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<strong>The</strong><br />
<strong>Fashion</strong><br />
Des gner<br />
Presented By Mark Charles<br />
‘<strong>Guide</strong>’
©2011, MarkCharlesBoot.com.<br />
This ebook is protected under the Copyright law.<br />
No commercial use, no changes. Feel free to share it, post it, print it, or copy it.
<strong>The</strong> <strong>Fashion</strong> <strong>Designer</strong> guide ebook is compiled of 32 separate interviews with<br />
some of the most talented and hard working individuals within the fashion<br />
industry today.<br />
This book aims to shed some light and the vast array of questions that many<br />
budding designers may have pondered as they go about launching their own<br />
brand.<br />
<strong>The</strong> irony of ‘<strong>The</strong> <strong>Fashion</strong> <strong>Designer</strong> <strong>Guide</strong>’ is that after speaking with many of<br />
the contributors, it is clear that there is no one particular road or formula to<br />
success.<br />
In an industry where some critics might have you believe that everyone is<br />
hard-nosed and self-centred, this book hopes to offer an alternative perspective<br />
that shows the good will of many who are willing to share their time and wisdom<br />
in order to help others.<br />
I hope you find this ‘guide’ as inspirational as the people who have helped to<br />
create it.<br />
Give more, Expect more.<br />
Mark x<br />
<strong>The</strong><br />
<strong>Fashion</strong><br />
Des gner<br />
‘<strong>Guide</strong>’
Mark Charles<br />
Mark Charles is a self-taught luxury womens boot designer from North West London who<br />
retails exclusively online. Mark’s love for design has taken him from the busy streets of<br />
London into some of the most remote parts of Italy and China as he set off on a journey to<br />
produce the most luxurious boots possible.<br />
In 2010 Mark founded ‘<strong>The</strong> Mark Charles Boot Company’ which was created to help channel<br />
his passion for luxury footwear in to a place where others could experience it.<br />
<strong>The</strong> <strong>Fashion</strong> <strong>Designer</strong> <strong>Guide</strong> eBook is Mark’s way of saying thank you to all the people who<br />
helped make it possible.<br />
Give more, Expect more.
Contents<br />
Chapter 1: Design<br />
Chapter 2: Production<br />
Chapter 3: Market Research & Branding<br />
Chapter 4: Marketing<br />
Chapter 5: PR<br />
Chapter 6: Managing Money<br />
Chapter 7: Employment<br />
Chapter 8: Launching your own label<br />
Chapter 9: Finding the right investor<br />
Chapter 10: Selling<br />
Chapter 11: Grow your business<br />
Chapter 12: Ecommerce<br />
Chapter 13: Social Media<br />
Chapter 14: Blogging<br />
Chapter 15: Photography<br />
Chapter 16: Styling / Make-up<br />
Final words<br />
Thank you<br />
Contributors<br />
Link Crush Directory<br />
Contact<br />
6 - 19<br />
20 - 23<br />
24 - 28<br />
29 - 34<br />
35 - 41<br />
42 - 45<br />
46 - 52<br />
53 - 55<br />
56 - 57<br />
58 - 63<br />
64 - 66<br />
67 - 71<br />
72 - 75<br />
76 - 80<br />
81 - 87<br />
88 - 94<br />
95<br />
96<br />
97 - 103<br />
104 - 109<br />
110
Chapter 1<br />
Design
Design<br />
Q. What is the basic design process from start to finish?<br />
A. 1. First you identify the basic need of the design brief. <strong>The</strong>n start deciding what the inspiration is<br />
going to be based on the brand's identity. It is easy to design something you like, but at the end of the<br />
day, the customer needs to tell a story that evolves their specific history. It is important to know not<br />
only the customer, but the point of view of any brand you work with.<br />
2. <strong>The</strong> next step for me is research into what is currently in the market, and how to differentiate the<br />
design from the competition. Always ask yourself, why would someone buy this?<br />
3. Once the research is initially complete, sketch, sketch, sketch. I go through many concepts before I<br />
ever reach a distilled design. I find I can over think an idea at first, but in time, the concept will reveal<br />
itself with unnecessary details stripped away.<br />
4. After a process of refinement, designs are presented and a final proposition is picked. This is a<br />
period of give and take with your team, and usually the most vital in terms of selling your concept. It is<br />
important to be clear and direct about your message. This is also an important time to discuss costing.<br />
It is easy to design a product with no constraints, but realistically, a good designer can work within<br />
narrow parameters and still execute a good product.<br />
5. Following a few rounds of design review, then the beginning of tech packs are underway. This is<br />
when you pick your materials, your final details and also the process of final blueprints.<br />
6. Development process begins; it’s always key to keep open and honest communication with your<br />
developer and the factory. <strong>The</strong> end result will only be as good as how clear your communication is,<br />
and what compromises you are willing to make. A good designer is a flexible one.<br />
Joshua Fraser, Senior footwear designer - Puma<br />
A. We start with the structure of the collection, which we more or less adhere to, plus a few styles in a<br />
few categories. This is usually based on sales from previous seasons.<br />
We do research all the time- that's what you should be doing even if you are not at work- be it on the<br />
way to work or in a night-club. You absorb a lot even if you don't realise it at the time, you might<br />
suddenly have it on a design you've just done.<br />
We then start designing and deciding which bestsellers from previous seasons to modify and/or<br />
include. Although a lot of people have a theme, we usually start without one and might make up or...
Continued...<br />
change the theme as we go along. <strong>The</strong> most important thing is the pictures on our board which gives<br />
an indication to where we want to head with the collection.<br />
<strong>The</strong> fabrics are loosely chosen and sample cuts will be ordered so we are able to see the garments in<br />
the actual fabric in the fitting.<br />
We visit the factories once a month for a week at a time after sending them the designs. We will then<br />
go and do the first fitting out of three.<br />
By the second fitting we will have chosen most of the fabrics and seen strike-offs, dyed pieces and<br />
specially made fabrics. By the third fitting we will do all the charts and apply all the styles in the<br />
different fabrics we want them in.<br />
We may add or cancel styles as we go along. Even as late as the presentation and selling we might<br />
add a style or apply a fabric in a different style if our sales team needs this.<br />
We will do a production fitting after the sales have ended and we have all the feed-back from our<br />
sales-teams.<br />
Magnus Gjoen, <strong>Designer</strong>/Product developer - Vivienne Westwood<br />
A. I like to start every design job with research. I make sure I know what trends are on the catwalks<br />
and the high street, If I can, I try and gain inspiration from trips abroad, if the job allows, and then<br />
spend time producing inspirational boards to evoke the looks and feeling.<br />
I also like to ponder over what I’m trying to achieve with the end product. <strong>The</strong>re are also many things<br />
you should consider such as what’s the FOB/retail price point? Who is my target audience? Where will<br />
the product be sold? etc. <strong>The</strong>re are many issues that will dictate the final product and should be<br />
considered before you even put pen to paper or mouse to computer.<br />
Once I have considered these issues and have a clear idea of what my product is - I design the<br />
product, usually straight onto the computer in illustrator.<br />
<strong>The</strong> next stage is to develop the product, which is another job in itself! Firstly a detailed specification<br />
pack is a must. I have found that the only way to ensure the factory sees your product vision, is to<br />
spend as much time as possible with the factory amending patterns, choosing materials and colours<br />
and developing outsoles etc.<br />
Louise Shill, Senior Footwear <strong>Designer</strong> - Shoe Geek<br />
Link crushes:<br />
www.firstpullover.com - An informative footwear production blog dedicated to footwear professionals.<br />
www.headoverheelshistory.com - A Timeline History of fashions and shoes from antiquity to the 1980’s.
Q. How do you manage to produce brilliant collections<br />
season after season?<br />
A. It can be tough trying to come up with new details, new constructions, new materials, etc.<br />
especially when every 2 months you have to present a new line of about 100 styles to buyers. Each<br />
line has to always be on trend but also sellable - finding the perfect match between the two isn't easy.<br />
Our challenge each season/delivery, is to keep the customer interested. You have to think about the<br />
end consumer all the time and come up with designs that will catch their eye, satisfy their personal<br />
gratification and also meet their practical needs. Basically you want them to buy another pump,<br />
another boot, another ballerina, even if they have a thousand of each already in their closet.<br />
As long as the product is made well and looks fresh then the customer will find a reason to buy<br />
another pair of shoes whether they need a new pair or not.<br />
Jelena Djukic, Senior <strong>Designer</strong> - Nine West<br />
A. Coming up with the right story. For me the technical aspects of designing shoes are difficult<br />
enough, but actually translating your initial ideas into a marketable and commercial concept is<br />
something that comes with time and practice.<br />
I find I have to re-examine my story every so often during the creation process, to see if objectively it<br />
pertains to the consumer and also is right for the brand as well. It is nice to design what you like, but if<br />
you rely on that, then you can become rigid and insular.<br />
Joshua Fraser, Senior footwear designer - Puma<br />
A. Finding the right mood for the season is always hard, whether you want to follow the trends or be<br />
ahead of them. It's not enough to have the right idea, you need to have it at the right moment. <strong>The</strong><br />
best way to know when the time is right is to do an extensive and continuous research in all possible<br />
fields, both in and outside of the fashion industry.<br />
Maxence Dinant, Senior Menswear <strong>Designer</strong> – Luxury <strong>Fashion</strong><br />
A. This is a real challenge indeed, also because collections often rely on the designers’ mood so it’s<br />
important for me to be kept informed about the novelties and what other brands do.<br />
Collecting images and magazine cuttings are just as essential as travelling, shopping and meeting<br />
with suppliers and technicians. To constantly sketch is another key to success, as it is a good way to<br />
keep things moving and evolving and to have your day-to-day ideas safe in a sketchbook.<br />
Pascal Nuzzo, Head of Design, Leather Goods and Accessories - Temperley<br />
For me it’s not a question of struggling to come up with new ideas. I always have something brewing in<br />
the back of my mind. I think the hardest part is the quality control and selecting which ones will be the<br />
right direction to take. I think it’s important to always improve on your previous work - doing that is the<br />
hard part. Nicole Le Grange, Creative Director - Love Art Wear Art
Q. When researching a new collection how do you manage to sift<br />
through all the clutter and focus on what's important?<br />
A. Each collection we work within a design brief, this helps you focus when conducting your research.<br />
I tend to gather as much information as I can and select the strongest elements. In my case I pay<br />
attention to small details (a stitching technique, textures, colors, etc.) and mix these elements with<br />
what I´m feeling strong about on that particular season.<br />
Ana Borges, Footwear <strong>Designer</strong> - Jaeger London<br />
A. …by understanding completely who your target customer is. Designing is like acting, you must get<br />
into character, I do not design for myself - I design for the customer. <strong>The</strong>y may be male or female, they<br />
may be young or old, they may be conservative or outrageous in taste. Until I know who the customer<br />
is and what they want to wear the research is a whole load of clutter. I sift through it by getting into<br />
character and asking myself, ‘would Ms. X like this?’<br />
Jessica Good, <strong>Designer</strong> - shoedesign.co.uk<br />
A. I simply do a selection of ideas, concepts and fabrics that catch my eye, I collect things that I find<br />
new, interesting, unique, unexpected, attractive, inspiring, in fact all what I like and that I sometimes<br />
may find by accident. <strong>The</strong>n I have to check if my selected ideas and fabrics can suit the seasonal<br />
theme and from there I may tweak, adapt some ideas to make them even more relevant to what I want<br />
to achieve. I fix myself a goal, i.e. a look and feel I want the collection to achieve and with this in mind I<br />
narrow down my selection of ideas to essentials for the season.<br />
Pascal Nuzzo, Head of Design, Leather Goods and Accessories - Temperley<br />
Q. Some designers seem to have a vivid approach while others are more<br />
systematic - which style suits you best and why?<br />
A. I consider myself to have a quite vivid but systematic approach when it comes to design, it’s part<br />
of my personality and it helps me when dealing with my workload and creative process. Over the<br />
years I have developed a process that works for me and I follow it instinctively. In the design process<br />
there are different steps through which you have to go. It´s the same if you are more systematic or<br />
less, you will always have to go through each step of the process to be able to fulfill the design brief.<br />
<strong>The</strong> way you deal with it is more of a personal thing.<br />
Ana Borges, Footwear <strong>Designer</strong> - Jaeger London<br />
A. I tend to be quite spontaneous and unstructured when it comes to design, as it is my way to keep<br />
creative. However when it comes to development, I want to keep things tidy, accurate and more<br />
systematic.<br />
Pascal Nuzzo, Head of Design, Leather Goods and Accessories - Temperley<br />
A. I think both have their advantages and disadvantages. But ultimately I think it is more successful<br />
to ground your creativity in a framework or process, so that you don't lose track of the end goal, or get<br />
too caught up in your own head. I am by nature a very ‘daydreamy’ sort of individual and of course I...
Continued...<br />
love to sit and pontificate about the what ifs of open ended concepts and innovative ways to approach<br />
a job. <strong>The</strong>re needs to be a pragmatic side that forces you to discipline the open ended creation.<br />
Otherwise you are no longer a designer, but simply an artist with no one to answer to. Designing within<br />
parameters is more boring to some, but I find it harder to do, and as a result makes you a better<br />
practitioner.<br />
Joshua Fraser, Senior footwear designer - Puma<br />
A. I'm a bit of both. I usually have a system; however a lot of factors can contribute to them going up<br />
in smoke. (Fabrics arriving late, factories closing for holidays and wrong samples) <strong>The</strong>n it is important<br />
to try to steer back on track so you get the clothes in the show-room in time for the selling.<br />
Magnus Gjoen, <strong>Designer</strong>/Product developer - Vivienne Westwood<br />
A. Both freedom and structure are necessary to me. At the beginning of the season, it is fundamental<br />
to me to be able to go anywhere I want both mentally and physically, even for a very brief period of<br />
time. After that, once I've understood where I want to go creatively, the more structured I manage to<br />
work, the better. It's no secret to anyone that in fashion everything always happens at the last minute,<br />
but - to me- the more systematically you manage to work, the more likely you'll be to have all tools<br />
ready when it comes to do the final rush.<br />
Maxence Dinant, Senior Menswear <strong>Designer</strong> – Luxury <strong>Fashion</strong><br />
Q. How do you create a trend forecast?<br />
A. Research should be done on a daily basis. Always keep your eyes open no matter where you are<br />
or what you are doing. People watching is one of my favorite ways of doing research. Internet is a<br />
huge source of information for me too. I try and sign up to the most important store or blog newsletters<br />
so that I automatically get updated on what's being posted online.<br />
Visiting trade shows is really important too. Unfortunately, sometimes they are not in a convenient city<br />
or at a convenient time of year. If I can't make it to a show then I'll definitely look online at the trend<br />
forecasting sites such as WGSN and Shoesplanet to see the reports and photos they post from the<br />
shows.<br />
Jelena Djukic, Senior <strong>Designer</strong> - Nine West<br />
A. That’s a really difficult question to answer – from a commercial point of view you can study<br />
commercial catwalks but if you’re looking for top couture you need to look at everything that is going<br />
on. And this is not just current events. <strong>Fashion</strong> is relatively cyclical, but as you may realise, the current<br />
global mood has a huge effect. Also look to films, technologies, emerging economies, interiors, degree<br />
shows, and the age range of your target market.<br />
For example, the Oscars = glamour, we are now in a 70s style glamour trend that harks back to the<br />
innate sense that your mother is always glamorous – the glamorous ladies you saw when you were<br />
younger are now being re-emulated with a modern twist. Brights are in because we have just come...
Continued...<br />
out of the economical downturn from neutrals and summer spells freshness, brightness and new<br />
possibilities. Study what came before and predict what comes next. You won’t always get this right, but<br />
you can’t go far wrong!<br />
Jili Alen, Creative <strong>Designer</strong> - MJM Int./Owner of Jili Allen Ltd<br />
A. I like to work directly onto the computer; I find it a cleaner clearer way of working. I have the<br />
advantage of having worked this way for many years so it is second nature, but as you say, everyone<br />
has his or her own way of working. Finding the most time effective and comfortable way of working for<br />
you is the key.<br />
Louise Shill, Senior Footwear <strong>Designer</strong> - Shoe Geek<br />
Q. <strong>Fashion</strong> is one of the most fast paced and pressurised industries<br />
around, can you tell me what part of your job you find the most<br />
challenging and why?<br />
A. <strong>The</strong> part of the job I find most challenging when preparing the designs for a show. <strong>The</strong>re’s no<br />
place for mistakes, you have to deliver outstanding designs in a short period of time and they have to<br />
make a strong statement.<br />
Ana Borges, Footwear <strong>Designer</strong> - Jaeger London<br />
A. <strong>The</strong> most challenging part is keeping ahead and not falling into the trap of floating in the current.<br />
It requires keeping a constant eye on the ball and constant work. As Oscar Wilde once said, “<strong>Fashion</strong><br />
is a form of ugliness so intolerable that we have to alter it every six months.”<br />
Jili Alen, Creative <strong>Designer</strong> - MJM Int./Owner of Jili Allen Ltd<br />
A. …keeping your confidence when you are presented with opposing views. It’s hard sometimes to<br />
separate yourself from your work. It’s human nature to identify with what we do. So, in a sense, our<br />
work is an extension of who we are and how we think.<br />
When we have to redo a design multiple times, it’s hard not to get burned out and give into the<br />
feelings of jadedness that many designers can feel when dealing with counterparts. One needs to be<br />
able to separate yourself and walk away from the project, and try to see what is being changed and<br />
why, and make the best of it without losing a sense of what it is you need to get across.<br />
Do not lose the purity of the brief, even when the direction appears to change. Roll with it and maintain<br />
your sense of humor. I feel my designs have improved as I become more objective in my<br />
assessments of my work, and the work of others.<br />
Joshua Fraser, Senior footwear designer - Puma
Continued: Q. <strong>Fashion</strong> is one of the most fast paced and pressurised industries around...<br />
A. Keeping ahead of the game and up with future trends is a constant challenge, but it’s important<br />
not to be a slave to the trends but develop your own sense of style and affiliate yourself with the<br />
brand/product you’re working on. Being aware of the market is important, but also being aware of your<br />
target audience is just as important.<br />
Louise Shill, Senior Footwear <strong>Designer</strong> - Shoe Geek<br />
A. <strong>The</strong> most challenging part is probably the fact that things and decisions change all the time. It is<br />
even more true for companies with catwalk shows, as it often happens you have to design and<br />
develop new products at the very last minute. Shows are very important events, they are presented to<br />
all customers, buyers and the media globally. You also see some of your products you have been<br />
working on for weeks or even months eventually getting dropped and they may need to be replaced by<br />
products to be designed within a very short time.<br />
<strong>The</strong>re is so much inspiration, excitement and interest in so many different techniques and design ideas<br />
that some people can get carried away and want brand new products at the last minute because a<br />
new and better idea may have emerged very late in the design process. Sometimes passion leads<br />
rather than pragmatism, so you often face situations like these, but it is also what makes fashion so<br />
interesting and fascinating!<br />
Pascal Nuzzo, Head of Design, Leather Goods and Accessories - Temperley<br />
A. Most challenging is remembering all the nitty gritty stuff - I write everything down in my calendar or<br />
iPhone so I'm reminded of things. <strong>The</strong>re are so many things that can go wrong from socks not being at<br />
a look-book to silk dresses having the wrong type of stitch! You have to be super-organized as you<br />
can't expect anyone else to be. Even if it's not technically your job, the finger is easily pointed at you<br />
if something goes wrong.<br />
Magnus Gjoen, <strong>Designer</strong>/Product developer - Vivienne Westwood<br />
A. Pleasing press, buyers and yourself season after season, preferably increasingly, is the biggest<br />
challenge to me in fashion nowadays.<br />
Maxence Dinant, Senior Menswear <strong>Designer</strong> - Luxury <strong>Fashion</strong><br />
Q. <strong>Fashion</strong> is a notoriously difficult industry to break in to, how did you<br />
manage to get your foot in the door?<br />
A. I got into fashion completely by accident and not design. I was studying A level design and (I’ve<br />
still no idea why), I did kids shoes for my main project. I made my own lasts out of clay and nearly cut<br />
my own arms off sawing an old car tyre up with an electric band saw to make the soles! I had no idea<br />
what I wanted to do for a degree, it was one of the tutors that suggested I was rather good at making<br />
shoes already and did I know there were courses?<br />
I ended up applying for De Montfort University and got in, without a foundation course. I was one of<br />
only two students in the whole country to manage getting onto a degree without a foundation course,<br />
but I did no end of night-school in order to get in – my portfolio was big and varied. I almost ended up
Continued...<br />
doing lingerie design instead as the degree included two weeks on each of the fashion courses they<br />
do there. But I stuck to my guns.<br />
I started applying for jobs in March of my final year. My fellow students thought I was a bit keen to be<br />
thinking about this so early but it paid off as I had two job offers by May. I chose Pentland Group –<br />
sports footwear was my passion and they were THE place in the UK to work designing that kind of<br />
footwear and they are still one of the best places for a graduate to work.<br />
Jessica Good, <strong>Designer</strong> - shoedesign.co.uk<br />
A. I was born in to a family working in luxury leather goods so I already had this passion running<br />
through my veins. I also liked the fast-paced and short-term process of this industry in comparison with<br />
the years-long process you can experience in product design for instance. It has not been easy to get<br />
in to this industry and to be accepted as an experienced individual. Hard work is the key to get the<br />
opportunity to work in fashion, as it remains a very competitive industry.<br />
Pascal Nuzzo, Head of Design, Leather Goods and Accessories - Temperley<br />
A. I’ve always loved fashion. My passion started from a young age with me riffling through my mum’s<br />
wardrobe and cutting up any piece of cloth I could find to make myself something fabulous to wear,<br />
making shoes out of cardboard, paper and cello tape, finished my outfit perfectly, to my mums<br />
despair!!!<br />
Whilst at art college I was lucky enough to attend a talk from a student at De Montfort University who<br />
was on the footwear degree course. I was so inspired by her handmade shoes and fascinated by the<br />
concept of creating a 3D product that I could design and wear, from then on I was hooked.<br />
In my final year of my footwear degree, I wrote to several companies to ask for a work placement,<br />
luckily two responded, one offered me a position when I graduated and the other I worked for several<br />
years later, some of those relationships I made early on in my career remain firm today.<br />
Louise Shill, Senior Footwear <strong>Designer</strong> - Shoe Geek<br />
A. <strong>The</strong> glamour of the 80's and early 90's and the supermodels! I was lucky that my graduate<br />
collection at the Antwerp Royal Academy got noticed by the right people and I'll be thankful to them for<br />
putting their faith in me for as long as I’m able to design clothes.<br />
Maxence Dinant, Senior Menswear <strong>Designer</strong> - Luxury <strong>Fashion</strong><br />
Q. What information should be included in a design spec and how<br />
detailed should it be?<br />
A. Design specs should be as detailed as possible, bearing in mind that your designs have to be<br />
interpreted by someone else and quite often for more than one person. On my specs I include a 3/4<br />
views of my design along with all the technical aspects, such as the lasts, construction, hardware,<br />
fabrications, materials and all the notes that would help to get my message across as accurately...
