evidence of
research, development, realisation
and presentation within a portfolio.
Achieving your aspiration
If you realise that you will need

assistance and input to produce
your collection, you have the
opportunity to build a team to
make this happen as most
designers do. Time planning,
delegation and management of
the project are part of the whole
process. A good starting point is
to have a draft collection plan (or
line-up) where you can begin to
deconstruct each piece into activities
and deadlines. Use a calendar to plot
key dates against the processes
involved this will help you to get
organised and manage your
schedule. Allow enough lead time to
secure sponsorship for fabrics, trims,
shoes and so on. Remember also
that most students will be thinking,

writing and developing ideas at the 1 Design development by
same time as you. Holly Brown.
2 Fabric design development

by Emma Glynn.
144 / 145
Cost Fabrics, yarns and trims Market level
You should be realistic when Buying fabrics in retail outlets should All fashion has a market level,
planning and costing your collection. be your last resort. Visit trade fairs regardless of the type or occasion.
Fabrics, finish and trims should such as Premire Vision for fabrics, If you feel you have no competitors
reflect a realism within your chosen Pitti Filati for yarn and Linea Pelle or that no one else is making a
market or your target customer. for leather. These shows provide a similar product (in terms of cost or
Again, pay close attention to how wealth of contacts and agents for type), then you need to research
clothes are cut and finished. If sourcing fabrics, trims and specialist further. Although aesthetics and
you are aiming for an upmarket details. Whilst most manufacturers creativity are defined by each
collection, the typical retail price are initially unwilling to deal with designer or manufacturer, a visit to
may be up to 300 per cent of the students due to the small a high-quality department store, in
wholesale price. If you have made quantities being ordered it is the concessions or designer area,
any industry contacts as part of your possible to buy from stock sampling will show you how market-level
study (work placements, sponsored if the minimum order is agreeable. definitions are made and stocked
projects or visiting speakers from Agents may also hold some sample at the business end of fashion.
industry), then you should consider stock that needs to be cleared at
contacts as potential support or the end of the buying season.
sponsors. Some student collections The Premire Vision directory
can cost huge amounts of money contains valuable information on
to produce, but this is not a manufacturers, contact details,

prerequisite for success. fabric types and so on. You should
also consider visiting mills and any
local suppliers, as these sources
often provide high-quality fabrics
at lower costs.
Your portfolio
Your portfolio should Your portfolio will ultimately secure your first job or a place on a
include: postgraduate course. Within your portfolio, you should show the
Illustrations process and outcome of your final collection through edited
Technical drawings (flats) research and development, images and photographs of the final
Sample board of fabric, outfits. If you have shown your collection in a static or catwalk show,
trims and finishes
Initial research boards include good-quality images from the event to showcase your work
Photographs of final as professionally as possible.
garments, either from
a photoshoot or
catwalk show A comprehensive portfolio will contain at least six projects covering
Final look book a range of activities and different types of design work. Be sure to
of collection include examples of colour development, IT applications, technical
Press cuttings, CVs
and business cards drawings, range plans, any industry-linked work, use of textiles and
so on. Most professional portfolios feature a list of contents and
page breaks to section off each project. If you wish to produce a
digital portfolio, remember that anyone looking at this will not be able
to touch fabrics or trims as part of the viewing (which is also true of
plastic sleeves). Keep your portfolio clean, ensure that it is
manageable and easily portable and be prepared to update
it or reconfigure it, depending on the type of interview.
1
146 / 147
1 Menswear digital flats by

Peter Perrett.
2 Menswear research and

development by Jessica Rose.
Research materials Drawing
It is commonplace to include Look at how magazines lay out Drawing is a fundamental process in
evidence of source materials and images and text. Study books on visual communication, from initial
all research activities, which will related design subjects such as quick reference sketches to fully
constitute the main part of your graphic or textile design, architecture, rendered illustrations. Most fashion
portfolio. This provides evidence furniture and product design. courses look for evidence of drawing
The brief > Your portfolio > Research and development
of your skills related to research, Upmarket catalogues or leaflets in interview portfolios.