Continued...<br />
as possible. It´s important if you can brief your specs in person as it does make a difference. You<br />
should never expect your first prototypes to be perfect, you should consider it to be a starting point,<br />
they help you to see lines and proportions and there´s always work to be done from this stage.<br />
Ana Borges, Footwear <strong>Designer</strong> - Jaeger London<br />
A. It all depends on the design and on who will be reading the spec. Our development center is<br />
based in China therefore we have to be very detailed so as to get as close as possible to our design<br />
from the first prototype. <strong>The</strong> more information you provide the easier it is for the technicians to<br />
execute. Having said that, too much information can also create problems especially if the information<br />
is unnecessary.<br />
Put yourself in the shoes of who will be reading the spec and ask yourself what information they really<br />
need and what they should know without you having to tell them. Also always pay attention to how you<br />
word your spec. When working with China there is no need to use complicated, fancy words that they<br />
don't understand. Keep it simple and to the point and you should be able to have them achieve<br />
anything.<br />
Jelena Djukic, Senior <strong>Designer</strong> - Nine West<br />
A. I tell myself that if I couldn’t make the shoe from the information given on the spec, then there isn’t<br />
enough detail - simply put, a design spec is the instructions to the factory to tell them how to make the<br />
shoe.<br />
Number one is that the sketch proportions should be as precise as you can make them. I try to make<br />
an almost photographic copy of the proportions, no artistic style Manolo watercolour artworks, please.<br />
You need to construct a diagram, not an artwork.<br />
Be aware that if the factory uses a different language to you, avoid using long complex sentences –<br />
it is a pain for them to translate, on that note, a picture or diagram can tell a thousand words. I number<br />
everything on my specs and use as little written info as I can get away with.<br />
Find out from the factory how THEY like to work – ask for specs from them from other designers that<br />
they like and understand. One size does not fit all. <strong>The</strong>y may like using pantones, or they may not<br />
even have a pantone book, you need to find out.<br />
Don’t forget to add precise measurements. Get the last if possible – some factories prefer to work with<br />
vac forms or designs sketched on a taped last as they might prefer to take the patterns for your design<br />
directly from this.<br />
Jessica Good, <strong>Designer</strong>, shoedesign.co.uk
Continued...Q. How detailed should a design spec be and what information should be included?<br />
A. My basic footwear tech pack includes the following:<br />
A. Clean line art with detail call outs, which includes construction notes, views and measurements.<br />
B. All material call outs on upper. No detail is too small. Call out the stitching weight if need be.<br />
Leather release patterns, where to line and not to line. Attention to detail is key.<br />
C. In addition, any and all unusual constructions on the upper that might require a see through view of<br />
the interior of the shoe. Designing the inside is just as vital in terms of comfort.<br />
D. Drawing of upper on the last. It has always been my feeling that the most accurate way to get your<br />
pattern across is to draw directly on a tapped up last.<br />
E. Blueprints of tooling. As many views as possible, which include, top bottom, sides, front and heels<br />
views. Also cross-sections are key. <strong>The</strong> number depends on the complexity of form. Don't do too<br />
many in one area of similar form. Use common sense and cross section the areas that are most<br />
complex or far apart in terms of shape.<br />
F. Any and all cross sections and blue print call outs for secondary molded parts, which include<br />
eyelets, straps, molded heel or toe pieces.<br />
G. All colorways with correct Pantone information.<br />
Joshua Fraser, Senior footwear designer - Puma<br />
Q. What would you say is the most important thing to consider when<br />
designing a collection?<br />
A. You need to make sure the collection and its quality suit your company’s DNA and history, and that<br />
it is consistent with the targeted consumer and retail price.<br />
Pascal Nuzzo, Head of Design Leather Goods and Accessories - Temperley<br />
Q. How do you balance your desire to be creative with the practical<br />
requirements that make a design commercially viable?<br />
Being aware of your commercial constrains can sometimes be creatively stifling. I try to not focus too<br />
much on these issues when designing and prefer to indulge my creativity first, before I bring my<br />
design back to commercially fit the brief.<br />
Louise Shill, Senior Footwear <strong>Designer</strong> - Shoe Geek
Continued: Q. How do you balance your desire to be creative with the practical requirements...?<br />
A. Over the years, I've learned that you don't necessarily need to design a Couture evening gown to<br />
feel satisfied creatively. Sometimes, a "detail" as small as a new collar shape on a men's shirt can give<br />
you incredible satisfaction.<br />
Maxence Dinant, Senior Menswear <strong>Designer</strong> – Luxury <strong>Fashion</strong><br />
A. I consider if it is a collection I would like to wear or if I would be happy to find in stores. I imagine<br />
myself or my friends buying these products and getting excited about them. I think every single<br />
wardrobe should contain commercial products, timeless classics and novelty items. I believe each<br />
collection should be designed with this in mind and find the right balance between the subtle, the<br />
commercial, the unexpected and the quirky.<br />
I don't think the commercial viability and creativity are mutually exclusive. For me, it is important to<br />
design things I would want to wear - so things that are fashion forward, but still flattering on the body.<br />
I think great design does both, it pushes the boundaries but manages to be something that people will<br />
want to own.<br />
Saloni Sethi, <strong>Designer</strong>/Design Director, Independent, High-end luxury<br />
A. Complete and absolute novelty doesn’t work. <strong>The</strong> mind is conservative by nature; even Picasso’s<br />
mind. Shock for shock-value has a very short life, too short to mean much. For the mind to find<br />
something compelling – and enduringly so - it must be an exquisite alchemy of:<br />
• Familiarity (Is it like me?)<br />
• Participation (Does it like me? Understand me? Can I trust it?)<br />
• Power (Given it’s actually different from me, in that difference, can it help me become more of me<br />
(and, therefore, expand my familiar)?<br />
For an object to be compelling it must be perceived and conceived of as accessible and mythic;<br />
powerful and understanding.<br />
Dr. Bob Deutsch, Cognitive Anthropologist - Branding & Marketing Expert<br />
Q. How does CAD design compare to traditional drawing skills and is it<br />
important for a designer to have both?<br />
A. I think the two can be combined in a positive way. I myself use hand drawing to create all my<br />
designs, mainly because I feel more comfortable and I enjoy sketching, it seems to be the natural way<br />
to translate my ideas. I do use CAD occasionally, not to sketch but to present my work. As a designer I<br />
think it´s important to be able to sketch by hand, it makes your work more personal, I find CAD design<br />
to be more impersonal and cold, if this makes sense! But to be honest, it really doesn´t matter how<br />
you do it as long as you can translate your ideas.<br />
Ana Borges, Footwear <strong>Designer</strong> - Jaeger London
Continued: Q. How does CAD design compare to traditional drawing skills and is it...?<br />
A. I think nowadays it’s a plus to have both skills even though when designing dress shoes it’s not as<br />
necessary as when designing athletics or comfort shoes. Sketching will never be completely replaced<br />
by CADs as it's so much easier and quicker, plus all you need is pen and paper. CADs are great for<br />
portfolios, presentations and getting management excited about your designs before they are<br />
sampled. Sometimes it can be time consuming but it can save you time in the long run.<br />
Jelena Djukic, Senior <strong>Designer</strong> - Nine West<br />
A. CAD is easy to learn, but without traditional drawing skills you will struggle. Proportion is key.<br />
If you can’t sketch an in–proportion shoe, you risk getting some weird looking samples back from the<br />
factory. I tend to use CAD for most clients now, I think now only the luxury market and some fast<br />
fashion are still working with hand sketches.<br />
In the athletic footwear industry, CAD is a must, but ‘wannabees’ be warned, the design managers at<br />
Nike etc. are still more interested in strong hand rendering skills than anything else. CAD can be a bit<br />
smoke/lights and mirrors, making a mediocre design look a lot better than it really is. But having said<br />
all that, if you want to freelance you really need to do both and to a good standard.<br />
Jessica Good, <strong>Designer</strong>, shoedesign.co.uk<br />
A. I am on both sides of the fence. <strong>The</strong>re is nothing in my mind that can replace the quick concept<br />
sketch that a good drawing can convey. Being able to draw, and direct others with sketching is a vital<br />
tool. When there is no computer around, you must still be able to convey yourself clearly. <strong>The</strong> skills<br />
one has with 2D vector files or 3D files is the way most people do business and also send tech packs<br />
to overseas today.<br />
With CAD, projects can be reworked and redesigned with little effort as compared to redrawing and<br />
entire project by hand. I feel it’s vital to have a good balance of both skills and to embrace what each<br />
set brings to the table. A good designer is open to all tools.<br />
Joshua Fraser, Senior footwear designer – Puma<br />
A. It all depends on the requirements of the collection, in terms of amount of styles and the time you<br />
have at your disposal. I personally think that manual sketches are the best at the beginning of the<br />
designing process, when it comes to defining the volumes and proportions. After that, for the flats and<br />
technical drawings, there's no doubt that CAD helps to save a lot of valuable time.<br />
Maxence Dinant, Senior Menswear <strong>Designer</strong> – High-end luxury
Q. How important is it for a designer to understand how to produce a<br />
garment or footwear pattern?<br />
A. I would recommend any shoe designer to take at least a short pattern-cutting course. You will find<br />
yourself in situations where the factory does not have a very good pattern cutter or you need to fix<br />
something. If you don’t understand pattern cutting, it can be a struggle.<br />
Jessica Good, <strong>Designer</strong>, shoedesign.co.uk<br />
A. Understanding footwear construction is invaluable. I gained most of my construction experience,<br />
not only at university, but on the job working direct with the factory pattern cutters. It’s important to<br />
remember that just because a pattern physically functions, it’s not always production friendly.<br />
Once these basic principles are understood, you can have fun breaking all the rules which I’ve found<br />
has led to some of my best work.<br />
Louise Shill, Senior Footwear <strong>Designer</strong> - Shoe Geek<br />
Q. What do you feel is the most rewarding part of the design process?<br />
A. Oddly, it’s not the finished product, it’s not getting it into store, it’s seeing someone wearing/using<br />
something you’ve designed; not a friend, just a stranger on the street – THAT is amazing. I do,<br />
however, adore the conceptual process, letting your mind go mad and not putting limits on yourself;<br />
hand-sketching, can’t beat it!<br />
Louise Shill, Senior Footwear <strong>Designer</strong> - Shoe Geek<br />
Q. What are the best trade shows and events to attend for fabrics<br />
and materials?<br />
A. Lineapelle, Premier Vision, Micam, Trend Select...just to name a few. I also like to pay attention to<br />
the trends that emerge in apparel, as those trends will later be translated into footwear. Remember<br />
shoes are accessories therefore usually have to compliment apparel.<br />
Jelena Djukic, Senior <strong>Designer</strong> - Nine West<br />
Link crushes:<br />
www.design-seeds.com - Brilliant blog dedicated to exploring the wonderful world of colour.<br />
www.trendhunter.com - <strong>The</strong> largest community for Trends, Trend Spotting, Cool Hunting, and Innovation.<br />
www.refinery29.com - Emerging fashion trends covered by experts.<br />
www.fashionising.com/trends - <strong>The</strong> latest clothing and fashion trends from around the world.<br />
www.<strong>Fashion</strong>156.com - Online fashion magazine that provides a celebratory platform for emerging talent.<br />
www.britishfashioncouncil.com - Supporting and promoting British fashion designers.<br />
Mark’s note: Check out http://goo.gl/b9pah for info on a unique range of short shoe making courses.<br />
Also see: Cordwainers world-renowned college for footware production: http://goo.gl/h3Z00 and of course -<br />
<strong>The</strong> London College of <strong>Fashion</strong>: http://goo.gl/ToWJP for anything else fashion related.
Chapter 2<br />
Production
Production<br />
Q. What is the best way to find a factory that is willing to produce small<br />
amounts of stock?<br />
A. It’s the question I get asked most of all. This is why designers who are already in the industry may<br />
find it a bit easier if they decide to start their own brand. It’s about trust. If you already have a<br />
relationship with a manufacturer, then they will be more likely to take a risk. Truth be known, the<br />
factories that will do this now, you could count on your hands. Especially since the recent recession.<br />
Very few factories will take the risk and there are more new shoe businesses start-ups than ever<br />
before. Some shoe designers I know have set up their own workshops and hand make themselves.<br />
Jessica Good, <strong>Designer</strong>, shoedesign.co.uk<br />
Q. What are the various footwear production stages?<br />
A. First pullover is a great blog which explains how sneakers are made. <strong>The</strong>re is also some stuff on<br />
YouTube if you search for shoemaking.<br />
- Design<br />
- Pattern cutting<br />
- Clicking (cutting the uppers out)<br />
- Skiving (on leather uppers, the edges are thinned to ease stitching and avoid thick seams)<br />
- Closing (stitching the uppers)<br />
- Lasting (forming the uppers around the last)<br />
- Heat setting (the lasted uppers go through a heat setting machine to form the stiffeners to the shape<br />
of the last)<br />
- Sole/Heel attachment<br />
- Finishing (polish, remove glue marks. Add laces etc)<br />
- Inspection (shoes are checked at end of production line)<br />
- Packing (wrap in tissue, in shoe box and then in cartons ready for shipping)<br />
Jessica Good, <strong>Designer</strong>, shoedesign.co.uk<br />
A. 1. Tech Pack checkpoint: Once the factory gets the tech pack, the next step is for them to go over<br />
the info and ask any questions they might have to the developer and designer. This is always a good<br />
time to make initial changes based on the feedback.<br />
2. Next step is usually getting initial upper patterns back and revising shells. At this point, options for<br />
more cost effective alternatives might be suggested. Costing is always an issue with the constant<br />
struggle to meet margins and also meet the needs of rising costs in labor and materials.<br />
Mark’s note: Check out http://goo.gl/X37O4 for shoe making videos.
Continued...<br />
3. Travel: Book your ticket and head over to the development center or factory. This is where you need<br />
to bring all notes, material options, colors and anything that might help finesse the details of the shoe.<br />
4. <strong>The</strong> next steps are pretty straight forward. Meet with your mold makers, revise blueprints. Meet with<br />
your pattern makers and make the changes as needed. But be realistic about the changes. If you are<br />
under time constraints, and you are completely redesigning the project because you suddenly<br />
changed your mind, expect the sample to not be as refined at the end of the day. Make changes<br />
prudently and stay consistent.<br />
5. Review final samples with your team. Do updates with your marketing and development<br />
counterparts. Ask for peoples’ opinions, but also do not alter the design based on subjective opinions.<br />
Make changes based on the needs of the brief and the customer. Always keep your original design in<br />
mind and even at this stage be sure you are on track.<br />
Joshua Fraser, Senior footwear designer – Puma<br />
Q. How do you make sure all the relevant details are covered when<br />
creating a production spec?<br />
A. Before putting together a production spec, I think it's important to visit and understand a production<br />
line. Since producing a shoe on a production line is very different from making a shoe in a sample<br />
room. So many aspects of the production line can affect the outcome of your designs. <strong>The</strong>refore,<br />
foreseeing what could potentially be a problem will save you time and money. If you already know that<br />
a detail you are putting into your spec may be a problem on the production line then either find a<br />
solution for it or change your design/spec.<br />
Jelena Djukic, Senior <strong>Designer</strong> - Nine West<br />
A. If you follow through with a tech pack that has all the details I listed in (Design Spec.), then you<br />
should be fine. Always measure twice, work in proportion, work with the last shape and do all your<br />
drawings based on that. Look at older blueprints that share the same last shape and work your<br />
drawings over those if need be to be consistent. <strong>The</strong> cad guys at the factory are always going to revise<br />
your work and drawings based on best practices anyway. Make less work for them and that way you<br />
know what you get will be closest to reality.<br />
Also look at what you have before it is sent out and ask yourself would I be able to make the shoe if I<br />
was given this info. Ask your peers if the drawings are clear and accurate.<br />
Joshua Fraser, Senior footwear designer – Puma<br />
Mark’s note: www.linkedin.com is a brilliant place to find production factories as well as other businesses.<br />
Also, check out: www.toplinked.com/toplinked.aspx if you want to expand your Linkedin network quickly.<br />
(It’s not a good idea to add people randomly but ‘Open Networkers’ are normally happy to receive requests.)
Q. How can you ensure that the production quality remains high and<br />
consistent when working with factories abroad?<br />
A. Communication, communication, communication ...and building of relationships is key. You have to<br />
put yourself in the mindset of the people working in the development centers and factory. Too many<br />
designers have unrealistic expectations when it comes to their designs. No one is a mind reader. Be<br />
proactive. Give all your effort to explain, re- explain and always keep your cool. Nothing ruins your rep<br />
and your priority on the project list more than being impatient or emotional when the sample is not<br />
looking like you expect.<br />
Joshua Fraser, Senior footwear designer – Puma<br />
Q. What advice would you give to a designer who is not able to visit the<br />
factory in person?<br />
A. Honestly, if you are producing your own collection and do not have someone on the other side as<br />
a contact person whom you trust, save your money and buy a ticket. Nothing replaces the ability to<br />
oversee the project at hand.<br />
However, if you simply do not have the time or budget for that, Skype is a lifesaver. Ask them to have<br />
a person there with access to Skype or any other similar type programs and give you end of the day<br />
updates and also show you the samples. Video conferencing is a standard part of designing today.<br />
Take full advantage of it.<br />
Joshua Fraser, Senior footwear designer – Puma<br />
Q. What’s the worst thing that’s ever happened to you when working with<br />
a factory and how did you fix the problem?<br />
A. As an employee, it wasn’t my responsibility to fix production problems as a freelance designer, but<br />
I’ve seen some nightmares. Such as the entire delivery of sneakers that arrived in our warehouse as<br />
just uppers, no outsoles attached! Followed by another delivery that had sneakers but no eyelets.<br />
Always be there or have someone there to check when your production is about to leave is the lesson<br />
learned there.<br />
Also if you are making shoes with wooden soles, it’s a good idea to ensure that the wood has been<br />
properly seasoned, because it can go mouldy in the box if it hasn’t been!<br />
Jessica Good, <strong>Designer</strong>, shoedesign.co.uk
Market Research &<br />
Branding<br />
Chapter 3
Market Research<br />
Q. Market research is an area that many new businesses struggle with<br />
- what advice can you offer?<br />
Identify who you want your customer to be and research what their lifestyle is. Based on what they do,<br />
where they go, what brands they are buying, where they are shopping, etc. you will be able to design<br />
specifically for that customer. It’s also always good to talk to sales reps, buyers and even organise<br />
focus groups as it will give you extra information that you won't be able to find anywhere else.<br />
Jelena Djukic, Senior <strong>Designer</strong> - Nine West<br />
If you are writing a business plan, then the info you need is not widely available. You generally need to<br />
pay for the data, it isn’t free. Verdict is the retail research company which deals with the UK market<br />
most effectively.<br />
Jessica Good, <strong>Designer</strong>, shoedesign.co.uk<br />
People are not what media makes them out to be. People are poised and unsettled, mysterious and<br />
mundane, idealistic and street-operators, marooned and moored, tough and tender. But they are<br />
always artful and embody many registers. Respect people-as-people, not just as consumers. Forget<br />
about marketing and, instead, think about life. <strong>The</strong>n your creations will be greeted by a great market.<br />
Dr. Bob Deutsch, Cognitive Anthropologist – Branding & Marketing Expert<br />
Branding<br />
Q. What exactly is a ‘brand’ and why is it so important?<br />
A. "Brand is the 'f' word of marketing. People swear by it, no one quite understands its significance<br />
and everybody would like to think they do it more often than they do" - Mark di Soma, Audacity Group<br />
To me, a brand is the recognisable constant of the design; the living breathing lifestyle of the product.<br />
Jili Alen, Creative <strong>Designer</strong> - MJM Int./Owner of Jili Allen Ltd<br />
A. Brand is not what most marketers think it is. Brand is not name recognition plus positive attributes.<br />
That’s commodity. Brand obtains only when a person metaphorically merges his/her story about who<br />
they are with their story of who you - the product - is. This merging is an emotional-subjective process,<br />
not a logical-objective one. Apple, for example, is a great brand - a brand, in part, based on beauty.