development and presentation of from cosmetic, electronic and car
materials. A sound portfolio should manufacturers are often beautifully However, drawing has become a
contain a minimum of five to six produced with huge financial much wider descriptor in the fashion
projects to encompass variety, budgets. Study these and industry, which requires technical
product differences, colour, print, deconstruct how and why they drawing, range planning and
silhouette, occasion and so on. look so effective and beautiful. specification documents. The
It is important to show a design Once you can identify this process development of various software
identity, as well as creative diversity. and methodology to powerful packages has enabled fashion
Be rigorous and present an edited, two-dimensional imagery, you can students to replicate a number of
considered representation of the transfer this thinking to your own industry standard processes and
whole process. Too little work will work with powerful, confident results. techniques when presenting fashion
look scant and poorly informed. Too ideas and collections.
much will look confused and busy.
Research and development
1 The ragpicker recycles Research will form the basis for your collection and you will need to
the ruins of modernity gather an exhaustive range of source materials. These will include
menswear research by
Kasha Crampton. specific investigations into fabrics, colour, silhouette shapes and
details as well as live events and imagery in the form of drawings and
2 A double-lace shoe
designed by Kasha photographs in fact, a broad coverage of everything that will inform
Crampton in collaboration and influence your thinking and decision making. As you go on to
with JJ Hudson of Noki. develop your collection, which involves editing, refining and
3 Design development amending your initial proposals, it is important that you have enough
drawings by Emma Glynn. research to allow for this. The visual presentation and collation of this
body of work should illustrate the breadth and detail of your thinking
in an exciting and dynamic way. This is vital, as you will revisit this
stage of the project as you progress towards the later stages. Visual
materials should speak for themselves and illustrate your thinking
and development.
2
148 / 149
Sourcing
Try to avoid downloading simplistic basis for your research. You may be colour to make your collection
images from websites or using too inspired by a book or a film. If so, memorable, research established
many tear-sheets from popular investigate more about the author, colourists in fashion and textiles and
magazines, as this usually equates theory or context by looking at other consider what you could learn from
to a perception that you could have related examples. Keep a small their successes. Great designers are
done more work elsewhere. There notebook with you for notes and fastidious on research and detail,
is no substitute for discovery and sketches. Take the time to go to with collections referenced in full.
innovation through primary research. vintage shops and markets, or even
auction websites such as eBay, as The more preparation and
Consider compiling your research these are a valuable source of investigation put into this stage, the
into various categories inspiration, original garments to dissect and better prepared you will be when you
colour, fabrics, shapes and rework. Museums or galleries also have to make subsequent decisions
accessories. You may find it useful to offer the best initial contact with or undertake more specific research
write a short story or narrative that inspirational materials. Write letters or and sourcing.
explains your process or defines the emails for appointments to discuss
overall approach. Try creating your project with the experts or
characters or situations from history, connections to the materials you
fantasy or everyday life to provide a need. If you are interested in using
Your portfolio > Research and development > Presentation

3
Designing from your research
This stage of the process, known as It is important to remain flexible

design development, bridges your and open to change as ideas may
research into the final outcome. As not work as initially thought, or
such, this stage will involve working availability of fabrics may change.
with the key aspects of your research Use drawings and photographs as
images, drawings, fabrics and so an easy visual resource to explore
on and interpreting them in your ideas and permutations.
designs. Drawing together each
detail, it is possible through thought

and reflection to assemble a series of
visual collages that will contain your
preferences and ideas allocated to
each piece and outfit.
150 / 151
Realisation
At this stage, you will be moving 1 Research and technical

into the realisation of your ideas drawings by Alex James.
through pattern making and toiling,
draping and constructing the first 2 Final collection by
samples. You may also be printing Kasha Crampton.
and knitting samples that will be
used as a part of the final
presentation of your collection. By
this stage you should be sourcing
and organising your trims, ordering
fabrics and perhaps working with
additional producers knitters,
printers, accessory designers
and jewellers.
1
2
152 / 153
3 15 Design process through

toile and line-up review by
Rebecca Carpenter.
5
Project managing Documenting and preserving research
Consider drawing up a production Be prepared and photograph your Your drawings, swatches, samples
chart or critical path for each piece toiles, fittings and stand work. and prototypes should convey a
of your collection. This will help you Photographs will provide you with clear message, but they may be
manage your time and to make a clear record of your development experimental and can always be
decisions when problems occur. It is and any refinements needed as part rethought or discussed. Your two-
always a good idea to have an initial of this process. You can also plan dimensional work and three-
line-up or range plan so you can for a review or critique with tutors dimensional development should
remind yourself of tasks completed or other students by using your be allowed to evolve; dont resist
and those areas that are more time- photographs as part of your range drawing on a toile or photograph
hungry. You need to see the whole plan or collection line-up. to keep your imagination stimulated
project coming together against time and your judgement sharp.
constraints, critical deadlines and Remember to keep records of
input from your tutors. You should be fabrics, trims and anything related
prepared for disasters and aspects to each garment. The photographs
that dont go to plan, such as fabrics and drawings will illustrate only part
that are out of stock or toiles that of the story and it is difficult to
dont work. Perhaps some work envisage some toiles in the finished
takes longer than planned, or there (or proposed) fabric.
may be hidden costs and promises
that fail to materialise. These are
difficulties that designers and
producers encounter all the time and,
although difficult, these challenges
can be overcome whilst preserving
your vision and planning. Try to remain
flexible and positive throughout.
1
154 / 155
Reviewing
Ensure that you are prepared and Make yourself aware of what is Throughout the review process,
ready to present your work at review expected, who will be part of this editing will be expected: for example,
points. This is an opportunity to review, and what you hope to gain an idea may be better developed
discuss your work and should be from it. If you have questions relating within another garment or outfit, or
challenging yet constructive. Whilst it to your work, write them down and you may have to select from looks
is important and helpful to be able to if the points are not covered as part that are becoming repetitive. At this
present your research visually and of the review, ask for a few moments point, the rejected elements will
verbally, the story being told should at the end. Successful reviews are have to be replaced, based on
ideally work without the need for based on a dialogue, so although the development of the rest of
verbal explanation. Any tutorials or you may feel nervous (or worried if the collection. This process is
reviews will, of course, involve you know you are behind schedule), evolutionary and it reflects
conversation, advice and an know that, for your progression, your professional practice. It is almost
exchange of viewpoints, but if you tutors want to work with you to arrive impossible to plan and systemise
find yourself explaining your research at the best possible outcome. the entire process without revising
at length then perhaps you do not and reworking ideas.
have enough visual research, or it
may be muddled. The final portfolio
and collection presentation will not
be accompanied by a verbal
narrative and it will succeed or fail
on its ability to communicate to the
audience. Remember, you are telling
a story through images and finished
outcomes. Images, drawings, fabrics
and activities should be carefully
placed and related to specifics so
dont, for example, show an image
and then the final collection. Taking
time to prepare at this stage is
invaluable and will help you get
the most from presenting and
discussing your work.
1 Rough planner for

collection.
2 Final collection by
Rachel Buck.
2
Presentation
1 Final collection line-up Your final submission or presentation will comprise of the final
by Poppy Dover. collection, a look book and all source, research and development
2 Fashion show running order materials. The final collection in three dimensions will be specified to
by Susanne Johnson. your course requirements, but will usually be displayed on a rail and
arranged in complete outfits or looks. You may also have to include
patterns, toiles, specification sheets or costings and technical files to
support the collection and evidence the process from start to finish.
Different fashion-based courses have specific requirements that
reflect the curriculum content or specialisation.
Designer collections can be anything upwards of 15 looks or

outfits. An undergraduate student will typically produce a prototype
collection of six outfits as a part of a college show. Postgraduate
fashion students may produce 1215 outfits. These typical figures
reflect the scheduled student timetables and the students skills and
level of experience. In addition, whereas most designers shows run
for a maximum of 2025 minutes, undergraduate fashion shows will
run for no more than 4550 minutes, so six outfits is generally
acknowledged as an adequate number of outfits for each student
to convey the theme and content of the collection (and also allows
enough time for the show to feature the selected students).
1
156 / 157
Graduate fashion shows
Most student shows will have a There is no formula for certainty in Study web-based media to read
running order of 2030 students this selection. If a number of show reviews and where possible
(known as exits in designer shows), students have, for example, look at college websites and DVDs
although many fashion-based produced a range of black jersey to see examples of choice and show
courses are much larger. womenswear separates it is unlikely presentation. Remember, however,
that, given choice, all collections will that although a show can be a great
A selection process takes place in make the final running order. No profile builder, or press focus, your
nearly all fashion colleges for a press college wants to show a lack of portfolio is arguably as important for
or event-based show (such as creative diversity and run the risk of your future.
Graduate Fashion Week in London) an unhappy audience or negative
and each college will have its own press coverage. Likewise, it is
criteria for selecting the final show unlikely that a complete show will be
order. Often a panel of judges is entirely made up of hugely dramatic,
convened to view the range of theatrical clothes, as this is
collections that will make for the unrepresentative of fashion as a
best show possible. Judges will be whole. Beautifully crafted, effortless
looking for cohesive, well-cut and clothes are irresistible and make for a
well-finished clothes that will contain great show even if they are not
enough visual narrative to tell a story entirely for everyday wear.
or communicate to the audience.
Research and development > Presentation
2
The look book
The look book or visual line-up will and as visual aids for windows or 1 Final collection line-up
show each of the outfits on models, displays. Your version is intended to by Bahar Alipour.
or arranged to convey the intended convey your complete fashion look or
fashion story. A look book is a story. Styled photographs work well, 2 Final collection by
photographic range plan produced but however you illustrate your work, Sharnita Nandwana.
by designers, manufacturers and it should be clear and informative
retailers each season or for each and link together. Try not to over-
fashion story. Sometimes the fashion decorate. The images should convey
looks are photographed from a the complete design process leading
catwalk show or as individual pieces up to the final outcome.
such as accessories and footwear.
The books are designed to assist
buyers to make their choices and to
merchandise across their buying
budget. Retailers use look books to
recreate in-store merchandise stories
158 / 159
Styling
You should consider the styling and When planning and constructing a message. In fashion, this usually
total look possible within any fashion styling shoot, you should research emphasises an aspect of the clothes
range. Whilst it is easy to design and plan for the overall look you are being photographed (such as
footwear, accessories and jewellery trying to achieve. A good starting silhouette, proportion, scale, volume,
on paper, it is fairly straightforward to point is to gather a selection of high- colour and so on), or a dynamic
customise inexpensive or thrift shop quality magazines aimed at a variety contrast where hugely expensive
finds. These additional pieces can be of readers. ID, Paper, Vogue Italia, garments are featured in unusual
key to the overall design statement and Pop are just a few examples of settings. Having begun to
at times they can propel a range of magazines that feature the industrys understand how styled images are
garments into an innovative fashion best photographers, make-up artists configured, you are better prepared
statement through humour, drama, and stylists. Each photographic to create your own.
colour or whimsy. This consideration image has been painstakingly
also confirms your attention to detail constructed, styled, lit and
Research and development > Presentation
and ability to direct a complete photographed. The best styling