Continued...<br />
When you have a brand, a consumer can totally transform your product into a personally meaningful<br />
narrative.<br />
Dr. Bob Deutsch, Cognitive Anthropologist – Branding & Marketing Expert<br />
Q. What are the key ingredients of creating a successful brand and how<br />
is it used to increase sales?<br />
A. A brand has to have a crystal clear identity as to the market it serves, in terms of aesthetics,<br />
mission, tone of voice, practice, pricing, partnerships - anything and everything. If the positioning of a<br />
brand is not obvious, it cannot translate to consumers. This is especially important in an age when<br />
consumers are constantly being bombarded and have to quickly dissect information.<br />
Courtney Blackman, Owner/MD – Forward PR<br />
<strong>The</strong>re are many ingredients in creating a successful brand, but in my opinion - it’s the experience it<br />
offers and the impression it leaves that adds value and therefore increases sales.<br />
Jristian Limsico, Art Director, Tommy Hilfiger<br />
Q. How can a new designer compete with well-established competitors<br />
with massive budgets and seemingly endless resources?<br />
A. Having a product that stands on its own, a strong brand, connecting with consumers, focusing on<br />
experience and embracing the utlisation of new tools for interaction and exposure. A new product has<br />
to stand out or be at least as good as competitors both new and established. It has to be well<br />
designed, well finished and well packaged, and that goes across any industry from automobiles,<br />
electronics, beauty, etc.<br />
Take media for example; there are heaps of well-established magazines that are recognised globally<br />
and have household name status. New publications are sprouting up all the time. What can a new<br />
publication do to get noticed? It would have to be beautifully designed, have intriguing and relevant<br />
content and be sold at a fair price. If a start-up gets the formula right, it can certainly compete.<br />
<strong>The</strong> experience is really important as well, and is a key aspect of customer service. Every interaction<br />
between a brand and a consumer should be a positive experience from receiving an email, a<br />
telephone call or a direct message on Twitter. Every encounter should enhance the experience and<br />
serve to forge a tighter bond between the brand and consumer.<br />
Courtney Blackman, Owner/MD – Forward PR
Q. How do you ensure that your company has a strong brand identity<br />
with real substance?...I suppose what I’m asking is what gives a<br />
brand the ‘X-factor’?<br />
A. <strong>The</strong> designers background story is pretty significant, who they trained under, what college they<br />
graduated from, their style history. <strong>The</strong> same is relevant to a brands history too, and those brands with<br />
a great heritage are usually extremely successful. Always showing their designs in a cool, new way<br />
with the highest quality design is imperative, a clear unflinching vision, great use of fabrics and<br />
creating desirable silhouettes. <strong>The</strong> designs seen to be worn on cool style setters also helps to create a<br />
brand/designers profile and keeps the buzz surrounding them at a high.<br />
Miranda Almond, <strong>Fashion</strong> Editor, Vogue<br />
A. By communicating what is true to the company. Drawing inspiration from the heritage of the brand<br />
and delivering something authentic, as well as fresh and unexpected.<br />
Jristian Limsico, Art Director, Tommy Hilfiger<br />
A. This is something we’ve been looking at a lot recently as we’ve established a new direction and<br />
branding for the company, there’s a lot of competition out there from fantastic brands so it is hard for<br />
you to differentiate yourself and stand out.<br />
You have to have that ‘eureka’ moment when you work out your brand’s own individual place and<br />
message in the market and realise that it’s totally relevant – you need to really believe in what you’re<br />
trying to say and stay true to that. We worked hard on listening to our customers and finding out what<br />
was missing in the fashion retail sector, and came up with our new direction of Everyday Luxury - for<br />
the woman who has far too little time but loves fashion and wants to fit amazing pieces into her real<br />
life. From there everything fell into place really, from the street-style photography we shoot, to the<br />
fashion styling on the site, to the way we designed the product pages and navigation.<br />
Ruth Cozens, Art Director - my-wardrobe.com<br />
A. A credible story or heritage, cohesive, intelligent branding, a clear business strategy and vision,<br />
a realistic idea of who your customer is and a handful of core values that do not waver.<br />
Laura Weir, <strong>Fashion</strong> Editor, Drapers<br />
A. It’s the full package: a good name (some designers are born lucky), smart graphic design that<br />
communicates if a brand is luxury, mid-market or affordable, brand personality – translated through<br />
copy across everything from website to swing tags to a Facebook fan page, and an identifiable and<br />
distinctive story behind it. A brand must have clarity across every aspect of the company as to what<br />
makes it different from its competitors and why consumers should pay attention to it, and pay for it.<br />
Courtney Blackman, Owner/MD – Forward PR
Continued: Q. How do you ensure that your company has a strong brand identity with real<br />
A. We worked as a team to define what our brand stood for, what our unique selling points were and<br />
what we were trying to achieve.<br />
We built a brand document, which defined what we were about, we set rules about our brand and how<br />
we portrayed it and what messages we wanted to get across to the customers.<br />
We had a 3 year strategy that the entire company helped put together and developed a “Steering<br />
Wheel” around the four headings of Customer, Finance, Operations and People.<br />
Julia Reynolds, CEO, Figleaves.com<br />
Q. What are the fundamental ingredients that separate successful<br />
designers from the many others who do not make?<br />
A. Genuine talent, imagination and skill. Those two factors are easy to spot from a mile off. <strong>The</strong> best<br />
in the business from McQueen to Galliano have technical skill and creative talent in spades. <strong>The</strong> best<br />
designers have imagination and a true, no-holds-bar belief in their creative calling and will not stop<br />
until they realise the ambition.<br />
Laura Weir, <strong>Fashion</strong> Editor, Drapers<br />
A. Absolute determination, A clear unflinching vision, A hard work ethic, the ability to work with other<br />
creatives to help the brand grow, stylists, set designers, photographers etc. ...Always striving to move<br />
forward and not being afraid of experimentation.<br />
Miranda Almond, <strong>Fashion</strong> Editor - Vogue<br />
Link crushes:<br />
www.drapersonline.com - <strong>Fashion</strong> jobs, news and the latest fashion trends, international catwalk coverage.<br />
www.wwd.com - Breaking news, comprehensive business coverage and trends - fashion, beauty and retail.<br />
www.retailminded.com - Support retailers, wholesalers, boutiques, independent businesses.<br />
www.stylesight.com - Trend forecasting service and technology tool provider.<br />
www.internetretailing.net - Internet Retailing analysis, insight and stimulus for Europe’s multichannel retailers.
Chapter 4<br />
Marketing
Marketing<br />
Q. How do you put a Marketing Plan together and what should it include?<br />
A. A marketing plan should include your objective - what do you want to achieve:<br />
- Who - who is your audience for that objective?<br />
- How - how can you get there? - this is usually a mix of tactics to achieve this and some commercial<br />
analysis on how this is possible via media investment, etc.<br />
- Measurement - what equals success? Sales? Brand awareness?<br />
Jennifer Roebuck, Director of Ecommerce & Digital Marketing - frenchconnection.com<br />
A. A giant spreadsheet. All the weeks and months across the top and ALL the activity that is customer<br />
facing for the business plugged into it. Broken down into categories. Product launches, key events on<br />
the calendar, what is happening that week, digital marketing activity, above the line activity, promotions<br />
and last year’s history.<br />
Julia Reynolds, CEO, Figleaves.com<br />
Q. What advice would you give to a designer who is thinking about<br />
launching a fashion label?<br />
A. In fashion it is a lot about people you know and of course if you have worked in the industry for<br />
someone else before you should always be thinking about how some of these people may be able to<br />
help you in the future. Make connections and always think about the future.<br />
You need to know your market and exactly what they want - not what you want for them. Depending<br />
on what type of clothing-range you are starting you always need to look at your potential competitors<br />
and finding out as much as possible about them. Price is your first indication of your competitors then<br />
of course the style/fabrics/finishings.<br />
Magnus Gjoen, <strong>Designer</strong>/Product developer - Vivienne Westwood<br />
A. A new designer needs to find out if there is a gap in the market for the new product. Research can<br />
be done by conducting surveys, talking to people, scouring the Internet, visiting stores to investigate<br />
price points and competition, and new designers would benefit greatly from developing a business<br />
plan. A business plan will help put a new business into perspective as far as cash flows, staffing,<br />
competitors, short and long term goals, manufacturing, website structuring and on and on. Once a<br />
new designer has decided to move forward on a new product, they should secure intellectual property<br />
by buying every website domain iteration and secure coinciding social media: Twitter account and<br />
Facebook fan page names for instance.<br />
Courtney Blackman, Owner/Managing Dir – Forward PR<br />
Mark’s note: April Dunford from Rocket Watcher has created a brilliant marketing framework - well worth<br />
the read: http://www.rocketwatcher.com/blog/2011/01/a-startup-marketing-framework-version-2.html
Continued: Q. What advice would you give to a designer who is thinking about launching...?<br />
A. <strong>The</strong> product needs to be great, good is not good enough. You do not need much if any marketing<br />
budget. Great product sells itself. You will make mistakes in the first few years, so plan to only get 60%<br />
right. You will never get 100% right, although obviously you will aim to get 100% right. If you have a<br />
plan, make sure you plan a downside for your accountant! Anything from 25% to 50% it is so much<br />
better to under promise and over deliver.<br />
Look at competitors and make comparisons. Every business on the planet has taken ideas from<br />
somewhere else. Stick to your USP’s and focus on customer, customer, customer<br />
Get help and support from people that you trust who have experience. Don’t be afraid to ask for help<br />
and use other people’s skills. You cannot possibly be great at everything.<br />
Julia Reynolds, CEO, Figleaves.com<br />
Q. What is a ‘Unique Selling Point’ (USP) and how can this be used to<br />
drive sales?<br />
A. A USP is the difference that sets your product and service apart from your competitors and makes<br />
you unforgettable.<br />
Jristian Limsico, Art Director, Tommy Hilfiger<br />
A. If you can’t clearly and succinctly define what makes your product and service relevant then you<br />
can’t promote it effectively. Having a compelling USP is the first critical step to building a marketing<br />
campaign.<br />
Shannon Edwards, Director – ShopStyle.com<br />
A. A USP is what differentiates a product or service from the rest. It can be anything from special<br />
packaging to same-day delivery to off-coloured stitching on each garment, and should always<br />
augment the product and the customer’s experience.<br />
Courtney Blackman, Owner/MD – Forward PR<br />
A. What makes your product different from your competitors, ideally you will have at least one. <strong>The</strong>se<br />
should be at the core of your business and should drive everything you do. Try not to sway from this,<br />
although they may change over time as the business evolves. (Easyjet, Liberty, Donna Karan, Coca<br />
Cola, Innocent Drinks) good examples of those that have stuck to what they set out to do.<br />
Julia Reynolds, CEO, Figleaves.com
Q. With so many new and exciting marketing channels popping up how<br />
do you decide which is best for your business?<br />
A. We try to gather as much information as possible about each channel and decide based on what<br />
the expected commercial impact is and brand impact. It is a hard decision and we do not always make<br />
the right choices. We are also interested in innovation and trying new things - so we are not afraid to<br />
test something. Jennifer Roebuck, Dir of eCom & Digital Marketing – Frenchconnection.com<br />
Q. How do you develop a clear and consistent message across all<br />
marketing platforms?<br />
A. <strong>The</strong> most important thing is to edit - make sure that whatever you are presenting, whether it’s your<br />
website, a look book, or a press release that it all represent you and your vision. In doing this, you<br />
have to be clear about your vision for your brand. It could be helpful to come up with a mission<br />
statement for the brand as a whole, and put together some images to go with your mission statement.<br />
It’s always good to have another pair of eyes look at your work to see if the message you want to<br />
convey is coming through.<br />
Saloni Sethi, <strong>Designer</strong>/Design Director, Independent, High-end luxury<br />
A. We work together. We have an agreed tone of voice, brand positioning and imagery. Once that is<br />
in place, we all ensure our communications are consistent when we are launching a new season and<br />
throughout the season. As long as they are visually and tonally consistent, that will deliver a clear and<br />
concise message. Less is more...and in fashion the image often speaks louder than words.<br />
Jennifer Roebuck, Director of eCom & Digital Marketing – Frenchconnection.com<br />
Q. What is the key to producing good quality content that will not only<br />
engage but also add value in the eyes of the reader?<br />
A. Two things. One; content must be honest. <strong>The</strong> content that you produce must come from a good<br />
place, a pure of heart place, a genuine place of interest and be unbiased. Sycophantic reporting –<br />
especially in my industry of fashion - get’s no writer anywhere. By trying to be everyone’s friend and<br />
not engaging in honest reporting, the journalist won’t gain the industry’s respect and the designer they<br />
are writing about, in turn will not become better at their craft.<br />
Two; content must be useful. Know your customer or audience inside out, stalk them really hard. Get<br />
inside their brain and work out what will make them smile/tick/feel a flurry in their stomach. <strong>The</strong> right<br />
information can help people do better business or help people feel better about themselves - or both.<br />
Laura Weir, <strong>Fashion</strong> Editor - Drapers
Continued... What is the key to producing good quality content that will not only engage but also?<br />
A. <strong>The</strong> key is understanding what you are about in the sense of its message. Are you there to visually<br />
inspire? Are you there to lead a movement? What is it it's purpose? Good quality content that engages<br />
and adds value has a purpose. With a purpose you can create a reader who not only becomes a<br />
subscriber, but becomes an advocate.<br />
Daniel P Dykes, Editor-in-Chief/Chairman - <strong>Fashion</strong>ising.com<br />
A. I see so much that bores me and it makes me feel anti certain brands. So they need to address<br />
this and be aware of it - as an ill-advised activity can be seriously damaging. Quality control everything<br />
you do and think how your audience will perceive it. If in your mind there is even the slightest doubt<br />
get a 2nd, 3rd and 10th opinion.<br />
Guy Hipwell, Founding Editor/Creative Director - <strong>Fashion</strong>156.com<br />
A. Any good designer will tell you that in order to create good quality creative that engages and adds<br />
value you need a strong understanding of who you’re talking to. Really knowing your target audience<br />
is the only way to make an impact.<br />
Jristian Limsico, Art Director, Tommy Hilfiger<br />
A. People are interested in transparency, quality and an emotional connection. If a designer can<br />
provide all those things via content development, they will do well. It is a little bit of a stretch to say that<br />
content will add real value to someone's life. However, sometimes simply providing the basic product<br />
information a consumer needs can help provide that value by saving time and fulfilling expectations.<br />
Jennifer Roebuck, Director of eCom & Digital Marketing – Frenchconnection.com<br />
A. Good quality content needs to be ‘real’ You shouldn’t be afraid to look at your own consumption<br />
patterns – what interests you? Is the content you are producing something that you find exciting?<br />
Would your friends and your family find it exciting? Not enough marketers use their own gut to<br />
evaluate their work.<br />
Shannon Edwards, Director, ShopStyle, Europe<br />
A. Keep the customer at the core of your thinking, what is it they would like to see. <strong>The</strong>y may not<br />
know it yet. Be careful of listening to customers who don’t know what they can’t see coming. You will<br />
have to be very thorough about articulating what it is you are doing.<br />
Julia Reynolds, CEO, Figleaves.com
Q. What marketing techniques would you recommend for a designer<br />
trying to launch a brand?<br />
A. Aside from the traditional Ecommerce marketing channels ( search, affiliate marketing, social<br />
media and email ) development of video content and interactive experiences are the most compelling<br />
things you can do within the digital space. Mobile is also gaining momentum.<br />
Jennifer Roebuck, Director of eCom & Digital Marketing – Frenchconnection.com<br />
Q. It seems logical to focus on marketing activities that can be<br />
measured, but this is easier said than done. What can designers do to<br />
ensure that their marketing efforts are as productive as possible?<br />
A. Have a consistent message, keep it simple and know who and where you want to be. If you stay<br />
focused on where you want your message to be and what you have to do to get it there, you will not<br />
end up chasing many different communication channels that may not be right for your brand or<br />
offering. Measurement is important and you should try to understand how you are going to learn from<br />
your efforts before you start.<br />
Jennifer Roebuck, Director of eCom & Digital Marketing – Frenchconnection.com<br />
A. A good Finance Director will not let you spend money unless you can calculate a return on<br />
investment. This is good business practice but, can stifle creativity. Balance off what you can make a<br />
return on, leaving some budget up your sleeve to focus on what you really think will make a difference.<br />
Do not spread it wide and shallow. Often the simplest things are the best.<br />
Julia Reynolds, CEO, Figleaves.com<br />
Link crushes:<br />
www.sethgodin.typepad.com/seths_blog - Seth riffs on marketing, respect and the ways ideas spread.<br />
www.rocketwatcher.com - A marketing blog that provides practical advice and tools for product marketers.<br />
www.fashionablymarketing.me - Brilliant blog about retail and digital media.