fashion statement. images convey a clear, powerful
Glossary
Aesthetic Last Prt--porter

A set of principles underlying the The rough form of a foot, used as French term that literally means
work of a particular designer or the basis for making shoes. The last ready-to-wear.
artist. In fashion design, this means determines the size, shape and style
the way in which a designer uses of the shoe. Rigging
fabric, cut, scale, colour, texture and A US retail and design term, refers
references. Line-up to a collection or range in-store.
The edited collection for catwalk or
Atelier look book. Sample
A workshop or studio used by an The first version of a garment made
artist, designer or a couturier. Look book in the main fabric.
Used for press, buyers and
Comp shop customers, a look book shows the Silhouette
The comparison of competitors collection styled and photographed The outline shape of a garment or
stock in terms of fabric, into looks. collection.
construction, detailing, price and
manufacture. Mood board Stock-keeping unit
Compilation of research materials, A way of tracking sales, allowing a
Costing images, colours, fabrics, sketches, merchandiser to analyse the way
The estimated cost of producing grouped together to visually past-season garments sell.
a garment. communicate a theme or design
idea. Also known as inspiration Tear sheet
Drops boards. A page cut or torn from a
The introduction of collections or publication, often used on mood
ranges in mass-market fashion Muse boards.
stores. Drops are often staggered A person, usually a woman, who
throughout the season. is the source of inspiration for a Tech pack
designer or artist. Often, a designers Technical package supplied to a
Exit muse will have creative input in the manufacturer, containing costings
A complete look as worn by a design process for example Lady and detailed specification sheets of
model on the catwalk or runway. Amanda Harlech, who works with sketches, flats, measurements,
Karl Lagerfeld at Chanel. fabric and trim references and
Flats special instructions or finishes.
Technical drawings showing Off-schedule
garments front and back, usually Designers, often contemporary and Toile
forming part of a tech pack. up-and-coming, who show The fabric sample used for fitting a
alongside the scheduled shows garment, usually made in calico or
Forecasting during a particular fashion week. inferior fabric.
The process of predicting
forthcoming fashion trends. Palette Vertical production
A group of colours that sit Refers to the way in which a retailer
High-street fashion well together. produces garments; a vertical
UK term for mass-market fashion. producer, such as Zara, controls
every aspect of the design and
manufacture process.
160 / 161
Glossary
Featured designers
Banana Republic Kenneth Mackenzie Sophie Hulme

www.bananarepublic.gap.com www.sixeightsevensix.com www.sophiehulme.com
Bill Amberg Markus Lupfer Topman

www.billamberg.com www.markuslupfer.com www.topman.com
Brooks Brothers Nicholas Kirkwood Vivienne Westwood

www.brooksbrothers.com www.nicholaskirkwood.com www.viviennewestwood.com
DKNY Ohne Titel William Tempest

www.dkny.com www.ohnetitel.com www.williamtempest.com
Eley Kishimoto Red or Dead

www.eleykishimoto.com www.redordead.com
Hardy Amies Reiss

www.hardyamies.com www.reiss.co.uk
Jens Laugesen Richard Nicoll

www.jenslaugesen.com www.richardnicoll.com
John Varvatos Shelley Fox

www.johnvarvatos.com www.shelleyfox.com
162 / 163
Featured designers
Useful resources
SHOPS AND SUPPLIERS John Lewis The Cloth House

(Fabrics and haberdashery) (Fabrics)
Blackout II Oxford Street Berwick St, London
(Vintage clothing and accessories) London W1 www.clothhouse.com
51 Endell Street www.johnlewis.com
London WC2H 9AJ The Observatory
www.blackout2.com MacCulloch and Wallis (Vintage clothing and accessories)
(Fabrics, linings and haberdashery) 20 Greenwich Church St
Borovicks 2526 Dering St London SE10
(Fabrics) London W1S 1AT www.theobservatory.co.uk
16 Berwick St www.macculloch-wallis.co.uk
London W1F 0HP What the Butler Wore
www.borovickfabricsltd.co.uk The Bead Shop (Vintage clothing and accessories)
(Beads) 131 Lower Marsh
Creative Beadcraft 21a Tower Street London SE1

(Beads and sequins) London WC2H 9NS www.whatthebutlerwore.co.uk
20 Beak St www.beadshop.co.uk
London W1F 9RE
www.creativebeadcraft.co.uk The Button Queen
(Buttons)
76 Marylebone Lane
London W1U 2PR
www.thebuttonqueen.co.uk
164 / 165
Useful resources
Fashion week Trade shows Trend forecasting

UK Linea Pelle
British Fashion Council www.lineapelle-fair.it www.carlininternational.com
www.londonfashionweek.co.uk
Pitti Filati www.fashioninformation.com
USA www.pittimmagine.com
Council of Fashion Designers www.kjaer-global.com
of America Premire Vision
www.cfda.com www.premiervision.fr www.promostyl.com
New York Fashion Week Rendez-Vous Paris www.stylesignal.com

www.mbfashionweek.com www.rendez-vous-paris.com
www.thefuturelaboratory.com
Europe Tissu Premier
Milan www.tissu-premier.com www.trendstop.com
www.cameramoda.it
Paris Fashion Week

www.modeaparis.com
Australia
Australian Fashion Week
www.rafw.com.au
166 / 167
Useful resources
Acknowledgements and picture credits
Thanks are due to everyone who helped put this book together: the many designers, creatives and students at
Kingston University and London College of Fashion, who showed great generosity in allowing us to reproduce their
work. Thank you to all those who agreed to be interviewed: Giles Deacon, Shelley Fox, Richard Nicoll, Markus Lupfer,
William Tempest, Colin McNair, Louis Armadola, James New, Kenneth Mackenzie, Sophie Hulme, Will Broome, Ian
Garlant, Jens Laugesen, Ohne Titel, Emily Craig, James Spreckley, Simon Kneen, Gordon Richardson, Mark Eley,
Sibling, Katie Greenyer, Holly Berry, Bill Amberg and Nicholas Kirkwood. Thanks also go to Katherine Baird at London
College of Fashion Archive and to Sifer Design.
Picture credits
Cover image courtesy of Giles Deacon; p 3 courtesy of Poppy Dover; pp 1415 courtesy of Richard Nicoll; p 17 illustration courtesy of
Stephen Jones; p 20 courtesy of Ringhart; pp 22-23 courtesy of Studio M; p 24 courtesy of Holly Berry; p 26 courtesy of Getty Images;
p 33 courtesy of Shelley Fox; p 35 courtesy of Danielle Scutt; pp 38-39 courtesy of Giles Deacon; pp 4041 courtesy of Shelley Fox; p 42
courtesy of Richard Nicoll; p 45 courtesy of Markus Lupfer; pp 4647 William Tempest; pp 4849 courtesy of Colin McNair; p 51 courtesy
of Brooks Brothers; p 54 courtesy of Corbis; p 58 (right) courtesy of Corbis; p 59 courtesy of Sophie Hulme; p 62 (left) Australian Wool
Innovation owner of The Woolmark Company, courtesy of London College of Fashion; p 66 PA Photos; p 68 (right) courtesy of Corbis;
p 69 (left) courtesy of Corbis; p 73 courtesy of Six Eight Seven Six; pp 7475 courtesy of Sophie Hulme; pp 7677 courtesy of Will Broome;
p 78 Australian Wool Innovation owner of The Woolmark Company, courtesy of London College of Fashion; p 81 courtesy of London
College of Fashion Archive; p 85 courtesy of Getty Images; p 87 Australian Wool Innovation owner of The Woolmark Company, courtesy of
London College of Fashion; p 89 courtesy of The Convenience store; p 93 (right) courtesy of Banana Republic; p 99 courtesy of Hardy
Amies; p 101 courtesy of Jens Laugesen; pp102103 courtesy of Ohne Titel; p 105 courtesy of DKNY; p 106 courtesy of Reiss; p 108
courtesy of Simon Kneen; p 118 courtesy of Nicholas Kirkwood; p 122 courtesy of Giles Deacon; pp 126127 courtesy of Eley Kishimoto;
pp 128129 courtesy of Sibling; p 130 courtesy of Katie Greenyer; pp 132133 courtesy of Holly Berry; pp 134135 courtesy of Bill Amberg;
p 137 courtesy of Nicholas Kirkwood; pp 6, 10, 12, 16, 27, 52, 55, 56, 57, 58, 62 (right), 63, 64, 65, 67, 68 (left), 69 (right), 71, 80, 82, 86,
88, 112, 116, 120 and 123 courtesy of Catwalking.com.
BASICS Lynne Elvins
Naomi Goulder
FASHION DESIGN
Working with ethics
Publishers note
The subject of ethics is not new, The introduction is intended