Chapter 5<br />
P.R
PR<br />
Q. ‘PR’ is a massive force within the fashion industry but what exactly<br />
is ‘PR’ and how can it be beneficial to new designers?<br />
A. PR can mean public relations, press relations…and it seems as though it’s constantly changing.<br />
In the briefest of terms, it is getting a brand out there and recognised by target press, and therefore<br />
the brand’s target consumer base. It is third party, unpaid (non-advertisement) endorsement, which is<br />
very powerful. It is securing editorial coverage in relevant magazines, newspapers and supplements,<br />
television, radio, digital magazines, blogs and partnering with celebrities in a mutual relationship.<br />
New designers are in a fortunate position where they can spearhead their own PR campaigns by<br />
harnessing social media and even writing their own blogs.<br />
Courtney Blackman, Owner/MD – Forward PR<br />
Q. What should a PR plan include?<br />
A. A PR plan should include program goals, followed by measurable objectives and strategies that<br />
when implemented, will meet those goals and objectives. Within each strategy, clearly defined action<br />
steps, in the form of tactics and tasks, provide the blueprint for execution. Benchmarking current<br />
numbers and tracking growth is another key component.<br />
For a designer to manage these activities herself, it’s important to drill the PR plan down to daily action<br />
items. This might include setting aside two hours each day to send out pitches to media, connect with<br />
followers on Twitter and respond to email.<br />
Crosby Noricks, Founder & Editor, PR Couture<br />
Q. How can a designer develop a ‘PR friendly’ brand that the press will<br />
want to talk about?<br />
A. <strong>The</strong> first step is that the branding needs to be strong and memorable and the PR campaign needs<br />
to be well thought out. It should be easy to draft a PR strategy based on timings outlined in the<br />
business plan. Launching a new collection each season is an accomplishment indeed, but it’s not<br />
news. Is there a unique story as to how the label came to being? Has the designer’s brand been worn<br />
by a celebrity? Has a well-known store just taken the brand on? Is the designer collaborating with<br />
another designer, illustrator or store? Has the designer won an award? Is the brand launching an<br />
accessories line…and to iterate, a brand doesn’t want to announce all news at once. It should be<br />
spaced out accordingly, so that the media are constantly being fed information and being reacquainted<br />
with the brand.<br />
Courtney Blackman, Owner/MD – Forward PR
Q. What is the best way for a designer to contact the media to<br />
introduce their brand?<br />
A. I would look at all the PR agencies out there and find one that you feel your brand identifies with<br />
and work with them as they will have access to all the most important people you need to get your<br />
brand information to. <strong>The</strong>y are also good at creating a buzz about your brand before it is made public.<br />
I think doing a little press launch is good too, a themed location/room that enhances your brand’s<br />
identity with the product clearly displayed and well edited, and also very important to have the launch<br />
in a central location so that it is easily accessible.<br />
Miranda Almond, <strong>Fashion</strong> Editor, Vogue<br />
Q. How can a designer nurture a good relationship with the press?<br />
A. A young designer should be as accommodating and open as possible with the press. It also helps<br />
to keep the press focus on the brand instead of on you as a designer.<br />
Jennifer Roebuck, Director of eCom & Digital Marketing – Frenchconnection.com<br />
A. A designer needs to learn which media suits their brand, focus on that media, meet the key<br />
contacts, foster and maintain the relationship and keep them perpetually informed on what’s<br />
happening with the brand. Journalists rely on information for content and are always keen to have<br />
exclusivity on a story.<br />
Courtney Blackman, Owner/MD – Forward PR<br />
Q. Where can you find information on fashion PR and how it works?<br />
A. Experiencing fashion PR firsthand is the best way to grasp and comprehend how it works. Of<br />
course there are books on fashion PR, websites dedicated to it and university courses, but doing work<br />
experience or an internship in fashion PR is the most invaluable method to garner information and<br />
really understand how it works.<br />
Courtney Blackman, Owner/MD – Forward PR<br />
A. I would recommend a morning cocktail of PR Couture, Mashable, <strong>Fashion</strong>ista, <strong>The</strong> Business of<br />
<strong>Fashion</strong>, Signature9, WWD, and <strong>Fashion</strong>ably Marketing. Setting up a Google alert for “<strong>Fashion</strong> PR”<br />
is another smart move.<br />
Crosby Noricks, Founder & Editor, PR Couture
Q. Not all ‘Look Books’ are created equal – what advice can you give for<br />
creating the ‘perfect’ book that gets the attention it deserves?<br />
A. Look books must above all reflect the brand’s DNA, so that their look and feel can proudly<br />
represent the company. I like polished, sleek and simple look books that enhance the products rather<br />
than demonstrate too much work or technique and give too much information. Look books must make<br />
people dream and want to find out more about the collections and not feed them with too much<br />
impersonal information.<br />
Pascal Nuzzo, Head of Design Leather Goods and Accessories – Temperley<br />
A. A look book is not about the brand or the designer; it is all about the target audience. Pin-pointing<br />
what will appeal to your target customer and this should set the tone. Compliment this with good<br />
photography and inspirational imagery and finish by presenting the product in a clear and<br />
concise manner.<br />
Louise Shill, Senior Footwear <strong>Designer</strong> - Shoe Geek<br />
A. A look book should be well planned - and it should be consistent, with a strong theme. That being<br />
said, it is important that the clothes don't get lost, and that they remain the focus of the picture.<br />
<strong>The</strong> book should also focus on the strongest looks - quality over quantity.<br />
Saloni Sethi, <strong>Designer</strong>/Design Director, Independent, High-end luxury<br />
Q. How do you produce a press kit that will really stand out and what<br />
should it include?<br />
A. You should firstly concentrate on producing a set of pictures that clearly illustrate your designs.<br />
Choose a good photographer, well respected stylist, hair and make-up and model who will together as<br />
a team help to bring something to the photos and create something that is cool, directional,<br />
eye catching, unfussy and appealing. It is worth spending time and money on this as you really want<br />
to make a lasting first impression and something that will catch editors attention.<br />
<strong>The</strong>re are so many press releases sent out every day and you really want to produce something that<br />
will stand out from the crowd. As well as the photos the design and layout should be clear to read, with<br />
cool graphics, clean and easy to read. You don’t need paragraphs of text as the photos should speak<br />
the loudest message.<br />
Miranda Almond, <strong>Fashion</strong> Editor, Vogue<br />
A. A strong press kit comes from having a strong look book and a strong vision. It’s best to avoid<br />
anything too gimmicky in your press kit - just keep it classic with some information about the brand,<br />
a look book, business card, and any previous press exposure.<br />
Saloni Sethi, <strong>Designer</strong>/Design Director, Independent, High-end luxury
A. <strong>The</strong> traditional folder press kit is tired. Create a virtual press kit with all the standard information<br />
(press release, bios, fact sheet, stockists, look book), but go a step further with video interviews, a fun<br />
atmospheric fashion video, and ensure that your photography and /or look book can be easily shared<br />
through to social channels. Provide logos and images at both low and hi-res. If you do want to send<br />
something out, consider a creative presentation and always ask an editor first if she is open to<br />
receiving a kit.<br />
Crosby Noricks, Founder & Editor, PR Couture<br />
A. Have a complete story. It sounds simple but start from scratch and always answer the basic who,<br />
what, why where and when questions that any journalist will ask. If you have this information and you<br />
make it sexy by adding a sprinkle of human interest there or a genuine drop of insight here into who is<br />
behind the brand, you’re on to a winner. What makes your brand interesting? If you can’t answer that<br />
you’re in the wrong game.<br />
People love a bit of provenance, nostalgia – find out the heritage and story behind your product and<br />
tell that story. Finally make sure your branding is cohesive, never be over familiar or too bossy on the<br />
phone and don’t be sloppy. Look out for grammatical errors in emails, always have contact details on<br />
the end of press releases and never forget to pay attention to a journalist’s deadline. Get the basics<br />
right and the rest will follow.<br />
Laura Weir, <strong>Fashion</strong> Editor, Drapers<br />
A. A press kit is a designer’s tool kit and it is formulaic, but it’s in a designer’s best interest to make it<br />
stand out. A designer needs a great team to help produce the kit (photographer, stylist, model, hair<br />
and makeup artists, graphic designer, printer, copywriter) and it should include a look book, press<br />
release, designer biography and who to contact for imagery or samples. Following that, a designer<br />
should have exceptional imagery. Imagery is what conveys your brand before a buyer or editor has<br />
had a chance to see it. It is beneficial to have both modelled images and cut-outs (product shots) in<br />
high and low-resolution formats and they should be digitally labelled accordingly with brand name,<br />
garment name or style number and colour.<br />
Courtney Blackman, Owner/MD – Forward PR<br />
Q. How do you go about writing a press release that grabs attention and<br />
what information should be included?<br />
A. A catchy title and information-packed first paragraph are key, but the press release itself cannot be<br />
the firecracker that dazzles the media. Instead, paste your press release at the bottom of an email and<br />
consider it more like a resource document, rather than the pitch itself. Be sure to include contact<br />
information as well as the basic who, what, when, where and how. A range of pricing is helpful as well.<br />
Crosby Noricks, Founder & Editor, PR Couture
Q. What is the best way to submit a product sample to a publication and<br />
who is responsible for returning it to the designer?<br />
A. <strong>The</strong> best way is to send it to the publication in mind in the brand’s own packaging so it is easily<br />
identifiable, wrapped up well in tissue paper with clear documentation. This shows you care about the<br />
product so the publication will too. <strong>The</strong> publication is responsible for returning the product and it should<br />
come back in the same manner as you sent it.<br />
Miranda Almond, <strong>Fashion</strong> Editor, Vogue<br />
Q. How do you create a media database and what is the best way to<br />
introduce yourself or your brand?<br />
A. One of the key benefits to working directly with a PR agency or publicist is access to their media<br />
contacts. A PR’s media contacts and relationships are the lifeblood of their success and you are<br />
paying, in part, for those relationships. However, there are several paid services that provide lists of<br />
media that can be helpful. <strong>The</strong> DIY route is a combination of sleuthing, calling up and asking, and<br />
working through the contact links of blogs to create your own list.<br />
Again, a PR agency can really assist with the proper strategy with various media (they aren’t all the<br />
same!), but generally speaking, a simple email that is short and to the point works best. Demonstrate<br />
quickly and clearly why your line is fit for the publication, provide links for more information and ask to<br />
be considered for any upcoming stories.<br />
Crosby Noricks, Founder & Editor, PR Couture<br />
Q. What are the benefits of hiring a PR company and what can designers<br />
do to get the most out of this relationship?<br />
A. A good fashion PR agency is proactively seeking out opportunities for you and your brand and<br />
making things happen. PR agencies can assist with brand development, photography, web presence,<br />
media relations, event management and strategic planning. Like any professional relationship, a<br />
relationship with a PR agency works best when there is mutual respect and communication.<br />
You can help your agency be more successful by moving quickly on media opportunities, providing<br />
them the assets they need and implementing their recommendations. Be sure to require tracking<br />
reports and don’t be afraid to interview multiple agencies (and their current and past clients) until you<br />
find the right fit.<br />
Crosby Noricks, Founder & Editor, PR Couture
Q. <strong>Designer</strong>s can be victims of their own success so how do you avoid<br />
over-exposure or negative PR?<br />
A. Luckily the fashion industry is not riddled with massive quantities of negative PR, but it can<br />
happen. It’s up to the individual designer and situation. Sometimes it will be best to counteract it;<br />
sometimes it will be best to do nothing. It really depends. As for over-exposure, which can lead to<br />
overselling, it’s important to say no every now and then. <strong>Designer</strong>s should not loan their samples out<br />
or give access to imagery to every magazine editor or stylist who requests. A designer needs to stay<br />
on track and on-brand, only working with the outlets that will most benefit the brand.<br />
Courtney Blackman, Owner/MD – Forward PR<br />
Q. How can social media be used to strengthen a PR campaign?<br />
A. Social media is a great way to extend your PR campaign. Promoting recent press coverage<br />
through social channels is key. Information and content from your social media community can also be<br />
used in your PR outreach as testimonials, or as crowd-sourced outfit shots of customers wearing your<br />
designs.<br />
Crosby Noricks, Founder & Editor, PR Couture<br />
Q. If there were one piece of advice that you would give to a new<br />
designer what would it be?<br />
A. Have an extremely clear vision of the kind of woman/man you want to appeal to/dress. Be sure of<br />
your product 100% as this will translate to the product once it hits the public. Research, research,<br />
research, mood boards and a wide range of influences are extremely important to know you have got<br />
it right.<br />
Miranda Almond, <strong>Fashion</strong> Editor, Vogue<br />
Link crushes:<br />
www.thelookbook.com - <strong>The</strong> Definitive Directory for the <strong>Fashion</strong> Industry.<br />
www.prcouture.com - A good place to find out about fashion PR, fashion publicity and fashion PR agencies.
Chapter 6<br />
Managing Money
Managing Money<br />
Q. What is the most effective way to set up your business in order to<br />
maximise profits and facilitate growth?<br />
A. Do your research - is there demand for your product /service?<br />
Grow slowly. One of the biggest reasons businesses fails is money!<br />
Where possible, outsource; until you are sure it will be more cost effective to hire staff.<br />
Never compete on price- someone will always undercut you. Find a niche, and stick to it!<br />
Domenica di Lieto, Commercial Director/owner – ShineMarketing.com<br />
A. We work with clients who only sell on line. We work with other clients who only have a bricks and<br />
mortar retail presence. However most of our clients make the majority of their sales through<br />
wholesale. I suggest you start by selling to your friends and family. <strong>The</strong>y will be your sternest critics<br />
and your best advocates. Make sure you ask them to fill out a wearer trial assessment so you can get<br />
their feedback on your product for you to improve it when you take it to market.<br />
In terms of overheads you should avoid spending money unless you really have to. Most start-ups can<br />
get services and goods for free. For example GBBO and Google offer free website design and hosting.<br />
Use your network from college or previous jobs to try and persuade photographers, models, pattern<br />
cutters and machinists to help for free. It’s surprising what people are happy to do to help. Also before<br />
spending money ask yourself “is this going to improve my business?” if the answer isn’t a resounding<br />
yes then try and avoid spending the money.<br />
Finally – make sure you have enough money in the bank to pay the rent and all living expenses for at<br />
least a year. This is an expensive industry to start in and you won’t be able to draw a salary for at least<br />
a year.<br />
Russell Hammond, <strong>Fashion</strong> & Luxury Management Consultant, Scaphannetwork.com<br />
Q. What are the most important things to consider when creating<br />
a budget?<br />
A. <strong>The</strong> main thing is that however much you think it will cost… its much much more than that, and it<br />
will take a couple of years (at least!) to get established enough to start selling to the right amount of<br />
stores that the business might pay for itself. I don’t have enough time to give a breakdown of all the<br />
things that cost money, but (for example) just the shipping costs for me sending samples to photo<br />
shoot’s and buyers this last month was into the thousands (but it is a busy period and they were<br />
important shoots, usually having to send next day to the US)<br />
Jonathan Morss, <strong>Designer</strong>/Owner - Morsfootwear.com<br />
Mark’s note: Creating a budget in Excel is probably one of the best ways to manage your sales and other<br />
important informaiton about your business. See Lynda.com for brilliant easy to follow tutorials if you’re not<br />
too familiar with Excel: http://www.lynda.com/Excel-2010-tutorials/essential-training/61219-2.html
Q. Balancing the books is an area many creative people seem to<br />
struggle with – what advice can you offer?<br />
A. • Having your finances in order is vital. Invest in software like Sage or QuickBooks so you<br />
can extract information easily and you can address problems head on.<br />
• When possible, outsource your bookkeeping so you can concentrate on what you are good<br />
at. Make sure your bookkeeper gives you a monthly P and L and an up to date debtor and<br />
creditor ledger.<br />
• Chase your bills! Make sure you keep on top of bills owed to you. Those who shout loudest<br />
get paid!<br />
• Keep on top of bills especially to Inland Revenue. Bills, if left to pile up, become<br />
unmanageable. If you can’t pay some bills negotiate a payment plan rather than ignore<br />
the letters!<br />
• When budgeting sales and cash flow, be conservative. Things never go according to plan.<br />
• Always have a contingency budget set by for when things happen that are beyond<br />
yourcontrol.<br />
• Review and amend your budgets regularly.<br />
• Do a monthly P and L to see if you are on track. Do you need more sales or do you<br />
need to cut costs?<br />
Domenica di Lieto, Commercial Director/owner – ShineMarketing.com<br />
A. In terms of creating budgets, the first rule is expect to spend more than you budget and sell less<br />
than you budget. That way you’ll always be pleasantly surprised. Also consider the budget when<br />
deciding which new direction to take your business. It may be a great idea to expand the line to<br />
include another product category, but your existing sales need to support the additional development<br />
costs you will have until the new category becomes successful.<br />
Russell Hammond, <strong>Fashion</strong> & Luxury Management Consultant, Scaphannetwork.com<br />
Q. A lack of cash and planning can kill a business dead in its tracks, so<br />
how do you make sure you get paid on time?<br />
A. Most designers aren’t trained in finance or management. Unfortunately they believe that the<br />
money will work itself out and want nothing to do with budgets and cash-flow. If you want to be a<br />
successful independent designer you will need to be CFO (finance), CEO (management), CIO (IT),<br />
COO (operations) and CMO (marketing) all as well as Creative Director rolled into one! If any of these<br />
areas are neglected, you are less likely to succeed.<br />
Everyone is paid late. It’s what you do to avoid it and how you cope with it when it happens that makes<br />
you successful. You should certainly demand deposits (at least 20%) from all your clients. If they don’t<br />
want to pay you a deposit then you should ask yourself if you can afford to buy the stock yourself. If...
Continued...<br />
you can’t then you should turn down the order regardless of who it’s for. You should also try to get<br />
payment in advance for the balance, but that is much harder.<br />
I would certainly insist on PIA from countries outside Western Europe and US. Also Italians will expect<br />
to get 90-day terms regardless of the terms you agree. Unless you can afford these terms then put<br />
your sales efforts into another market.<br />
Russell Hammond, <strong>Fashion</strong> & Luxury Management Consultant, Scaphannetwork.com<br />
A. • Always get your paperwork in order. When embarking on work get a signed document<br />
before starting work.<br />
• Clearly list the payment terms - preferably taking a deposit.<br />
• Always send bills as soon as work is completed – do not wait until month end.<br />
• Call up and confirm that the bill has been received.<br />
• Chase late payment as soon as the bill is due.<br />
• Have watertight Ts and Cs concerning payment.<br />
Domenica di Lieto, Commercial Director/owner – ShineMarketing.com<br />
I think a lot of pestering normally gets people to pay up and it’s best to try every avenue before<br />
resorting to debt collection agencies or court. <strong>The</strong>re’s a lot of help out there if you need to take things<br />
to the next level, even if the shop is abroad. Jonathan Morss, <strong>Designer</strong>/Owner - Morsfootwear.com<br />
Q. What is the best accounting software for a small business?<br />
A. I love Sage and it’s one of the best investments I made when I started up the business. I also use<br />
software called CreditPal which extracts my Sage data and gives me reports so I can track my<br />
business performance. Domenica di Lieto, Commercial Director/owner – ShineMarketing.com<br />
Q. What are the biggest mistakes to avoid when trying to manage<br />
your cash-flow?<br />
A. • Don’t assume everyone will pay you on time - take into account how long it may take you to<br />
get paid – be realistic with your estimates.<br />
• Always take a deposit before starting on work or you will run out of cash very quickly.<br />
• When putting sales into your cash flow bear in mind that not all the sales will convert - so<br />
be conservative! It’s better to have more cash in the bank than you predicted!<br />
• Look out for seasonal trends and factor in quiet months ensuring you have a buffer to carry<br />
you through.<br />
• Make friends with your bank manager - when times get tough you will need him/her!<br />
Domenica di Lieto, Commercial Director/owner – ShineMarketing.com<br />
Mark’s note: Visit Apples new App store for their Mac computers: http://goo.gl/tnD47 - <strong>The</strong>y have some<br />
great free financial Apps for you to check out. You’ll need the latest software update to run it: http://support.apple.com/kb/dl1363
Chapter 7<br />
Employment
Work Experience<br />
Q. With such fierce competition out there, what can you do to increase<br />
your chances of gaining work experience?<br />
A. I believe there are two main things that can make sure you get noticed, first is having an<br />
outstanding portfolio with strong and creative projects, second is having a positive attitude, companies<br />
are interested in good professionals but also in designers with strong personalities. If you are able to<br />
combine these two elements you will get noticed for sure.<br />
Ana Borges, Footwear <strong>Designer</strong> - Jaeger London<br />
Q. What would you say were the big do’s and don’ts when trying to find<br />
work experience?<br />
A. In my opinion, the single most essential element when seeking for your first position in the industry<br />
is work experience. When I was at university, I did a three-week work placement with a couple of<br />
footwear brands. One of which ended up offering me a full-time job once I had graduated.<br />
Other important things to get right are:<br />
• Your portfolio, this is your chance to make a great first impression, make sure it is fantastic,<br />
get this right and you’re more likely to get through the front door;<br />
• Showing enthusiasm, be willing to start at the bottom, I’ve encountered too many graduates<br />
who don’t want to put in the hard graft and think they have made it just because they have a<br />
job – this is when the hard work begins<br />
• Don’t be afraid to express your true opinion, after all this is what a potential employer is<br />
looking for, although always have a reason for your opinion – “I do/don’t like it” should never<br />
be an answer, “I do/don’t like because…”.<br />
Louise Shill, Senior Footwear <strong>Designer</strong> - Shoe Geek<br />
Mark’s note: Check out some useful tips for creating a good portfolio (not fashion specific):<br />
http://www.coroflot.com/public/help_portfolio_tips.asp
Freelance<br />
Q. Freelancing can be extremely rewarding but it’s not for everyone,<br />
what advice can you give to those who may want to pursue this path?<br />
A. Remember your worth. <strong>The</strong> problem I find is that it feels as though you may be overcharging for<br />
your time, but you need to balance your salary. When freelancing, there'll inevitably be very productive<br />
and high-earning periods. Those amazing times when you're making lots of money and enjoying a<br />
healthy bank balance. But before you go out and splash the cash, be aware that the good times might<br />
not last because every freelancer is constantly on a roller coaster cycle of ups and downs.<br />
<strong>The</strong>re will be quiet months and there will be months when you're working all hours of every day. Just<br />
remember that any money you earn one month, might not be the same the next. So get used to saving<br />
for a rainy day and be prepared for the worst at all times. Also always remember, you’re only as good<br />
as your last work, so make it good!<br />
Jili Alen, Creative <strong>Designer</strong> - MJM Int./Owner of Jili Allen Ltd<br />
A. Freelance design work is very rewarding, in my opinion. You have flexible hours and you can have<br />
a variety of projects which is great. But you need to be aware that there are times when you won't<br />
have work or struggle to get projects. Be prepared for this and build up contacts and a strong portfolio.<br />
Nicole Le Grange, Creative Director - Love Art Wear Art<br />
For freelance designers, I’d just like to reiterate this advice I gave someone in an email going on<br />
seven years ago! (From Jessica Good, <strong>Designer</strong>, shoedesign.co.uk)<br />
You will get people who won't or can't pay, it is a fact of life and you just have to deal with it. If you<br />
have savings to fall back on, you will have a better chance of success. It was a whole five months<br />
before I got any work and got paid for it. Even once you have clients, you will need savings to fall back<br />
on as it can take a long time to get invoices paid! Some clients now work on 60 day terms - that’s 60<br />
days before you get your invoice paid! In any case always ask for a deposit of at least a days work,<br />
that tends to weed out the potential non payers.<br />
If you are working from home, don't scrimp on your work equipment - do your research to get the best<br />
price you can. Make sure it is properly insured - household insurance does not cover equipment used<br />
for work. I ended up with RSI last xmas, I didn't consider how my workstation should be set up. If you<br />
work in an office, health and safety takes care of ergonomics, when you work for yourself you have to<br />
look after your own health. At the same time, don’t go crazy buying the fanciest things – now I<br />
understand why my boss was always complaining about the amount of stationery we got through<br />
– it affects your bottom line!
Get a reliable ISP with no downtime - the last thing you want when you are trying to email work off at 3<br />
am is a broadband service that is not working! You might find you have to pay a bit more to be safe but<br />
it's worth it. Also bare in mind that server downtime can affect your Google rankings – if a bot goes to<br />
find your site and it’s down, it counts against you.<br />
Save all your receipts - bare in mind in your first year of business you get 100% tax back on any<br />
computer equipment you buy.<br />
Get a proper email address for your website - gmail, hotmail or yahoo etc. can look amateurish. You<br />
can use gmail in private of course, most of us do, but you need an email address to front the business.<br />
Also bear in mind what you name this address. Hotchix@gmail.com is not going to cut it in the<br />
business world.<br />
Don't expect to get rich quick - we are still nowhere near earning what we used to earn as full timers,<br />
three years on, but we are a zillion percent happier and because we are at home all day, we don't<br />
waste money on travel, bags of crisps, cans of drink and all those little things you spend on when you<br />
work in an office.<br />
You will have to be very disciplined with money - it's tempting to piss your first invoice up the wall, but<br />
if you don't know when your next job is coming, it's better to play safe. We no longer get cabs, we<br />
don't go out so much, we cut down on takeaways and we don't eat out.<br />
Much of the money we earn we plough back into the business - it can be costly because you have to<br />
keep up with technology.<br />
One of the other big shockers is the banks - they don't like the self employed very much - despite us<br />
having savings and owing no one a cent, they won't lend to us as they consider us too high a risk. If<br />
you want to buy a property in the future, you are looking at 3 years accounts all showing year on year<br />
growth and a huge deposit. If you want to borrow money, you might have more chance if you ask a<br />
sympathetic (and loaded) friend or relative!<br />
As for accounts - you only need a business bank account if you are a limited company - we just run<br />
two regular current accounts, we use one for business and one for personal. I also set up an internet<br />
savings account which has no penalty for regular withdrawals - arrange for your invoices to be paid<br />
directly into it and your money earns you interest immediately. We pay ourselves a monthly 'salary' out<br />
of this, into our current account. Again this requires a lot of discipline.<br />
Even if you aren't busy - you should always give the impression that you are - clients want to hire<br />
successful people. Desperation is very off-putting to them. <strong>The</strong>re are ways of marketing yourself<br />
without putting this across. Most important thing is to never ever go asking for work, if people want you<br />
to work for them, then they will ask you.<br />
Finally read this. http://www.shouldiworkforfree.com/ ;-)
Working for a company<br />
Q. What type of mentality or work ethic does one need in order to<br />
succeed in your type of job?<br />
A. In high-fashion you will need to be prepared to sacrifice everything for a job you really want. <strong>The</strong><br />
people who succeed are those who put everything else second. You can get your life back later on<br />
when you have reached a certain level and experience. But in the beginning you need luck, hard work<br />
and the right attitude.<br />
Magnus Gjoen, <strong>Designer</strong>/Product developer - Vivienne Westwood<br />
Q. In your opinion, what would be the ideal type of company for a new<br />
designer to work for and why?<br />
A. <strong>The</strong>re isn’t one, it depends what the new designer wants to do. So many different market sectors,<br />
but I would say if you wish to freelance, don’t limit yourself, try working at as many different<br />
businesses that service different types of consumer as you can. <strong>The</strong> variety will benefit you. It is easier<br />
to get work if you don’t limit yourself.<br />
Jessica Good, <strong>Designer</strong>, shoedesign.co.uk<br />
A. I don’t believe there is a best career path as I think that some of the most successful and<br />
interesting designers that are out there don’t come from ‘traditional’ backgrounds. I think that these<br />
things can’t be planned and as long as you have a passion and make the time to hone the basic skills,<br />
you may develop something genius that hasn’t even been entertained before because of strict<br />
educational rule points.<br />
However, if you have the creative spark, you need to also have the business head; there are some<br />
fantastic books out there but in all honestly, if it all seems a bit much, I would highly recommend a<br />
business partner. My partner James deals with the finances, etc as these such elements of a fashion<br />
label are too important to risk getting wrong.<br />
Jili Alen, Creative <strong>Designer</strong> - MJM Int./Owner of Jili Allen Ltd<br />
A. In my career, I have worked for large and small companies and both have their advantages and<br />
disadvantages. <strong>The</strong> advantage of working for large company is that they tend to invest more in<br />
technology and into you, offer training, sending you on development and research trips. I’ve probably<br />
gained most of my knowledge from companies such as these, however you tend to be a small fish in a<br />
big pond with lots of corporate hoops to jump through and politics to deal with.