yet its consideration within the applied to be an accessible snapshot of the
visual arts is perhaps not as prevalent ethical landscape, both in terms of
as it might be. Our aim here is to help a historical development and current
new generation of students, educators dominant themes.
and practitioners find a methodology
The framework positions ethical
for structuring their thoughts and
consideration into four areas and
reflections in this vital area.
poses questions about the practical
AVA Publishing hopes that these implications that might occur.
Working with ethics pages provide Marking your response to each of
a platform for consideration and these questions on the scale shown
a flexible method for incorporating will allow your reactions to be further
ethical concerns in the work of explored by comparison.
educators, students and professionals.
The case study sets out a real
Our approach consists of four parts:
project and then poses some ethical
questions for further consideration.
This is a focus point for a debate rather
than a critical analysis so there are no
predetermined right or wrong answers.
A selection of further reading

Working with ethics
for you to consider areas of particular

interest in more detail.
Introduction
Ethics is a complex subject that In modern times the most important

interlaces the idea of responsibilities and controversial questions in ethics
to society with a wide range of have been the moral ones. With
considerations relevant to the character growing populations and improvements
and happiness of the individual. It in mobility and communications,
concerns virtues of compassion, loyalty it is not surprising that considerations
and strength, but also of confidence, about how to structure our lives
imagination, humour and optimism. together on the planet should come
As introduced in ancient Greek to the forefront. For visual artists
philosophy, the fundamental ethical and communicators it should be no
question is what should I do? How surprise that these considerations will
we might pursue a good life not enter into the creative process.
only raises moral concerns about
Some ethical considerations are
the effects of our actions on others,
already enshrined in government laws
but also personal concerns about
and regulations or in professional codes
our own integrity.
of conduct. For example, plagiarism
and breaches of confidentiality can
be punishable offences. Legislation in
various nations makes it unlawful to
exclude people with disabilities from
accessing information or spaces. The
trade of ivory as a material has been
banned in many countries. In these
cases, a clear line has been drawn
under what is unacceptable.
But most ethical matters remain Is promoting ethical consequences
open to debate, among experts and justified even when it requires ethical
lay-people alike, and in the end we sacrifices along the way? Must there
have to make our own choices on be a single unifying theory of ethics
the basis of our own guiding principles (such as the Utilitarian thesis that
or values. Is it more ethical to work the right course of action is always
for a charity than for a commercial the one that leads to the greatest
company? Is it unethical to create happiness of the greatest number),
something that others find ugly or or might there always be many different
offensive? ethical values that pull a person in
various directions?
Specific questions such as these
may lead to other questions that are As we enter into ethical debate
more abstract. For example, is it only and engage with these dilemmas on
effects on humans (and what they a personal and professional level,
care about) that are important, or we may change our views or change
might effects on the natural world our view of others. The real test though
require attention too? is whether, as we reflect on these
matters, we change the way we act as
well as the way we think. Socrates, the
father of philosophy, proposed that
people will naturally do good if they
know what is right. But this point might
only lead us to yet another question:
how do we know what is right?
Working with ethics

A framework for ethics
You Your client

What are your ethical beliefs? What are your terms?
Central to everything you do will be Working relationships are central
your attitude to people and issues to whether ethics can be embedded
around you. For some people their into a project and your conduct on
ethics are an active part of the a day-to-day basis is a demonstration
decisions they make everyday as a of your professional ethics. The
consumer, a voter or a working decision with the biggest impact is
professional. Others may think about whom you choose to work with in
ethics very little and yet this does not the first place. Cigarette companies or
automatically make them unethical. arms traders are often-cited examples
Personal beliefs, lifestyle, politics, when talking about where a line might
nationality, religion, gender, class be drawn, but rarely are real situations
or education can all influence your so extreme. At what point might you
ethical viewpoint. turn down a project on ethical grounds
and how much does the reality of
Using the scale, where would you
having to earn a living effect your
place yourself? What do you take
ability to choose?
into account to make your decision?
Compare results with your friends Using the scale, where would you
or colleagues. place a project? How does this
compare to your personal ethical
level?
01 02 03 04 05 06 07 08 09 10 01 02 03 04 05 06 07 08 09 10
Your specifications Your creation
What are the impacts of your What is the purpose of your work?
materials?
Between you, your colleagues and
In relatively recent times we are an agreed brief, what will your creation
learning that many natural materials achieve? What purpose will it have in
are in short supply. At the same society and will it make a positive
time we are increasingly aware that contribution? Should your work result
some man-made materials can have in more than commercial success or
harmful, long-term effects on people industry awards? Might your creation
or the planet. How much do you know help save lives, educate, protect
about the materials that you use? or inspire? Form and function are
Do you know where they come from, two established aspects of judging
how far they travel and under what a creation, but there is little consensus
conditions they are obtained? When on the obligations of visual artists
your creation is no longer needed, and communicators toward society,
will it be easy and safe to recycle? or the role they might have in solving
Will it disappear without a trace? Are social or environmental problems.
these considerations the responsibility If you want recognition for being the
of you or are they out of your hands? creator, how responsible are you for
what you create and where might that
Using the scale, mark how ethical your
responsibility end?
material choices are.
Using the scale, mark how ethical
the purpose of your work is.
Working with ethics
01 02 03 04 05 06 07 08 09 10 01 02 03 04 05 06 07 08 09 10
Case study Feather Capes
One aspect of fashion design that Traditional Hawaiian feather capes

raises an ethical dilemma is the way (called Àhuula) were made from
that clothes production has changed thousands of tiny bird feathers and
in terms of the speed of delivery of were an essential part of aristocratic
products and the now international regalia worn by men. Initially they were
chain of suppliers. 'Fast fashion' gives red (Àhuula literally means red garment)
shoppers the latest styles sometimes but yellow feathers, being especially
just weeks after they first appeared on rare, became more highly prized and
the catwalk, at prices that mean they were introduced to the patterning.
can wear an outfit once or twice and
The significance of the patterns,
then replace it. Due to lower labour
as well as their exact age or place
costs in poorer countries, the vast
of manufacture is largely unknown,
majority of Western clothes are
despite great interest in their
made in Asia, Africa, South America
provenance in more recent times.
or Eastern Europe in potentially hostile
Hawaii was visited in 1778 by English
and sometimes inhumane working
explorer Captain James Cook and
conditions. It can be common for one
feather capes were amongst the
piece of clothing to be made up of
objects taken back to Britain.
components from five or more
countries, often thousands of miles The basic patterns are thought to
away, before they end up in the high reflect gods or ancestral spirits, family
street store. How much responsibility connections and an individuals rank or
should a fashion designer have in this position in society. No two Àhuula are
situation if manufacture is controlled alike (except for late nineteenth-century
by retailers and demand is driven by replicas). Most capes were designed for
consumers? Even if designers wish to specific individuals and it is said that no
minimise the social impact of fashion, evil thoughts should cross the person's
what might they most usefully do? mind when making the capes; instead
their focus should be on the future love,
long life, good health, honour and success
of the wearer that the cape is for.
The base layer for these garments is a

fibre net, with the surface made up of
bundles of feathers tied to the net in
overlapping rows. Red feathers came
from the 'i'iwi or the 'apapane. Yellow
feathers came from a black bird with
yellow tufts under each wing called
'oo'oo, or a mamo with yellow
feathers above and below the tail.
Thousands of feathers were used Is it more ethical to create
to make a single cape for a high chief clothing for the masses rather
(the feather cape of King Kamehameha than for a few high-ranking
the Great is said to have been made individuals?
from the feathers of around 80,000
Is it unethical to kill animals
birds). Only the highest ranking chiefs
to make garments?
had the resources to acquire enough
feathers for a full length cape, whereas Would you design and make
most chiefs wore shorter ones which a feather cape?
came to the elbow.
The demand for specific feathers

was so great that they acquired
commercial value and provided a
full time job for professional feather-
hunters. These fowlers studied the
birds and caught them with nets or Fashion is a form of ugliness
with bird-lime smeared on branches. so intolerable that we have to
As both the 'i'iwi and apapane were alter it every six months.
covered with red feathers, the birds Oscar Wilde
were killed and skinned. Other birds
were captured at the beginning of the
moulting season, when the yellow
display feathers were loose and easily
removed without damaging the birds.
The royal family of Hawaii eventually
abandoned the feather cape as the
regalia of rank in favour of military and
naval uniforms decorated with braid
and gold. Feather capes were given
away or sold for other items. The 'oo'oo
and the mamo became extinct through
the destruction of their forest feeding-
grounds and imported bird-diseases.
Silver and gold displaced red and
yellow feathers as traded currency
and the manufacture of feather capes
Working with ethics
became a largely forgotten art.