Continued...<br />
This being said, there’s nothing quite like working for a smaller company to gain experience of many<br />
roles, being able get on with a job and knowing everyone well, small companies tends to feel more like<br />
you are all on the same side working towards the same goal.<br />
Louise Shill, Senior Footwear <strong>Designer</strong> - Shoe Geek<br />
A. To me the ideal company for a designer is a company that can understand the importance of<br />
design and creativity and that can afford the appropriate support to the design team in the research,<br />
design and development process.<br />
Pascal Nuzzo, Head of Design Leather Goods and Accessories - Temperley<br />
Q. What are the pros and cons of working for someone else before<br />
setting up your own business?<br />
A. 100% pros: you can see how an organisation works, how it lives, breathes and ultimately becomes<br />
viable. It also gives you the opportunity to have a mentor by just asking advice and questions<br />
regarding business the whole way through; you should never be afraid to ask questions, even to the<br />
accountancy department! It also allows you to make some money while you work on your collection<br />
and business plan; cementing in your head if this is really what you want to do.<br />
If you have any aspiration for your business to grow, you need to know how to deal, respect and work<br />
with others – experience is the only way this can be learnt. It also allows you take a back seat a little<br />
and observe others management skills – what would you do better? How? Many great designers have<br />
also only been noticed through working for others, you may not want to give your ideas up, but if you<br />
feel you may dry up – it’s not the business for you! Opportunities come through connections and<br />
situations and being in employment makes these a little easier to wedge your foot in the door.<br />
Jili Alen, Creative <strong>Designer</strong> - MJM Int./Owner of Jili Allen Ltd<br />
A. Pros: You can gain some great experience working for someone else. Often in a larger company<br />
you have the opportunity to hone specific skills without all the distractions that come with running your<br />
own business. Working for someone else is also a great way meet, work with and learn from people in<br />
the industry.<br />
Cons: You might get trapped in the comfort of a steady salary and an easy job. Chances are if you are<br />
passionate about doing your own thing, working for someone else for too long will frustrate you rather<br />
than comfort you.<br />
Nicole Le Grange, Creative Director - Love Art Wear Art
Q. How do you manage to stay focused when you have deadlines to<br />
meet and things aren’t going according to plan?<br />
A. Prioritize, prioritize, prioritize...make a to do list and just get it done. Check each task off as you<br />
finish it. Meeting deadlines is important and will set you apart from your coworkers. Even though we<br />
are designing shoes and not saving lives it's still such a fast paced industry that we are always under<br />
pressure to have everything done asap! It's the way the fashion industry is run and it's just something<br />
you should accept when you're getting into it but also know that stressing will not help you. Stay<br />
focused and you should be able to meet any deadline, even if sometimes it means working over time.<br />
Jelena Djukic, Senior <strong>Designer</strong> - Nine West<br />
A. Just stay calm. <strong>Designer</strong>s tend to over stress a bit and get caught up in all the chaos and pressure<br />
around them. Step back, sit down, have a cup of tea and just focus on what you are supposed to do.<br />
Don't let group chaos drag you in.<br />
Nicole Le Grange, Creative Director - Love Art Wear Art<br />
Q. Despite all the ups and downs, I’m sure you love what you do, so can<br />
you tell me what’s the most rewarding part of your job?<br />
A. I love drawing - I get to do this almost daily. I love creating something new and beautiful - I try to<br />
do this to the best of my ability. I love traveling - I have done loads of this through the job. All in all I am<br />
very lucky to do a job I really love.<br />
Nicole Le Grange, Creative Director - Love Art Wear Art<br />
Link crushes:<br />
www.fashioncareersclinic.com - Great support and career advice for new designers.<br />
www.fashionmag.com - Jobs for fashion, luxury and beauty professionals.
Chapter 8<br />
Launching your<br />
own label
Launching your own label<br />
Q. Setting up a business can be risky at the best of times so what<br />
common mistakes should designers try to avoid?<br />
A. - Do not: think you are amazing because your parents and your tutor said so, it’s the wider world<br />
that counts.<br />
- Do not: use the first company that replies (supply/manufacturing, etc) always follow the 3-quote<br />
rule and you shouldn’t trip up.<br />
- Do not: rush or let your first design prototypes ‘just do’; they need to be perfect.<br />
Jili Alen, Creative <strong>Designer</strong> - MJM Int./Owner of Jili Allen Ltd<br />
A. Most things take twice as long as you estimate and cost twice as much as you think<br />
(if you are lucky). Nicole Le Grange, Creative Director - Love Art Wear Art<br />
A. Producing a product that you want to design but no one wants to buy will see your business fail.<br />
If it’s too expensive (or too cheap) for the market you’re in, if it’s outdated or too early for the market.<br />
Jonathan Morss, <strong>Designer</strong>/Owner - Morsfootwear.com<br />
Q. What advice would you give to new designers who plan to launch<br />
their own business?<br />
A. Study for the relevant qualifications then work in industry as an employee for a minimum of five<br />
years first. You need to develop the following skills:<br />
- You have to have strong drawing skills; you need to be able to draw in proportion and often to be<br />
able to do this quick and in front of a client.<br />
- You have to be very adaptable – clients change their minds a lot!<br />
- You have to have stamina – you may have to fly to China, start work soon as you step off the plane<br />
and work non-stop til you come home. At busy times I work over 100 hours a week!<br />
- You have to be able to take criticism – some clients can be very harsh.<br />
- You have to have an eye for fashion and colour.<br />
- You have to be organised – there is lots of planning involved.<br />
Jessica Good, <strong>Designer</strong>, shoedesign.co.uk<br />
A. Go to trade shows, go to stores, read magazines, check out the internet and get as much<br />
knowledge on the industry and how it works before you start spending money on your own brand.<br />
Jonathan Morss, <strong>Designer</strong>/Owner - Morsfootwear.com
Continued: Q: Q. What advice would you give to new designers who plan to launch...?<br />
A. Gain experience and learn as much as you can about the industry, design and manufacturing.<br />
It’s a big and expensive step to launch a label so it helps to have as much skills and knowledge as<br />
possible. Learn as much as you can from successful people and companies. Build up as many<br />
contacts as possible. When setting out on your own, you're going to need a whole network of people<br />
and a few favours along the way.<br />
Nicole Le Grange, Creative Director - Love Art Wear Art<br />
A. Use every public service available to you; any mentoring programs, any business support, for<br />
example we have ‘business gateway’ in Scotland, and also the Princes Trust is a valuable source of<br />
information and guidance. If you really want to go for it anyway, you need hard cash, test and<br />
research thoroughly, and have existing contacts within the industry to ask advice from; be aware<br />
though, there are a lot of designers out there not willing to share contacts, they have worked hard to<br />
get there and feel everyone else should too, others are a lot lovelier – just got to pick right.☺<br />
Jili Alen, Creative <strong>Designer</strong> - MJM Int./Owner of Jili Allen Ltd<br />
Q. Despite all the ups and downs, I’m sure you love what you do<br />
- can you tell me what’s the most rewarding part of your job?<br />
A. It’s pretty simple and it’s been the same ever since I started working as a designer 11 years ago,<br />
it’s the moment when the piece you’re working on clicks into place. I could have been staring at my<br />
screen for ages thinking a design was never going to work and then finally it does and I feel like I’ve<br />
solved a puzzle. It’s really rewarding and satisfying. And the team I work with here at my-wardrobe are<br />
all really lovely people so that’s pretty rewarding too – it’s nice to be able to spend your day with<br />
people that you like and who make you laugh.<br />
Ruth Cozens, Art Director - my-wardrobe.com<br />
Q. Being your own boss may seem like a dream job but the reality is<br />
often stressful and lonely, what should a designer consider before<br />
choosing this path?<br />
A. I think they should first consider that most of your work isn’t design if you run your own brand.<br />
Most of your time is taken up with sales, marketing, development, delivery and admin. You get to<br />
design a lot more if you work for someone else, but you don’t have complete creative control.<br />
You also need the mental strength to carry on for a long time without too much success. Nothing<br />
happens overnight and it’s not easy.<br />
Jonathan Morss, <strong>Designer</strong>/Owner - Morsfootwear.com<br />
Link crushes:<br />
www.businesslink.gov.uk - Self-help portal of action-focused information for SME’s.<br />
www.smarta.com - Business support and advice for start-ups, small business owners and entrepreneurs.<br />
www.businessballs.com - Free online education for ethical work, business, careers and life learning.
Chapter 9<br />
Finding the<br />
right investor
Finding the right investor<br />
Q. Investors are constantly being approached with ‘great’ ideas and<br />
business proposals but what can you do to ensure that your business<br />
is the one to catch their eye?<br />
A. Make money and have consistent growth. <strong>The</strong>se are the major two factors any investor would look<br />
for as a minimum. We find investment for brands but unfortunately most of our clients aren’t investor<br />
ready. Usually we need to work with them for a couple of seasons to get them to a point where an<br />
investor would be interested. <strong>The</strong>re are resources like the CFE and Bright Ideas Trust who invest in<br />
start-ups but the selection process is arduous. <strong>The</strong> bank of Mum and Dad is far more likely to give you<br />
the seed capital you need to start up (typically between £75-150,000).<br />
Russell Hammond, <strong>Fashion</strong> & Luxury Management Consultant, Scaphannetwork.com<br />
A. I think investors want to see the numbers mainly so they know they will get a return, but also a<br />
track record. So it’s best if you have experience in the industry or some customers already when you<br />
go to them. Jonathan Morss, <strong>Designer</strong>/Owner - Morsfootwear.com<br />
Q. Business plans tend to be ‘one-size-fits-all’ but is it worth producing<br />
different versions depending on the intended audience, i.e. Investor,<br />
bank, personal?<br />
A. Firstly all fashion brands should have a business plan. If you don’t know where you want to go,<br />
you will never get there. You’re right that a business plan fulfils different requirements. I would say you<br />
need one business plan - but with conservative growth figures (for the bank) and ambitious growth<br />
figures (for your capacity planning). <strong>The</strong>n you won’t waste time updating several documents. <strong>The</strong>re<br />
are several resources on line for free to help you write a business plan.<br />
Russell Hammond, <strong>Fashion</strong> & Luxury Management Consultant, Scaphannetwork.com<br />
Q. Other than finance, what additional skills should the ideal investor<br />
bring to the table?<br />
A. Ensure the investors’ interests are aligned with yours. It must be a relationship where everyone<br />
wins if your business grows. Also make sure you have an advisor working for you. When we look for<br />
investors for brands we only get paid by the brand. <strong>The</strong>refore we can work truly in the interests of our<br />
client. However other brokers aren’t so scrupulous. So ensure everyone in the chain is working to get<br />
you the best deal possible. Also examine other deals the investor has done. What has happened to<br />
companies they have invested in? Think about why the investor is interested in you. If their price is<br />
much higher than their competitors then there is usually a catch – there’s no such thing as a free<br />
lunch. Also if you have one investor interested, then try and find another to play them off against each<br />
other. That way you will drive the price up and generate interest in the brand.<br />
Russell Hammond, <strong>Fashion</strong> & Luxury Management Consultant, Scaphannetwork.com<br />
Mark’s note: NatWest have a really cool app that allows you to create a business plan with ease -<br />
check out: http://goo.gl/gA9vD. Also check out: http://goo.gl/MdPFU and http://goo.gl/HYBXT for loads<br />
more business templates.
Chapter 10<br />
Selling
Selling<br />
Q. <strong>The</strong>re have never been so many sales channels available - what do<br />
you think is the best route to market for a designer and why?<br />
A. I don’t know, each channel has its fors and against. <strong>The</strong>re is no easy answer. <strong>The</strong> key for me is to<br />
look at the costs, do a simple P&L if the numbers do not add up then it is not workable and often scale<br />
is the key. Julia Reynolds, CEO, Figleaves.com<br />
Q. Wholesale seems to be the most tried and tested route to market for<br />
many designers but what are the pros and cons?<br />
A. Pros are:<br />
- Established stores can sell more than you ever can, and market your product for you<br />
at the same time.<br />
- People need to see your product up close before they buy it.<br />
- Good stores give your brand credibility and help other buyers to feel confident<br />
you can deliver.<br />
Cons:<br />
- If you sell to a larger store then they are very strict on deliveries, you need to know their<br />
system, use the right carrier and get your factory up to speed.<br />
- Get a decent contract as a big order returned or refused can bankrupt you.<br />
Jonathan Morss, <strong>Designer</strong>/Owner - Morsfootwear.com<br />
Q. How do you find a suitable wholesaler and what is the best way to<br />
approach them?<br />
A. I sell direct to stores myself mostly. I meet the buyers at trade shows or set up a meeting when<br />
they are in London. In a couple of countries I now have agents to sell for me, it’s the first season so I’ll<br />
see what happens with that.<br />
Jonathan Morss, <strong>Designer</strong>/Owner - Morsfootwear.com<br />
Q. Sales should be at the heart of any business so what advice can you<br />
give with regards to setting realistic and manageable targets?<br />
A. You should aim to at least double your turnover each season for the first two years. If you only<br />
have a wholesale business then expect to have at least 50 stockists by year 3. Don’t be reluctant to<br />
give 12-15% commission to agents. If they bring business in then they are cheaper than full time...
Continued...<br />
employees. If they don’t achieve their targets then you don’t need to pay them. Ensure the agent has<br />
specific agreed targets but also ensure you give them no excuses by delivering their samples and<br />
selling tools on time.<br />
Russell Hammond, <strong>Fashion</strong> & Luxury Management Consultant, Scaphannetwork.com<br />
Q. ‘Sales’ is an area where many designers often fall short, how can you<br />
set realistic price points and still maximize profits?<br />
A. Most designers double the cost to achieve the wholesale price. Whilst this is a good benchmark it<br />
isn’t the best way of pricing the line. You need to know who your adjacencies or competitors are and<br />
how much they retail their equivalent item for. <strong>The</strong> retail price target should be just under theirs. If that<br />
means you make little or no margin, then go back to your supply base and ask them for prices based<br />
on 100 units. If you still make no money then you need to look at the product and try to reduce the<br />
cost but not the value. You also need to make sure your price points make sense relative to each<br />
other. For example, a jacket should never cost less than a pair of trousers in the same fabric.<br />
Russell Hammond, <strong>Fashion</strong> & Luxury Management Consultant, Scaphannetwork.com<br />
Q. What is the best way to get a store to stock your collection and what<br />
happens if it doesn’t sell as well as expected?<br />
A. Buyers receive several emails a day introducing new brands so you need to ensure you have a<br />
point of difference. Product visuals, pricing, press coverage and current distribution/adjacencies are<br />
imperative. An initial call to introduce yourself and your product is usually the best first point of contact,<br />
followed by a detailed informative email with an invitation to view the collection. Always make sure you<br />
visit and research the store before you approach them to ensure your product is suitable and to<br />
suggest where you would pitch and place your product.<br />
Be professional, polite, respectful and tenacious in your dealings with buyers. Assume they will say<br />
yes until they say no. Also work on the assumption that only 1 in 10 people you email will ever agree<br />
to see you. <strong>The</strong>n only 1 in 10 people who see you will actually write an order that season. <strong>The</strong>refore I<br />
always suggest to my clients to have a prospect list of around 500 stockists. Although this seems large<br />
in fact it only accounts on average for 5 new stores each season. In terms of sell thru once it’s in the<br />
store then you need to get sales figures. Most stores can give you figures by style. Anything under<br />
40% is a problem.<br />
Find out why they think certain lines don’t sell and try and correct these issues next season if<br />
appropriate. You should consider stock swaps or sale or return if you can afford it. Anything to help the<br />
store sell your product – otherwise they won’t come back next season. Most importantly though don’t<br />
let performance in certain stores de-motivate you or cause you to modify your look too much. If you<br />
can go to the store, see how they have displayed it and who you are next to. All these are sales<br />
factors as well as the price/product/fit/brand formula.<br />
Russell Hammond, <strong>Fashion</strong> & Luxury Management Consultant, Scaphannetwork.com
Q. What are the most important things for designers to consider when<br />
approaching the luxury market?<br />
A. Selling direct – particularly with a bricks and mortar retail store – can give you an opportunity to<br />
create a brand experience for the consumer? <strong>The</strong> reason margins are so high in retail is partly due to<br />
the risk of buying stock that may never sell but mainly due to the high overheads and staffing costs<br />
associated with a store. <strong>The</strong> really successful designer boutiques create a world that the consumer<br />
cannot experience anywhere apart from that space. If you create a generic store and hope the product<br />
will sell itself you will probably lose a lot of money. Ecommerce is far less of an investment but just as<br />
complex. You still need to gamble on the stock but you have to spend at least £20,000 on a<br />
transactional website before you consider search engine optimisation. This is why most brands start<br />
out wholesaling their product and only attempt selling direct when their brand has a sufficient following<br />
to warrant the investment.<br />
Russell Hammond, <strong>Fashion</strong> & Luxury Management Consultant, Scaphannetwork.com<br />
A. Think, Also, Beyond Your Creation - A person’s sense of time, and its relation to one’s sensitivity to<br />
sensual experience, are critical to their appreciation of luxury. <strong>The</strong>refore, luxury marketers should<br />
focus on three initiatives:<br />
1. <strong>The</strong>ir stores or website layouts and product displays – just like their creations, must be designed to<br />
slow the perception of time, to increase a customer’s intensity and persistence of focus, and to excite<br />
the imagination.<br />
2. Product presentations should be as artfully rendered as are the luxury items produced by luxury<br />
artisans. This entails “conversational abilities” on the part of salespeople to co-author a narrative that<br />
intertwines the product story with the customer’s story so the two become metaphorically merged.<br />
This, of course, is harder to do on-line than in-store, but still can be supported by expert design of the<br />
digital space.<br />
3. Presently, a great deal of attention is being paid to in-store and website design that enables the<br />
consumer to experience the particular luxury brand represented. This marketing goal is slightly<br />
misplaced. <strong>The</strong> big payoff comes not when the brand and its referents are the end-point, but when the<br />
offering is perceived as a venue for a person’s own sense of self-expansion. <strong>The</strong> luxury product is but<br />
a means to an end. When the luxury consumers’ shopping experience is as luxurious as the product<br />
itself, the brand is enhanced, the probability of sale heightened, and an increase in the number of<br />
items a consumer purchases per visit is maximized.<br />
Dr. Bob Deutsch, Cognitive Anthropologist – Branding & Marketing Expert
Q. How would you describe the mindset of the luxury consumer and what<br />
is the most effective way to engage them?<br />
A. <strong>The</strong> luxury consumer wants to buy into a brand and lifestyle - their shopping experience must<br />
reflect in both the service they are given as well as the product. Companies must engage them on all<br />
levels through service, visuals and luxury high quality product.<br />
Katie Wade, buyer womenswear, House of Fraser<br />
A. <strong>The</strong>re are several types of luxury consumer. From the fashionista who wants to be the first to<br />
discover the new Westwood or Temperley. <strong>The</strong>y will pay, but the product must be right and the story<br />
needs to be good. To the working professional who wants a modern take on heritage and a product<br />
with provenance. <strong>The</strong>y will only pay for excellent craftsmanship and true beauty. Whoever you appeal<br />
to the most important thing is to know and understand your consumer. Where do they shop, what do<br />
they currently wear, what values are important to them. <strong>The</strong>n you need to ensure you design, market,<br />
distribute and price with them in mind.<br />
Russell Hammond, <strong>Fashion</strong> & Luxury Management Consultant, Scaphannetwork.com<br />
A. Luxury is not only indexed by price point. People value an experience that takes them just beyond<br />
their present selves. Real luxury is not just for display or comfort, but is something that enables one to<br />
elaborate what is latent in them that has not, up until this point, been made manifest. Luxury and<br />
value, like clothing, must be made to be worn – worn to extend and adorn the self.<br />
Luxury and value are more about the experience than simply the product – an experience that makes<br />
you feel more authentic, that makes you feel you are an artisan of self, with time to sense and express<br />
your personal individuality. Luxury might best be defined as an investment in self. That’s meaningful<br />
consumption that holds value.<br />
Dr. Bob Deutsch, Cognitive Anthropologist – Branding & Marketing Expert<br />
A buyers perspective<br />
...with Katie Wade, Womenswear Buyer - House of Fraser<br />
Q. How do you decide what products to purchase and what can<br />
designers do to make their offering more attractive?<br />
A. I know the products that work for our customer so base my decisions on a mixture of sales history<br />
and gut feeling. <strong>Designer</strong>s can make their offering more attractive through marketing and making sure<br />
they have the right pieces and seasonal must haves for our customers.
Q. What is the most effective way for a designer to introduce themselves<br />
to a store in order to get them to stock their collection?<br />
A. Make sure your product and brand concept is what is missing from the brand mix already in store!<br />
Understanding the department and current brand mix is essential. In today's society celebrity<br />
endorsement, marketing and press coverage boosts sales, however nothing beats great quality<br />
product, a strong brand image and tip top logistics!<br />
Q. How can designers work with stores to help them promote<br />
their brand?<br />
A. Support is vital - some stores offer advertising space in store or through their store publications<br />
which is worth the investment. Ensuring shop fits and boutiques are maintained through visual<br />
merchandising is a must also.<br />
Q. Returned orders and cancellations are inevitable but what can be<br />
done to reduce this?<br />
A. Ensuring deliveries are prompt and fulfilled should reduce cancellations. Reducing returns on<br />
orders can be helped by monitoring in season sales- sales incentives.<br />
Q. What should a designer do if they are not able to meet a deadline for<br />
the delivery of stock and what are the consequences?<br />
A. Notify the client as soon as possible and let them know when they can next expect the stock.<br />
Buyers and merchandisers will usually request a discount as they will lose selling time on a product or<br />
may have bought certain styles to arrive in store for a certain time or event for example Christmas<br />
party styles won't sell if they arrive mid December!<br />
Link crushes:<br />
www.retailminded.com - Professional blog that support retailers, wholesalers, boutiques, independents.<br />
www.youngentrepreneur.com - Online forum offering advice to entrepreneurs worldwide.<br />
www.internetretailing.net - Internet Retailing analysis, insight and stimulus for multichannel retailers.<br />
Mark’s note: www.fashionbuyeruk.blogspot.com/ - A a great blog if you want to gain a better insight in<br />
to the world of buying and merchandising.
Chapter 11<br />
Growing your<br />
Business
Growing your business<br />
Q. Increased sales normally require a larger team to fulfill these orders -<br />
how can you ensure that your staff share the same passion for<br />
your business?<br />
A. Firstly, I would only employ someone who I could see shared my passion, integrity and vision for<br />
my business. Having a clear brand mission and vision helps bring the team together and ensure<br />
you’re all aiming for the same goal. It stops being a matter of taste or personal preference and starts<br />
being something you can measure things by. I firmly believe that if you keep your staff and<br />
environment happy then you have nothing to worry about. Coming to work in a design environment<br />
should be an enjoyable experience, it is not like we work in IT!<br />
Louise Shill, Senior Footwear <strong>Designer</strong> - Shoe Geek<br />
A. Certainly not only by the amount of hours they spend in the office. I'd rather pay attention to their<br />
motivation and involvement when it comes to helping the business grow or resolve eventual problems.<br />
Maxence Dinant, Senior Menswear <strong>Designer</strong> – High-end luxury<br />
A. This is something you need to figure out when you are hiring people. I think most of the time, you'll<br />
have a gut feeling about someone and whether they are going to be with you or whether they aren't<br />
coming from the same place as you are. It’s important to listen to your instincts on this one. Also, the<br />
more involved your employees feel in the success/failure of your business, the more motivated they<br />
will be to create something great.<br />
Saloni Sethi, <strong>Designer</strong>/Design Director, Independent, High-end luxury<br />
Q. Expanding your collection and branching out in to new markets is a<br />
natural progression for many designers but how can you reduce the<br />
risk without stifling your creativity?<br />
A. Don’t make the mistake of expanding too quickly and ensure you have the right factory base for<br />
the product. I’ve witnessed for myself how experienced big corporations can fall into this trap. Ensure<br />
that any new products or markets fit into your overall vision for your brand and your target market,<br />
don’t enter these just because they make money, in the long term you just dilute your brand.<br />
Louise Shill, Senior Footwear <strong>Designer</strong> - Shoe Geek<br />
A. Part of what you do has to be commercial and sometimes it's the small details or logo added to<br />
something basic which sells the best. One can't always be super-creative, leave this for your main<br />
collection and make the sacrifices with lesser important things. You do need the revenues from<br />
such things.<br />
Magnus Gjoen, <strong>Designer</strong>/Product developer - Vivienne Westwood
Continued: Q. Expanding your collection and branching out in to new markets is a natural...?<br />
I think that to you should always focus on maintaining a strong unique identity, no matter how much<br />
your collections and business grow. Focus on what your customers know and trust you for and what<br />
they expect from you.<br />
Maxence Dinant, Senior Menswear <strong>Designer</strong> – High-end luxury<br />
Q. What is the one piece of advice that you would give to new designers<br />
who are thinking about starting a business?<br />
A. Speak to people. Ask questions. Tell people about what you are doing. Conversations open up<br />
relationships. It’s amazing to see the ripple effect you get when you just talk. I was given this advice<br />
but it is taking me some time to really make it part of my day-to-day way.<br />
Nicole Le Grange, Creative Director - Love Art Wear Art<br />
A. Do not get started until you're sure you have something meaningful to say<br />
Maxence Dinant, Senior Menswear <strong>Designer</strong> – High-end luxury<br />
A. To me the greatest guarantee of success is not to be afraid of failing. Some great designers met<br />
their expectations and are incredibly successful. Some others, probably as great as the first category,<br />
may have failed at some point in their career, but kept the momentum and creativity to come back and<br />
be successful again. I think it is important to keep faith and believe in your vision of how to design<br />
great products, as there are no rules and there are so many different interpretations.<br />
Failure and misunderstanding from others can happen and it is not the end of your world, it has<br />
happened and will surely happen again even to the greatest designers. And there are so many<br />
designers who are not after celebrity or personal success but who live in the shadow of renowned<br />
people and still make this industry so attractive and make all these beautiful products come true.<br />
Most of us are more likely to be these anonymous designers but it comes as a reward when we put so<br />
much effort, passion and hard work in the products that people love.<br />
So my piece of advice would be to believe in your strengths, your interpretation of what a great design<br />
is, your creativity, your design process and techniques etc. and to learn from the greatest designers<br />
you may be lucky enough to be in contact with or work closely with.<br />
Pascal Nuzzo, Head of Design Leather Goods and Accessories - Temperley<br />
A. I would think the best thing to be aware of is that no one gets it perfect the first time; starting a<br />
business is always a learning process.<br />
Saloni Sethi, <strong>Designer</strong>/Design Director, Independent, High-end luxury<br />
A. I did not set up the business, but was brought in to make it into a profitable, well run operation that<br />
had its products and the customer at the centre of its focus. Look after your cash, most businesses fail<br />
because of lack of cash, burning it too quickly and running out, or not having enough to grow.<br />
Cash is king. Julia Reynolds, CEO, Figleaves.com
Chapter 12<br />
Ecommerce
Ecommerce<br />
Q. What is the first thing you need to do if you want to get a fully<br />
transactional website made?<br />
A. Understand what you are selling as this will have an impact on all your other decisions:<br />
- Product Pricing, what payment system will you use.<br />
- What market it is aimed at?<br />
- Number of different products you want to sell<br />
- Categories and attributes associated with the product<br />
- Does your agency/developer understand the technology behind it?<br />
- How much does it cost?<br />
Benjamin Johnson: Web developer - Aardvark Media Ltd<br />
Q. Is it a viable option to build your own transactional website using an<br />
out-of-the-box package, if so which one would you recommend?<br />
A. That depends on your technical skills but something like shopify ( http://www.shopify.com/ ) may<br />
let you do this. I am not experienced enough in different ecommerce systems to give a truly useful<br />
option here however.<br />
Benjamin Johnson: Web developer - Aardvark Media Ltd<br />
Q. What is the most important thing to consider when deciding on the<br />
layout and overall theme of your website?<br />
A. Definitely ease of use. In retail you have to make the path to purchase as simple, intuitive and<br />
pleasurable as possible for the customer.<br />
Ruth Cozens, Art Director - my-wardrobe.com<br />
A. To me the most important thing is to understand what you are selling and whom you are selling it<br />
to. Know this and the rest will follow:<br />
- You can look at your competitors in this area and see what designs they are using.<br />
- What kind of technical knowledge do your users have?<br />
- Are you selling a very visual product liking clothing or jewellery?<br />
Benjamin Johnson: Web developer - Aardvark Media Ltd
Q. What can be done to ensure that customers who visit your site have<br />
an experience that’s worth talking about?<br />
A. Always think about it from the customers’ point of view, do not look at it from the view that you<br />
have to have all the gadgets and gizmos. Customers are there to buy a product and want the easiest<br />
and quickest way to do that, they want you to make it easy for them. Think about the end to end<br />
operation and process your USP’s and the costs. You will have the edge if your customer service is tip<br />
top, but think about all parts of the customer service. <strong>The</strong> sale, the delivery experience and the after<br />
care service.<br />
Julia Reynolds, CEO - Figleaves.com<br />
Q. Beyond the flashy designs and colourful photography, good quality<br />
content is still the number one commodity - what is the best way to<br />
strike a balance between these various elements?<br />
A. This is always difficult. <strong>The</strong> web is a brands largest billboard so it is important to provide a<br />
compelling brand experience while keeping things simple so your loyal customers do not have to jump<br />
through hoops to access the information or product they are interested in. <strong>The</strong> numbers speak for<br />
themselves, you have to look at what your website visitors are interacting with and guide your<br />
development and design towards their interests to some degree - it is important to try new things as<br />
well. It is not always the flashy content that consumers are interested in.<br />
Jennifer Roebuck, Dir of eCom & Digital Marketing - Frenchconnection.com<br />
A. Never let flashiness get in the way of true usability. People don’t want to be overwhelmed with<br />
whiz-bang sites that they can’t truly enjoy. I’d say again, this is a great area where using one’s gut is key.<br />
Shannon Edwards, Director, ShopStyle - Europe<br />
A. It all starts with and hangs on the message you’re trying to convey. Sometimes for us the most<br />
important part of that is an inspiring photograph, other times it might be some insightful writing – you<br />
work out what the most impactful part is and then everything else sits back a little and let’s it do its<br />
work.<br />
Ruth Cozens, Art Director - my-wardrobe.com
Q. What is ‘Search Engine Optimisation’ or ‘SEO’ and how can this be<br />
used to improve a websites rankings with search engines like Google?<br />
A. SEO is making websites more accessible to search engines with the goal of making your site be<br />
displayed in a more prominent position when a potential customer searches for something relevant to<br />
your site.<br />
It breaks down into:<br />
1. Considering how your pages will appear in search engines on the site itself. Ideally as part of the<br />
build process or failing this, modifications to an existing site.<br />
2. On-going content creation and link building.<br />
By considering various known ranking factors (A famous one is Googles original PageRank algorithm)<br />
you can attempt to adapt your website to perform better the algorithms the search engines use (In the<br />
case of PageRank this used to be get lots of links to your site).<br />
Benjamin Johnson: Web developer - Aardvark Media Ltd<br />
What are website ‘analytics’ and how can they be used to increase traffic<br />
and sales?<br />
A. Analytics are tracking metrics that relate to the people visiting your site. Things like how long<br />
someone stays on a particular page down to how many people bought your product and how much<br />
they spent are all analytics that can be measured.<br />
Analytics can be applied to make improvements to the way your site performs once a potential<br />
customer is on the site itself. You can see pages that are under performing, make changes and judge<br />
the results.<br />
Benjamin Johnson: Web developer - Aardvark Media Ltd<br />
What is a ‘marketing persona’ and what is it used for?<br />
A. A persona is a description of a person we invent for the purposes of evaluating a website. Usually<br />
with a brief description of Sex, Age, Job, Income and then try to look at the website as they would see<br />
it. <strong>The</strong>y can be useful to get you to think about it from the customers perspective rather than building a<br />
website you would like to use.<br />
Benjamin Johnson, Web developer - Aardvark Media Ltd
Q. Are there any other tips or advice that you can give to someone who<br />
is thinking about trading online?<br />
A. Think about the customer experience, the best way to get the attributes of the product across to<br />
the customer so that they can make a considered choice. Make sure all the information is there and it<br />
is an easy user experience. Avoid jargon that makes sense only to you. Make sure that you are true to<br />
your brand values and make sure that this carries through at every level.<br />
Julia Reynolds, CEO - Figleaves.com<br />
Link crushes:<br />
www.thewebdesignblog.co.uk - Web design tutorials, articles, freebies, downloads, reviews and interviews.<br />
www.freewebstore.org - Create your own free ecommerce web store.<br />
www.ecommerce-templates.volusion.co.uk - Professionally designed ecommerce templates.<br />
www.order.1and1.co.uk - Hosting package, Domains and Web space & more features.<br />
www.software.toptenreviews.com - Great site for comparing software to help you build your business.<br />
www.seomoz.org - One of the most popular SEO software providers.<br />
www.uxbooth.com/blog - Articles and resources on usability, user experience and interaction design.<br />
www.useit.com - Research findings from many usability studies - one of the most popular sites on the subject!
Chapter 13<br />
Social Media
Social Media<br />
Q. What makes social media such a valuable medium for new business<br />
owners in particular?<br />
A. Social media has ‘democratised’ marketing. No longer do you need big agencies, large budgets<br />
and a known brand. You just need to be smart, clear and creative. This isn’t a substitute for having a<br />
compelling product or service; but it has been a great leveler of the playing field. Because even big<br />
brands that have employed big budgets and big minds to ‘crack the code’ of social media have failed<br />
where savvier and smaller brands have succeeded with more authenticity.<br />
Shannon Edwards, Director, ShopStyle, Europe<br />
A. It is just one level - but traditional forms of communication still need to be utilised in tandem I feel.<br />
It is very cost effective to use them though and if you are forward thinking in your approach you can<br />
engage brilliantly with your target audience.<br />
Guy Hipwell, Founding Editor/Creative Director - <strong>Fashion</strong>156.com<br />
Q. Given the fact that most people view social media as a form of<br />
entertainment (i.e. Facebook, twitter, etc.) how can brands engage<br />
with consumers without being intrusive?<br />
A. Focus on developing relevant, high quality content and do not push it on people. Social Media<br />
communications can feel like spam if you constantly push your messaging on people who have<br />
expressed interested in your brand.<br />
Jennifer Roebuck, Director of eCom & Digital Marketing – Frenchconnection.com<br />
A. Brands need to find a natural and compelling way to fit into the dialogue going on via social media.<br />
This is why discounts and deals work well. As a consumer I’m looking for a brand to give me access to<br />
something that’s being talked about – e.g., the hottest, most talked about - here’s where you can find<br />
it. <strong>The</strong> flip side of this is that an awkward or irrelevant mention can feel like an intrusion (have you<br />
seen some of the Facebook ads?)<br />
Shannon Edwards, Director, ShopStyle, Europe<br />
Mark’s note: Very insightful review of how luxury brands are embracing the digital arena. This review is<br />
dated 2009 but it’s still a good read. http://luxurylab.org/wp-content/uploads/2009/10/Digital-IQ-<br />
Index_2009_hyperlinks4.pdf
Q. What is the most effective way to monitor what people are saying<br />
about your company online and how can this be used to your benefit?<br />
A. We use various social media tools and PR monitoring tools to keep track of customer opinions and<br />
press within the blog community and online media publications. We use that information to make<br />
changes to our products or service levels where possible.<br />
Jennifer Roebuck, Director of eCom & Digital Marketing – Frenchconnection.com<br />
Q. With social media and ecommerce merging closer together what can<br />
companies do to take advantage of this?<br />
A. It’s important to remember that social media is just another channel and a means to an end. It’s<br />
fresh, new and exciting, but it should still be looked at as part of a more holistic campaign. Companies<br />
still need to do the hard work to identify what their audience wants, needs and how they interact with<br />
their friends, colleagues and the larger world around them; especially when it comes to commerce.<br />
Because the more seamlessly and authentically ecommerce is integrated into their everyday lives,<br />
the more they’ll embrace it.<br />
Shannon Edwards, Director, ShopStyle, Europe<br />
Q. What is the difference between a ‘social network’ and a ‘tribe’ and why<br />
is this important?<br />
A. Tribes Are More Potent Than Networks.<br />
Social networks are free-forming, require no organization or face-to-face mediation. Social networks<br />
allow for the expression of current mindsets, but are not good at conversion or moving that mindset<br />
toward action. Marketers who can better understand the formation of tribes - more than networks - will<br />
gain a larger return on investment.<br />
<strong>The</strong>re are five requirements for tribal formation:<br />
1. Possession of a Unique Revelation - An ideology that in some way rejects the mainstream and is<br />
symbolic of an uncompromising idealism and certainty that is expressed with romantic passion and<br />
cold logic.<br />
2. A Belief System - A mythology about how the world works and how tribe members, and the tribe,<br />
can maximize “self” in relation to that world.<br />
3. Ritual - <strong>The</strong> creation of recurrent, exaggerated or stylized behavioral routines that represent the<br />
tribe’s belief system; this helps establish institutional memory.
Continued...<br />
4. A Distinctive Lexicon - A characteristic lingo and a set of emblems to display membership.<br />
5. In-group/Out-group accentuation - A pseudo-speciation that defines tribal boundaries. <strong>The</strong> “Other” is<br />
not like me. Having satisfied these requirements, the motivation for membership is: I am becoming<br />
myself.<br />
Belonging gives you a sense of power to overcome and to expand yourself. As a member of a tribe,<br />
people feel safer and more empowered. Tribal membership aids in the belief that the world is a<br />
manageable place and that one’s future is assured. If designers-as-marketers are mindful of the fact<br />
that brands should have a mission that arouses peoples’ tribal fervor, their brands will gain higher<br />
repeat purchases, greater loyalty, and stronger brand advocacy.<br />
Dr. Bob Deutsch, Cognitive Anthropologist – Branding & Marketing Expert<br />
Link crushes:<br />
www.mashable.com - Social Media news blog covering cool new websites and social networks.<br />
www.scottmonty.com - <strong>The</strong> intersection of advertising, marketing and PR at <strong>The</strong> Social Media Marketing.<br />
www.bigmouthmedia.com - A blog about the wird and wonderful world of social media.<br />
Mark’s note: If you’d like to learn more about ‘Tribes’ and how they operate check out Dr. Bobs interview<br />
with fashionscollective.com http://goo.gl/RVONK. You can also download Seth Godin’s fee ebook which<br />
explores the issue further: http://sethgodin.typepad.com/seths_blog/2008/10/free-tribes-ebo.html
Chapter 14<br />
Blogging
Blogging<br />
Q. Bloggers are quickly becoming a strong force within the fashion<br />
industry but is this just a passing phase or will their<br />
popularity increase?<br />
A. I'm in two minds about bloggers and their position within the fashion industry as, from the various<br />
fashion weeks I've attended and the numerous PR and marketing people I've spoken to, I see a<br />
near-future 'fracturing'. <strong>The</strong>ir popularity came about as a result of their reach, their popularity rose<br />
when there was only a handful of bloggers; there was a novelty factor (buzz, which the fashion<br />
industry loves) combined with fewer bloggers reaching a large market segment. Now the number has<br />
multiplied but the market reach hasn't grown at the same rate, inversely the buzz factor has decreased<br />
as now everyone is a blogger.<br />
At the same time there's a perception in the industry that bloggers are too demanding given the<br />
perceived value the majority of them return. Thus it becomes necessary for the industry to segment<br />
the bloggers, and come to an understanding of who has impact and who doesn't. If this doesn't<br />
happen soon the conversations I've had indicate that parts of the industry will soon write off bloggers<br />
as a whole. Inversely, other parts of the industry, particularly emerging labels, are intrinsically aware of<br />
what impact the right blogger can have; they still need to reach the right ones and shan't be giving up<br />
anytime soon as a result. Change is in the air.<br />
Daniel P Dykes, Editor-in-Chief/Chairman - <strong>Fashion</strong>ising.com<br />
A. Bloggers bring a different perspective to the table. Initially they were like reporters - not bias and<br />
would present to the public an honest and personal perspective of whatever it was they blogged<br />
about. Blogging was about not being obligated to cater to advertiser but we know how all things<br />
eventually change. Nonetheless, blogging still speaks to a select audience. <strong>The</strong> fashion industry sees<br />
that they can market their product to an already distinct population.<br />
Karl-Edwin Guerre, Blogger/Photographer - Guerreisms.com<br />
A. Personally I believe the moment is passing - we are seeing a bit of a backlash with blogging.<br />
<strong>The</strong>re are a handful of great ones still - but many are becoming too commercialised having sold out to<br />
advertisers and brands. Of course they need to make money, but also need to remember what made<br />
them attractive in the first place was their unique voice.<br />
Guy Hipwell, Founding Editor/Creative Director - <strong>Fashion</strong>156.com<br />
Link crushes:<br />
www.tumblr.com - A feature rich and free social blog hosting platform.<br />
www.blogspot.com - Free weblog publishing tool from Google, for sharing text, photos and video.