Further reading
AIGA
Design business and ethics
2007, AIGA
Eaton, Marcia Muelder
Aesthetics and the good life
1989, Associated University Press
Ellison, David
Ethics and aesthetics in European modernist literature
2001, Cambridge University Press
Fenner, David EW (Ed.)
Ethics and the arts: an anthology
1995, Garland Reference Library of Social Science
Gini, Al (Ed.)
Case studies in business ethics
2005, Prentice Hall
McDonough, William and Braungart, Michael
Cradle to Cradle: Remaking the Way We Make Things
2002
Papanek, Victor
Design for the Real World: Making to Measure
1971
United Nations
Global Compact the Ten Principles
www.unglobalcompact.org/AboutTheGC/TheTenPrinciples/index.html
BASICS
FASHION DESIGN
Featured topics 04 The Basics Fashion Design series
research and development comprises a collection of titles that,
market research
identifying the customer together, cover the key elements
trend forecasting of fashion design: Research and
conceptual fashion Design, Textiles and Fashion,
global influences
political influences Construction, Developing a
haute couture Collection and Fashion Drawing.
ready-to-wear The series provides an essential
mass market
childrens wear introduction to the subject and
footwear and accessories forms a comprehensive reference
knitwear tool for students and anyone interested
briefs
designing from your research in the art of fashion design.
portfolios
Fashion collections vary depending
Featured contributors on market level, product type, season,
Bill Amberg customer and retailer. Developing a
Banana Republic
Holly Berry Collection examines all of these in
Brooks Brothers more detail and follows the
Will Broome development process from initial
Giles Deacon
DKNY design ideas through to the final
Shelley Fox outcome: a collections exhibition
Ian Garlant and sale. Developing a Collection is
Sophie Hulme
Nicholas Kirkwood divided into five chapters that cover
Eley Kishimoto everything the fashion student
Jens Laugesen needs to know about developing
Markus Lupfer
Kenneth Mackenzie a collection, including an overview
Richard Nicoll of the development process; the
Red or Dead common themes used by designers;
Reiss
Sibling different market levels, from haute
William Tempest couture to the high street; specialist
Ohne Titel collections and finally, approaches
Topman
John Varvatos to designing the student collection.
Vivienne Westwood Underpinning each chapter are
interviews with designers from all
over the fashion industry.
ISBN-13: 978-2-940373-95-6
9 7 8 2 9 4 0 3 7 3 9 5 6
17.95

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BASICS Elinor Renfrew

FASHION DESIGN Colin Renfrew

Distributed by Thames & Hudson (ex-North America)

Distributed in the USA & Canada by:

English Language Support Office

Copyright AVA Publishing SA 2009

All rights reserved. No part of this publication may be reproduced,

Design by Sifer Design

Production by AVA Book Production Pte. Ltd., Singapore

Collections and Collections designed

How to start a collection 12 Background 54 Haute couture 80

Specialist collections 112 The student collection 138

Childrens wear 114 The brief 140

1 Backstage at Prada A/W08.

like kid mohair. I was forbidden to use it but of course it

All designers go through the same stages when

Basics Fashion Design: Developing a Collection

Underpinning each chapter are interviews with designers

Basics Fashion Design: Developing a Collection is richly

This book introduces different aspects of developing a collection.

Key fashion design and development principles are isolated

The team The designer

Clear navigation Headings Additional information

The pattern cutter Sample machinist Sample cutter Studio manager

Chapter titles Running footers

1 YSL A/W08. Collection

Yves Saint Laurent

A collection is a range of garments, accessories or products

What is a collection? > Collections and their influences

How to start a collection

Any successful or financially viable collection requires an enormous

How to start a collection > Research and development

1 Christian Dior menswear

1 A look book showing a

How to start a collection > Research and development

Identifying the customer

1 Stephen Jones has

John Galliano S/S09.

Creativity versus wearability

How to start a collection > Research and development

Research and development

Themes and directions for collections can be enhanced and

When developing a collection with the staff team on-site, the

2 Designer > business 4 Designer > business

3 Designer > stylist for

dimensions, as this information will be crucial to the pattern cutter

Depending on the season being developed, additional specialist

9 Designer begins to gather

6 Designer > business 8 Designer > business

7 Designer > PR, to cover

At all the fairs manufacturers display

1 A selection of trade fair

2 A sample book of shirtings

34 Trade stands at fabric fair

pieces, paintings or any other 1 A montage of trend boards

As the number of collections being developed increases, so too will

The designer is the central member

Designers can have multiple working

The pattern cutter Sample machinist Sample cutter