Q. Bloggers tend to blog about things that genuinely interest them so<br />
what’s the best way for a designer to get their attention?<br />
A. Bloggers are never short of content; ‘<strong>Fashion</strong>ising.com’ can receive anywhere up to 100 pitches<br />
per day across all our writers, yet we tend to publish no more than 8 features (the majority of which<br />
never come about as the result of obvious PR pitches). Standing out in that is not easy. <strong>The</strong> best way<br />
to do it? Ensure you're relevant to their message (nothing is more frustrating then a pitch that's not<br />
even close to what you write about), craft your message to each blogger (mass mail is nothing more<br />
then spam), and be willing to reward. Grease the wheel. Invite them to events. Send them a sample.<br />
Make them feel special.<br />
But above all else: make it easy. I can't tell you the amount of pitches that are so poorly put together,<br />
with such poor resources available, that to do anything as a blogger you'd have to jump through<br />
hoops. It then becomes a question of time, and everyone feels themselves to be time poor.<br />
Daniel P Dykes, Editor-in-Chief/Chairman - <strong>Fashion</strong>ising.com<br />
A. Unique content gets their interest. We feature lots of new emerging brands in our shoots and often<br />
have interesting new designers guest posting on the <strong>Fashion</strong>156 Daily Blog.<br />
Guy Hipwell, Founding Editor/Creative Director - <strong>Fashion</strong>156.com<br />
A. <strong>The</strong>re's a blog for everything. A company needs to find out what blogs cater to their buyers then<br />
move towards establishing a relationship. In my case, if the product represents a lifestyle I'm open to<br />
learning more about the company. Ultimately it's about a company understanding that to be featured<br />
on just any blog doesn't give them maximum exposure... it's about finding the right fit, the right<br />
relationship.<br />
Karl-Edwin Guerre, Blogger/Photographer - Guerreisms.com<br />
Q. How can a designer best utilise their own company blog in order to<br />
engage consumers and add something unique to their brand<br />
experience?<br />
A. First off I think too many companies start their own blogs when they are better off partnering up<br />
with an established blogger. Some bloggers are seasoned and know how to maximize every post.<br />
I believe that blogs are an extension of lifestyle. A company needs to have the blog be an extension of<br />
the lifestyle they're promoting.<br />
Karl-Edwin Guerre, Blogger/Photographer - Guerreisms.com<br />
A. It just needs to be authentic and genuine. If you are just trying to push merchandise then<br />
consumers see straight through it. Go behind the scenes; let the site visitor in to really see the brands<br />
DNA. Interest them and they will be back.<br />
Guy Hipwell, Founding Editor/Creative Director - <strong>Fashion</strong>156.com
Continued...Q. How can a designer best utilise their own company blog in order to engage...?<br />
A. <strong>Designer</strong>s should be using their own blogs to tell their unique story. If it's a lifestyle brand then<br />
content should be relevant to giving insight, as well as inspiring and benefiting that lifestyle (a luggage<br />
label could blog about the world's destinations for instance). If a designer is doing something high-end<br />
whose value is in the craft, then blog about that craft, tell the story of the brilliance in the object's<br />
making, where things are sourced, the name of the person who stitches it or shapes it. Make the<br />
design come to life.<br />
Daniel P Dykes, Editor-in-Chief/Chairman - <strong>Fashion</strong>ising.com<br />
Q. How important is it to increase the number of subscribers to your blog<br />
or should your focus be elsewhere?<br />
A. A blogger, whether they're a designer, an enthusiast or a professional, should always concentrate<br />
on content first and subscribers second. It's easy to get a subscriber through average content but that<br />
subscriber will soon become interested in something else. Concentrate instead on the right message<br />
in your content and you'll have fewer subscribers in the short term, but each will be passionate about<br />
you and what you do. Better to have fewer, passionate subscribers for a long period of time than a lot<br />
who appreciate your work for no more than a few days.<br />
Daniel P Dykes, Editor-in-Chief/Chairman - <strong>Fashion</strong>ising.com<br />
A. Content is the number one priority - as soon as the quality drops so will your traffic. Subscribers<br />
are important as long as you are regularly updating your site and have quality at the forefront.<br />
Guy Hipwell, Founding Editor/Creative Director - <strong>Fashion</strong>156.com<br />
Q. What advantage does a blogging platform have over a traditional<br />
website and how can this be used to its full potential?<br />
A. Blogs are by their nature less formal and a great way to really "talk" with your audience - tell them<br />
what is new, what is happening and why things are occurring. Invite them in to leave comments and<br />
establish a two-way conversation. Many traditional websites now have a blogging component - but it is<br />
reaching saturation point and sometimes the more formal website?<br />
Guy Hipwell, Founding Editor/Creative Director - <strong>Fashion</strong>156.com<br />
A. Blogging is fresher. It allows you to constantly add content without having to involve multiple<br />
people. It's a daily feed and the constant ("right") updates keep viewers coming back.<br />
Karl-Edwin Guerre, Blogger/Photographer - Guerreisms.com<br />
A. That's a loaded question. Today's content engines (the code that drives any blog) allows for so<br />
much customization that a blogging platform can generate a site that looks every bit as 'traditional' as<br />
any other website. <strong>The</strong> real advantage for anyone in the business isn't from having a blogging<br />
platform, but having one that is wholly suited to the long term ambitions of any website.<br />
Daniel P Dykes, Editor-in-Chief/Chairman - <strong>Fashion</strong>ising.com
Q. What common traits have you noticed among the designers who<br />
stand out from the crowd and go on to be successful?<br />
A. Lifestyle. People who sell product don't last. Those who sell a lifestyle become staples.<br />
Karl-Edwin Guerre, Blogger/Photographer - Guerreisms.com<br />
A. <strong>The</strong> ability to design in-line with where their intended market is and, more importantly, where it is<br />
going. Take the military trend, great designers such as Burberry's Christopher Bailey have moved on<br />
from it at the same time as their customers have. Good or 'okay' designers are still working with it,<br />
failing to notice the wider social change.<br />
Daniel P Dykes, Editor-in-Chief/Chairman - <strong>Fashion</strong>ising.com<br />
To make it you need to be really talented with great innovative ideas, BUT as importantly the business<br />
aspect needs to be 100% in place too. Without stockists no business can survive long term however<br />
great the designs. All the brands that are doing well at the moment are focused, committed and<br />
prepared to sacrifice nearly everything to succeed.<br />
Guy Hipwell, Founding Editor/Creative Director - <strong>Fashion</strong>156.com<br />
Q. What tips and advice can you give with regards to setting up and<br />
maintaining a fashion blog?<br />
A. From day one plan what your content is going to be about, whether that means it's a scrapbook or<br />
a personal exploration of your own sartorial tastes. Also ensure that you have the right platform: if you<br />
intend to be serious about it that means having your own domain name and hosting, if you intend to<br />
pursue it as a hobby that means hosting it on Tumblr. As for maintaining it: find a frequency to your<br />
posts (once a day, once a week, etc...) that you're comfortable with, and stick with it - your audience<br />
will expect that.<br />
Daniel P Dykes, Editor-in-Chief/Chairman - <strong>Fashion</strong>ising.com<br />
A. You need to be creating fresh content and uploading regularly. Focus and try to offer something a<br />
little different. <strong>The</strong>re are only so many blogs we can all follow and read.<br />
Guy Hipwell, Founding Editor/Creative Director - <strong>Fashion</strong>156.com<br />
A. Honestly I think there are already too many...however not many excellent ones. <strong>The</strong> advice I give<br />
is strive to be the best if you're serious and hope to become a force.<br />
Karl-Edwin Guerre, Blogger/Photographer - Guerreisms.com<br />
Link crushes:<br />
www.copyblogger.com - A brilliant blog dedicated to explaining the various elements of producing good copy.<br />
www.technorati.com - Real-time blog search engine.
Chapter 15<br />
Photography
Photography<br />
...with James Lightbown, <strong>Fashion</strong> & Lingerie photographer - Jameslightbown.com<br />
Q. When choosing a photographer to shoot your collection what is the<br />
most important thing to consider?<br />
A. As a photographer I would say that the most important thing for a designer is to find a<br />
photographer who understands the designers vision and has the necessary skills, talent and industry<br />
understanding to interpret this vision into strong images that satisfy the needs they have to serve, be<br />
that a lookbook, online store or advertising images.<br />
<strong>The</strong> sad truth is that so many choices of photographer are based on budget that normally ends up<br />
being a false economy. It doesn't matter how good your product is, if you don't get pictures that are<br />
good enough then your ability to get your product to market is severely hampered. Look books, press<br />
releases, web stores, advertising all depend on photography to generate interest. <strong>The</strong> better the<br />
photography the more the interest.<br />
It's not just about the cheapest photographer, having a photographer who can take pretty pictures isn't<br />
necessarily enough either. A good photographer will able to deal with so many more facets of a shoot<br />
than simply taking pictures and will understand your product and it's delivery to market.<br />
Q. Where is the best place to start looking for a good photographer?<br />
A. Personal recommendations and word of mouth is still one of the best sources of business for a<br />
photographer. <strong>The</strong> old adage of ‘it’s not what you know but who you know’ rings very true, but beware<br />
of the "my mate's got a good camera" recommendations!<br />
- <strong>The</strong> Association of Photographers website<br />
- Reputable photographer's agents<br />
Q. What’s the secret to a successful photoshoot?<br />
A. It starts with choosing a good photographer and a good team but dialogue and preparation is of<br />
vital importance. Everyone must be clear at all stages as to what is expected. <strong>The</strong> designer must be<br />
clear in their expectations and the photographer must manage these expectations accordingly.<br />
Moodboards are not only incredibly helpful but a must! A strong well planned out idea with a clear brief<br />
will always help to make a photoshoot run smoothly.
Continued...<br />
A strong and experienced team with a strong and experienced model is worth their weight in gold.<br />
A well cast model when combined with a photographer who knows when they've 'got the shot' is going<br />
to save time and therefore money as well as reducing stress.<br />
It is vitally important for designers to be aware of any limitations that might be in place. If working with<br />
budget constraints don't try and be too elaborate. It's far better to keep it simple and shoot it well, than<br />
attempt something too elaborate that can't be achieved for the budget. Inferior pictures just make your<br />
product look inferior.<br />
Q. Can you break down what a photographer commission structure<br />
might include?<br />
A. <strong>The</strong> price for commissioning a photo shoot can vary for so many reasons.<br />
- Number of shots needed<br />
- Usage of images<br />
- Style of shoot<br />
- Day rate of photographer<br />
- Amount of preparation days required<br />
- Amount of post production & retouching required<br />
- Costs of location<br />
- Costs of the required team - make-up, hair, stylist, models, assistants, set builders,<br />
prop builders, prop hire<br />
- Studio Hire<br />
- Equipment Hire<br />
- Catering<br />
- Courier Costs<br />
- Rush Charges<br />
- Travel Costs<br />
All of the above will have an impact on price meaning that the cost of commissioning a photoshoot can<br />
run anywhere between 3 to 7 figures!<br />
Link crushes:<br />
www.photographers.co.uk - Directory for UK based photographers - also offers a forum and exhibitions.<br />
www.vanilladays.com - Good photography blog
Q. What research and preparation is needed before the shoot?<br />
A. Be clear on the usage and purpose of the images. Spend plenty of time looking at images, not just<br />
competitors but advertising and editorials in magazines and images on photographers websites and<br />
get a feel for the sort of shoot you'd like to do. Collect all these images together in a moodboard to<br />
show the photographer or agency booking the shoot. <strong>The</strong>re will then be some back and forth between<br />
the designer and the photographer/art director to prep the shoot within budget and constraints.<br />
If using a model have a clear idea of who the face of your brand is and what that person represents.<br />
For advertising and look book you want to find a model that can get that message across and appeal<br />
to the market you are aiming for. For catalogue and web store shots you want a model who best fits<br />
the product and is experienced enough to get through the shots quickly and efficiently giving a good<br />
variety of poses whilst maintaining a high level all day.<br />
Once shoot preparation gets under way each member of the team is going to require different<br />
elements of preparation:<br />
- For the model think - mood, style of poses, attitude.<br />
- Put a moodboard together for hair & make-up artists.<br />
- Is there a brief for the stylist?<br />
And lots of discussions with your photographer, who may well be heavily involved in the production of<br />
moodboards and the final brief for the rest of the team.<br />
Also vitally important are shot lists. Be clear at the beginning of what needs shooting and in what order<br />
of importance, at this point spreadsheets are your friend! If shooting an advertising campaign or an<br />
editorial it may be beneficial to produce a storyboard. If shooting web store shots or a lookbook have a<br />
list of all the product that needs shooting and tick it off when shot and be organised! Boxing things up<br />
when they're shot or switching between rails is going to be efficient on the day.<br />
Be clear on everyone's roles on the shoot and what is expected of people.<br />
Q. Finding the right model at the right price requires a lot of time and<br />
effort, what’s the best way to go about this?<br />
A. As above, start with a firm idea of who the face of your brand is. Who are you targeting with your<br />
designs will influence the decisions of looking for a model. Having a good idea of who you are looking<br />
for will make the whole process a lot easier.<br />
Mark’s note: www.ukmodelagencies.co.uk is a good online directory with loads of modelling agencies listed.<br />
Also check out: www.whoistesting.com for photographers, stylists, hair and make up artists and model agencies
Tips for organising a casting<br />
If you can, try and be central - making your casting easy to get to is going to increase the likelihood of<br />
people actually attending. Granted you may be pushed for time, under tight deadlines etc etc but<br />
casting the right face for your brand is a massively important job. Get it wrong and you are stuck with<br />
that face representing your brand for the entire season. So be central and in a reasonable location.<br />
Remember that some of the models are very young and will be on their own. In fact some may be new<br />
to the country, having only arrived a couple of days previously and a lot of them may have anything up<br />
to 10 castings in a day to try and get to. So if you're in London, for example, picking somewhere in<br />
zone 4 is more than likely going to see lower attendances than picking a nice central zone 1 or 2<br />
location next to a tube station.<br />
For the majority of times, try and leave your casting till the week before your planned shoot date.<br />
<strong>The</strong>re's not much point casting well in advance for a number of reasons: Models often travel about,<br />
the model you really liked may be leaving for Cape Town in 3 weeks time. <strong>The</strong>ir bodies and skin may<br />
change, the nearer the shoot you see them the better.<br />
"Request castings" over "open calls" - When you're looking for models have a good look at all the<br />
reputable agencies and look through their models and see if there's anyone that you like. If there is<br />
then request them. Far better for you to be clear on who you like the look of over an open call.<br />
A decent job with an open call to the majority of London agents is likely to generate a turnout of 200+<br />
models. That's a lot to look through! If you've got a good idea of who you are looking for then say so.<br />
If you're never going to pick a ginger girl then say so.<br />
Do you have specific requirements for your shoot? Are all your sample shoes are a size 5? Do all your<br />
sample clothes require a long inside leg? <strong>The</strong>n say so... it just makes everyones life easier. Far, far,<br />
better to request brunette girls 5'9 - 5'11" with a size 6 shoe, size 8 dress and 34B/32C and an Eastern<br />
European look generating 20 girls you like the look of than have an open call for female models and<br />
get 250 girls, 230 of who you would never have picked.<br />
Having a casting gives the chance to look through portfolios, meet people in the flesh (i.e. seeing them<br />
without Photoshop), chat to them and get a feel for their personalities and grasp of English. You can<br />
often be surprised in the difference a good portfolio can make to viewing online and also the difference<br />
a good personality can make to decisions.<br />
Q. When hiring a model how is the cost broken down and are there any<br />
additional on-going fees that need to be paid?<br />
A. <strong>The</strong>re are more costs to consider when booking a model than simply just paying for their time at<br />
the shoot. <strong>The</strong> standard cost is the model's day rate. However you will also have to pay an agency<br />
fee, which varies from agency to agency.
Continued...Q. When hiring a model how is the cost broken down and are there any additional...?<br />
You may be expected to pay for travel to and from the shoot. Depending on where the model is<br />
coming from, or where your shoot is, you may be expected to pay travel days (if they're travelling for<br />
you, they can't work for anyone else!)<br />
You will be expected to provide the model with food and drink throughout the day (and time to eat it!)<br />
Be nice, ask the agency if they have dietary requirements. If a model has a gluten allergy and you<br />
simply buy a lot of sandwiches to take to the shoot then the model isn't going to eat and if they don't<br />
eat then they're not going to be able to perform at their best all day. Remember that they are only<br />
human!<br />
<strong>The</strong> biggest cost may well be the models usage. Different usage for the images will require different<br />
fees to the model.<br />
Q. Time is money, so what preparations needs to be made in order for<br />
the day to run smoothly?<br />
A. As well as all the preparation mentioned so far additional prep may include:<br />
- A location or site recce, normally attended with the photographer.<br />
- Pre production meetings with the photographer.<br />
- Pre production meetings with the stylist/set builder/props person/make-up artist/hair stylist.<br />
- Potentially a fitting with the model to get clothes fitting just right.<br />
- Organising assistants/catering/transport etc.<br />
(Remember that prep days & fittings are likely to incur a cost, if people are with you they're not<br />
working for someone else.)<br />
<strong>The</strong> photoshoot is a very important day for a designer. It's the vital transition from the months of hard<br />
work putting a collection together to the months of hard work marketing the collection to sell.<br />
<strong>The</strong> day your collection is captured in pictures is arguably as important as the catwalk show with<br />
similar potential to be stressful.<br />
Great preparation can go a long way as does clearly getting your ideas and brief across, however this<br />
doesn't always guarantee a hiccup free shoot. Issues will occur on shoots and managing those<br />
properly and professionally will go along way to minimising the impact of any problems that might<br />
occur.<br />
At this point it all comes down to people skills and man management, deal with issues professionally<br />
and you'll keep people on side and fighting to get the shoot done for you.
Q. Once the shoot is complete and the fees have been paid does the<br />
client own the images 100% or are their additional costs?<br />
A. In the same way that a designer owns the intellectual copyright of the designs they have created,<br />
a photographer owns the intellectual copyright of the photographs they have created and the model<br />
owns their image rights.<br />
This is the reason why the term "usage" has been mentioned so often in answering these questions.<br />
For both the model and the photographer standard practice is to charge their day rate and any<br />
additional usage fees, depending on what the images are used for and where.<br />
A shoot to provide images for a small run look book is likely to incur minimal usage costs as the usage<br />
is quite small. In contrast images forming a huge ad campaign that runs on major billboard sites not<br />
just in the UK but across Europe or the US is being 'used' for an entirely different purpose and the<br />
costs incurred will be reflective of these different uses.<br />
Usage will be affected by all of the following and more!<br />
Use of Images: For example lookbooks, press releases, point of sale imagery (POS), posters, bus<br />
shelters, consumer magazine advertising, trade press advertising, billboards, web ads, virals, trade<br />
show banners<br />
Territory: UK, Europe, Australasia, US (by countries or possibly by continents)<br />
Time: How long you will need to use the images for?<br />
Exclusivity: How long you have exclusive right to use the pictures?<br />
When a photographer asks you about usage it's not a way of bumping the price up, it's actually a way<br />
of getting the price down for a client. To ask for all usage will require a very hefty buyout whereas if<br />
you specify what usage you require you are not paying for more than you need.<br />
Why would you want to pay the expense of securing the right to use the images on billboards in<br />
Wisconsin if you only actually need the shots for 6 months in a lookbook, 6 months of trade show<br />
marketing, press releases, a small run of consumer magazine advertising in the UK and online usage<br />
for 12 months.<br />
For more information on this subject please see the very useful site Copyright For Clients<br />
(www.copyright4clients.com) provided by <strong>The</strong> Association of Photographers.<br />
Link crushes:<br />
www.amateurphotographer.co.uk/forums/forum.php - Photography discussion and chat - huge community!<br />
www.talkphotography.co.uk - Free photography forum, community & resource with discussion forums etc.
Chapter 16<br />
Styling�&�MakeUp
Styling<br />
Q. What is a stylist responsible for?<br />
A. <strong>The</strong> responsibilities of a stylist vary based on the project at hand, but in general, we are<br />
responsible for the overall look and image of a production, show, event, or individual.<br />
Alana Kelen, Senior <strong>Fashion</strong> Stylist a - VH1<br />
• Working with the photographer or designer to ascertain the mood or look of a shoot based on<br />
the client’s brief.<br />
• Working out which designer’s pieces would be suitable for the look or mood of the shoot.<br />
• Occasionally helping the photographer or client cast the models.<br />
• Taking note of the coloring, clothes and shoe size of the models booked.<br />
• Pulling clothes from the relevant designer’s studios, <strong>Fashion</strong> PR’s or stores and filling out<br />
necessary paperwork.<br />
• Bringing them back to studio or home office to work them into ‘looks’ (outfits).<br />
• Make or collect any props that may be needed for the shoot.<br />
• Preparing the stylists ‘work-kit’ bag for the shoot with scissors/ sewing kit/ tape etc.<br />
• Day of shoot, transporting garments to shoot.<br />
• Hanging and steaming garments.<br />
• Dressing models.<br />
• Helping photographer with the clothes/ props whilst shooting.<br />
• After shoot, filling out return paperwork and taking clothes back to sources.<br />
• When images after received from photographer, sending them back to <strong>Designer</strong>s/ Pr’s and<br />
Stores for their pressbooks<br />
Rachel Anthony, freelance <strong>Fashion</strong> Stylist - Rachel-Anthony.com<br />
A. A stylist is responsible for making sure the final image looks as it should with regards to wardrobe.<br />
However, a stylist often mediates between the photographer, art director, client, model, hair, makeup,<br />
etc. to work out what is desirable, feasible and attainable in each circumstance.<br />
Daily responsibilities include pre-production meetings, calling in clothes and accessories, commissioning<br />
custom garments or other specialty items, sourcing strange things, transporting and insuring things,<br />
signing for things, and worrying about things. <strong>The</strong>n, returning everything again, to the right places, within<br />
the right times. It’s often trickier than it sounds.<br />
On a shoot or show day, the stylist (and their many assistants) bring all the wardrobe and accessories,<br />
including underwear, hosiery, jewellery, hats, and often props. Some shoots have prop stylists who<br />
deal with sets and props, but often fashions stylist need to be ready for this too.
Continued...Q. What is a stylist responsible for?<br />
On set, the stylist makes sure the relevant people (clients, photographer, art director) are all in agreement<br />
with which garments to shoot and in which order, and makes sure the garments are prepared. This<br />
involves, steaming, pressing, altering, sometimes taping, pinning, sewing, clipping and clamping things<br />
into place in order to make it all look as perfect as possible. Until the model moves, and then we start<br />
again, if there is time.<br />
Tara Sugar, Freelance Stylist and Consultant<br />
Q. Where is the best place to find a good stylist and what criteria<br />
do you use to determine who is suitable for the job?<br />
A. Of course the internet is an amazing resource to find a stylist. Many have personal websites<br />
where you can view portfolios of work. Celebrity stylists are also represented by agencies, some of the<br />
most well known and exclusive agencies include Margaret Maldonado, Celestine Agency, Artists by<br />
Timothy Priano & Jed Root.<br />
Alana Kelen, Senior <strong>Fashion</strong> Stylist a - VH1<br />
A. Most reputable stylists are recommended by word of mouth. <strong>The</strong>ir work can be found published in<br />
magazines and they usually have a website which shows a small selection of their recent work. Many<br />
stylists have their own blogs and many can be found through creative agencies.<br />
Rachel Anthony, freelance <strong>Fashion</strong> Stylist - Rachel-Anthony.com<br />
A. <strong>The</strong> best place to find a stylist would be via a reputable agency, we are all easily found online.<br />
Suitability would be best determined by looking at the stylist's portfolio, evaluating their experience and<br />
taste, in comparison to your marketing vision. Look for garments that hang well, flatter bodies, have no<br />
visible flaws or abnormalities...in short, look for garments that look great in the pictures.<br />
We often have to ask a lot of favours, so we do many in return.<br />
Tara Sugar, Freelance Stylist and Consultant<br />
Q. How do you go about interpreting what the client is trying to achieve?<br />
A. I take everything into account when working with a client, most importantly what makes them<br />
comfortable. When a person is uneasy in something they are wearing it almost always reads on the<br />
outside. I consider all their needs, their body type and always keep in mind to stay classic and present<br />
the question, "If looking at this picture 5 or 10 years from now, there will be no regret."<br />
Alana Kelen, Senior <strong>Fashion</strong> Stylist a - VH1
Continued...Q. How do you go about interpreting what the client is trying to achieve?<br />
A. I personally research the ethos or personality of the brand. A moodboard of images that are liked<br />
are usually sent between the client, the photographer and the stylist to make sure that everyone<br />
understands what type of ‘story’ is required, for example, light, summertime, youthful. A time era,<br />
fictional character or film is often referred to as a partial inspiration.<br />
Rachel Anthony, freelance <strong>Fashion</strong> Stylist - Rachel-Anthony.com<br />
Q. What research and preparation is needed before the shoot?<br />
A. Depending on lead-time, there is usually a creative meeting with producers to discuss the needs,<br />
talent and breakdown of shoot. If time allows, I will create a story and inspiration board integrating<br />
specific items that are available in market for the talent at hand. <strong>The</strong> entire process is a collaboration<br />
taking into account the talent, the audience and what is appropriate and attainable.<br />
Alana Kelen, Senior <strong>Fashion</strong> Stylist a - VH1<br />
A. This varies greatly depending on the nature and purpose of the shoot. It also depends on the client<br />
and the Art Director. Sometimes, the stylist is also the Art Director.<br />
First, we need to establish the intended result with the client/photographer. <strong>The</strong>n we decide how to<br />
execute it. This is best done with photo references to show different effects of light/fabric/mood etc.<br />
We spend a lot of time putting together reference and inspirational images for teams.<br />
For celebrities and models we need to speak with their PR or agent/booker, in order to confirm full<br />
measurements and size and fitting times/availabilities. Sometimes we are involved with casting.<br />
In the case of celebrity clients we need to familiarize ourselves with their style, body, history and taste.<br />
We then source all needed items via PR, showrooms or retailers. This is usually called 'prep' work and<br />
takes anything from a few hours to a few weeks, depending on the size of the job.<br />
Ongoing work for a stylist is to stay on top of which labels have made what types of things in each<br />
season's collection, attending fashion shows and collecting look books. Building relationships with the<br />
labels, their PR teams, the designers and working to help them all build their businesses.<br />
Tara Sugar, Freelance Stylist and Consultant<br />
Q. What practical things can be done on the day to help the stylist<br />
work more effectively?<br />
A. <strong>The</strong> more information and feedback provided, the better the results. Work in enough time for hair,<br />
make-up and wardrobe, especially if a fitting prior to the shoot isn't possible. That being said, having<br />
fitting prior to the day of production is always ideal.<br />
Alana Kelen, Senior <strong>Fashion</strong> Stylist a - VH1
Continued...Q. What practical things can be done on the day to help the stylist work more effectively?<br />
A. - Having a space to hang clothes/ or to change models.<br />
- An electric socket to plug in portable steamer or iron<br />
- If the models can come properly prepared for instance in neutral underwear<br />
Rachel Anthony, freelance <strong>Fashion</strong> Stylist - Rachel-Anthony.com<br />
A. An organized studio/team/location will have most necessary items. We confirm ahead of time that<br />
clothing rails, steamers, water, hangers and electricity will be available. We often check if there will be<br />
heat and toilets on locations and prepare accordingly if not - we take nothing for granted.<br />
Staying away from the stylist while working with the steamer is often a wise move. Also, having<br />
organized lists from each showroom and label, with returns labels prepared makes life much easier<br />
on set.<br />
Preparation involves being equipped with a fully stocked kit, prepared with sewing threads in suitable<br />
colours, safety pins, assorted types of tape, pegs, pliers and everything else you can imagine...shoe<br />
polish, string, wire, ribbons…and any other conceivable item that might be needed. My kit contains<br />
some rather odd items like nipple guards, static guard and magnetic diamond earrings.<br />
Tara Sugar, Freelance Stylist and Consultant<br />
Q. How important is hair and make-up and can this be done by a stylist?<br />
A. 11 years in this industry and I have yet to run into someone who does hair, make-up & styling.<br />
That would be an amazing feat to tackle. We all certainly collaborate on the entire look of a shoot or<br />
project, and hair/make-up is just as imperative in the end result.<br />
Alana Kelen, Senior <strong>Fashion</strong> Stylist a - VH1<br />
A. Hair and makeup is very important to add to the overall look of a shoot especially if it has a<br />
particular reference. It is best to use a trained make up artist as they will be a specialist in their field<br />
and as with the Stylist will ensure that the presentation is kept up to date, individual and current.<br />
Rachel Anthony, freelance <strong>Fashion</strong> Stylist - Rachel-Anthony.com<br />
A. <strong>The</strong> importance of hair and makeup depends on the photographer, the model, the light and the<br />
intended results. Makeup and Hair are very very important in most cases. In some cases, not required<br />
at all, but this must be well thought through ahead of time.<br />
Makeup and Hair abilities among stylists varies greatly. I personally try to learn as much as I can and<br />
avoid doing it at all costs unless there is no better solution. I have also groomed a tree on one<br />
occasion.<br />
Tara Sugar, Freelance Stylist and Consultant
Q. Is there any other advice that you would give to someone who is<br />
trying to organise a shoot?<br />
A. Word of mouth has always been my best "press". Consult co-workers, colleagues and contacts<br />
within the industry to obtain recommendations of people who work well under pressure and always<br />
produce amazing results. Portfolios are always fantastic examples of work, but one must be sure the<br />
stylist is responsive on set and it's best to have an idea of what their work ethic is like behind the<br />
scenes.<br />
Alana Kelen, Senior <strong>Fashion</strong> Stylist a - VH1<br />
A. - Be honest<br />
- Be realistic<br />
- Be clear<br />
- Make lists<br />
- Try not to rush<br />
- Try to test things or find others who have and learn from their experience by<br />
looking at other photos<br />
Glamour is an illusion we create for the camera - Don’t expect to live it.<br />
Tara Sugar, Freelance Stylist and Consultant<br />
MakeUp<br />
...Teneille Sorgiovanni, Freelance Makeup Artist - teneillesorgiovanni.com<br />
Q. What is a makeup artist responsible for?<br />
A. For me, mainly it’s to create characters, build personalities that help define a narrative. Also<br />
enhancing facial features and bringing out inner beauty that makes a person feel great, is really quite<br />
a special feeling.<br />
Q. Where is the best place to go to find a good makeup artist and what<br />
criteria do you use to determine who is suitable?<br />
A. Professional networking sites, agencies and word of mouth are the best form but it all depends on<br />
the job. Some makeup artists specialise in particular areas in the industry say Bridal makeup or<br />
Special Effects for Film or TV. However a makeup artist should have the talent and skill to cover all<br />
areas, be creative and able to communicate well with different people, answer to a brief, solve<br />
problems and it’s important that you’re perceptive and flexible.
Q. How do you go about interpreting what the client is trying to achieve?<br />
A. After discussing with the client the concept and ideas of the overall look through a story board of<br />
images, it is then up to the makeup artist to execute the concept into a final look. This is then given<br />
back to the client in the form of a makeup story board to demonstrate colour, mood and techniques<br />
that will be used.<br />
Q. What research and preparation is needed before the shoot?<br />
A. Talking to the team and knowing what your model looks like, study their face and think about what<br />
will or will not work. What type of character she will be? What is she feeling, thinking etc. Once you<br />
know what type of story it could be, it’s then time to collate your inspiration that influences your look,<br />
it’s one of my favourite parts of the process. Your influences could come from music, a piece of fabric,<br />
words, illustrations, memories and it’s all part of your independent research.<br />
You will get to work with a variety of different people on shoots that all have different ways of<br />
interpreting looks so be sure to learn how to communicate via images. This is the safest way when<br />
discussing makeup.<br />
Q. Is there any other advice that you would give to someone who is<br />
trying to organise a shoot?<br />
A. <strong>The</strong> industry in constantly transforming so make sure you have a team of professional people on<br />
board who you work well with. This can be hard to organise but with the determination, passion and<br />
persistence it will all come together and drive your success. It’s a love of pressure and hard work the<br />
adrenalin kicks in and when you see the final result it’s truly rewarding!<br />
Link crushes:<br />
www.ftape.com - One of the best directories for models, photographers, designers and brands.<br />
www.makeupstore.se/eeen/home.php - Massive online store dedicated to makeup.<br />
www.lebook.com - One of the most comprehensive and current directory of the photographic industry.<br />
www.chb.com - Brilliant directory of Photographers, Illustrators, <strong>Designer</strong>s, Casting services and more.<br />
www.polyvore.com - Shop the latest products and styles handpicked by a global community of trendsetters.
Final words...<br />
It’s a lot tougher and more expensive than you think.<br />
Jonathan Morss, <strong>Designer</strong>/Owner - Morsfootwear.com<br />
Cash is King. You can be in significant profit but the business will not survive without cash.<br />
Domenica di Lieto, Commercial Director – Shinemarketing.com)<br />
Don’t expect success to land on a plate – if it were easy it wouldn’t feel as good when it arrives. Don’t<br />
listen too hard to people telling you to change your style or the way you design. Usually that’s the last<br />
thing we suggest our clients do. Make sure you produce a product that you are proud of. Finally – stick<br />
with it. Most people don’t make any money for the first 5 years!<br />
Russell Hammond, <strong>Fashion</strong> & Luxury Management Consultant, Scaphannetwork.com<br />
You, as a designer, are an artist. You are creating what people most want and need: To possess<br />
“venues” – your creations – that provoke an expanded sense of who they are such that they see<br />
themselves and the world in a new way. That is the function of art.<br />
Dr. Bob Deutsch, Cognitive Anthropologist – Branding & Marketing Expert<br />
Don’t give up and keep it real.<br />
Laura Weir, <strong>Fashion</strong> Editor - Drapers<br />
- "<strong>The</strong> artist is nothing without the gift, but the gift is nothing without work." - Emile Zola<br />
- "A witty saying proves nothing." - Voltaire<br />
Joshua Fraser, Senior footwear designer - Puma
<strong>The</strong><br />
<strong>Fashion</strong><br />
Des gner<br />
Thank you<br />
‘<strong>Guide</strong>’<br />
This book would not have been possible without the help of the many talented people who<br />
took time out of their busy schedules to contribute. I am truly greatful and I wish you all the<br />
best in your future endeavors.<br />
Acknowledgement: Logo silhouette - Alexander McQueen (RIP)
Contributors<br />
<strong>Designer</strong>s<br />
Ana Borges: Footwear <strong>Designer</strong> @ Jaeger London<br />
Job role: Seasoned footwear designer responsible for creating mood boards, trend<br />
forecasts and product design using both hand drawing and CAD skills. Background<br />
in both luxury and mid-market branded products.<br />
Favorite possession: My pencil<br />
Jelena Djukic: Senior <strong>Designer</strong> @ Nine West<br />
Job role: I am responsible for the design and development of Nine West footwear<br />
collections. I work within a team of 3 other designers and product managers.<br />
Favorite possession: I have a little red pouch with a couple of lucky charms in it<br />
that I keep with me at all times.<br />
Jessica Good: Freelance Footwear <strong>Designer</strong> @ shoedesign.co.uk<br />
Job role: Versatile freelance footwear designer with varied experience and proven<br />
results in many different categories of footwear. Thorough understanding of the shoe<br />
trade. Happy to work on any project - both genders - from high end edgy fashion<br />
footwear, to sports specific, to kids shoes.<br />
Favorite possession: My life<br />
Jili Allen: Creative <strong>Designer</strong> @ MJM Int. & Freelance @ jiliallen.com<br />
Job role: I am responsible for Creative Marketing, including packaging, instore POS<br />
(creative content), design of web content, catalogue page layouts, brochure layouts,<br />
flyers, the Ultimo blog, all design relating to forthcoming product launches, assisting<br />
with Ultimo Couture with all layout, design packs, etc., and adverts (as and when<br />
they arise).<br />
Favorite possession: My extensive collection of books
Jonathan Morss, Owner/Footwear <strong>Designer</strong> @ morsfootwear.com<br />
Job role: Responsible for design, production, sales and marketing of casual men’s<br />
footwear brand ‘Morrs’. Previous experience includes design positions at Nike,<br />
Levi's and adidas.<br />
Favorite possession: My shoes (can I say that?)<br />
Joshua Fraser: Senior Fitness and Women's footwear designer @ Puma<br />
Job role: I am primary footwear designer for Women's Fitness, which include the<br />
Bodytrain collection. Secondly I am also Senior designer for Women's lifestyle.<br />
Favorite possession: My authentic autographed 1967 Bruce Lee Green Hornet<br />
trading card.<br />
Jristian Limsico: Art Director @ Tommy Hilfiger<br />
Job role: I’m Art Director for Tommy Hilfiger and I am Acting Creative Director for<br />
our denim brand – Hilfiger Denim. On a day to day basis this means conceptualising<br />
seasonal campaigns including global ad campaigns, showrooms, retail windows and<br />
online. Favorite possession: My iPhone 4<br />
Louise Shill: Freelance Footwear <strong>Designer</strong> and Consultant @ shoegeek.co.uk<br />
Job role: In my current assignments, I provide footwear design and development<br />
services including: range planning, trend research, specification packs, footwear<br />
design and sample development.<br />
Favorite possession: At the moment my super stylish Clarks originals desert boot<br />
wedges, I love the masculine/famine styling.<br />
Magnus Gjoen: <strong>Designer</strong> / Product Developer @ Vivienne Westwood<br />
Job role: Development of logo's & graphics for brands tags & swing tags as well as<br />
development and design of Graphics for T-shirt Collection & denim.<br />
Favorite possession: My MacBook Pro<br />
Maxence Dinant: Senior Menswear <strong>Designer</strong> @ Luxury <strong>Fashion</strong> Brand<br />
Job role: Assisting Head <strong>Designer</strong> to overview the design process and product<br />
development of all RTW product categories.<br />
Favorite possession: Any piece I designed for Jil Sander I managed to get a hold of.
eCom<br />
Name: Nicole Le Grange: Footwear <strong>Designer</strong> @ LoveArtWearArt.com<br />
Job role: Freelance footwear designer and the creative director of new bespoke<br />
footwear label ‘Love Art Wear Art’. Love Art Wear Art is my own creation and is crazy<br />
hard work.<br />
Favorite possession: My 'Mexico Jesus', a bright colored, fab wooden figurine I<br />
bought at a market in Mexico. It could be a religious piece / antique / art piece, either<br />
way I loved it since the first time I laid eyes on it.<br />
Pascal Nuzzo: Head of Design (Leather goods and Accessories) @<br />
Temperley London<br />
Job role: Head of leather goods and accessories at Temperly, London. This role<br />
includes managing design, production and running a team.<br />
Favorite possession: My black ink pen is my every day companion for sketching,<br />
it is cheap and there is nothing special about it, it is simply an essential in my<br />
designer’s life.<br />
Saloni Sethi, Independent <strong>Fashion</strong> Professional<br />
Job role: Currently I'm an Independent fashion professional who in the past has<br />
been a designer and design director at major high-end luxury brands, doing both<br />
primary and secondary lines.<br />
Favorite possession: Lurex Marc Jacobs jacket<br />
Jennifer Roebuck: Director of Ecommerce & Digital Marketing @<br />
frenchconnection.com<br />
Job role: Responsible for the French Connection Group Ecommerce businesses<br />
which includes Ecommerce product buying, digital marketing, web design,<br />
operations and catalogue development<br />
Favorite possession: My MacBook<br />
Ruth Cozens: Art Director @ my-wardrobe.com<br />
Job role: I’m the Art Director at my-wardrobe.com, a luxury fashion etailer. I run a<br />
team of around 20 people comprising designers, stylists, photographers, retouchers<br />
and models. Together we’re responsible for all the visual content you see on<br />
my-wardrobe.com from editorial shoots to email newsletters.<br />
Favorite possession: A pair of antique silver earrings that were my grandmother's.
Editors<br />
Bloggers<br />
Shannon Edwards: Director @ ShopStyle Europe<br />
Job role: I run the ShopStyle business for our European countries, which currently<br />
include the UK, France and Germany. Oversee marketing, business development<br />
and market expansion. ShopStyle is a social shopping website for anyone who loves<br />
fashion, giving style-conscious consumers a place to shop all the online stores they<br />
trust, all in one place. Favorite possession: My daughters and husband<br />
Benjamin Johnson: Web developer @ Aardvark Media Ltd<br />
Job role: Head of Support responsible for maintenance of key systems for our<br />
clients and management of the support department. Skilled in development of PHP<br />
based systems.<br />
Favorite possession: My fingers.<br />
Laura Weir: <strong>Fashion</strong> editor @ Drapers & founder of <strong>The</strong> <strong>Fashion</strong> Daily blog<br />
Job role: Laura Weir started at Drapers as an intern five years ago and has worked<br />
her way up to become the magazine’s fashion editor. Laura is responsible for the<br />
magazine’s fashion content and writes, edits and builds copy for Drapers online and<br />
the magazine. Laura has interviewed the biggest names in fashion retail and<br />
regularly shares her extensive industry knowledge at Drapers’ sister event Pure<br />
London, where she speaks on the main catwalk about product and trend.<br />
Favorite possession: My new Prada Shoes to replace my original 1970s Prada<br />
raffia sandals that are past it.<br />
Miranda Almond: <strong>Fashion</strong> Editor & Stylist @ Vogue UK<br />
Job role: Miranda Almond is a fashion editor for Vogue Uk as well as a stylist. She<br />
has worked on several covers and editorials for fashion magazines including Vogue<br />
British, Vogue and Gotham. Miranda has styled for an elite celebrity crowd including<br />
Drew Barrymore and many others.<br />
Daniel P Dykes: Editor-in-Chief and Chairman @ <strong>Fashion</strong>ising.com<br />
Job role: Editor-in-Chief and Chairman of <strong>Fashion</strong>ising.com, an online publication<br />
reaching 1.6 million people. My job is to work with our editorial team to pick and curate<br />
the best fashion trends and style inspiration that's out there in the wider world,<br />
and package it up in a format that inspires our readers to further themselves.<br />
Favorite possession: Life
Money<br />
Marketing<br />
Guy Hipwell: Founding Editor and Creative Director @ <strong>Fashion</strong>156.com<br />
Job role: Creative Consultant working on external projects. Day-to-day editing of<br />
content for <strong>Fashion</strong>156. Conceptualising all themes of issues and creative directing<br />
of photo shoots. Most of my time is spent sourcing new designer pieces for our<br />
editorials. Externally I work as Creative Consultant advising strategies and<br />
producing campaigns for brands.<br />
Favorite possession: iPhone - with me all the time when I travel - all my family/<br />
friends / work related images are stored on their.<br />
Karl-Edwin Guerre: Photographer/Blogger @ Guerreisms.com<br />
Job role: I don't consider what I do a to be a job; it's a lifestyle. I am considered and<br />
have been called a writer, photographer, blogger and director. I like to consider<br />
myself a man working on becoming a Renaissance man.<br />
Favorite possession: I collect different items. Right now my focus is on<br />
photography, so I'll say my camera (today).<br />
Domenica di Lieto: Commercial Director and owner @ ShineMarketing.com<br />
Job role: Domenica is the commercial Director for Shine Marketing, an eCommerce<br />
web agency specialising in upmarket brands. Domenica also has a wealth of<br />
knowledge with all things PR related!<br />
Favourite possession: My Blackberry!<br />
Russell Hammond: Retail Expert @ ScaphanNetwork.com<br />
Job role: We help independent fashion brands work smarter, increase their sales<br />
and improve their margin. We are a network of management consultants with over<br />
15 years experience in the fashion industry and cover all aspects of the fashion<br />
business from suppliers to PR and sales to investment.<br />
Favorite possession: Work: my iphone (so many apps to make me more efficient!)<br />
pleasure: My house in France. No phone, no internet, no TV, just my Wife and I! Bliss!<br />
Courtney Blackman: Managing Director @ forwardpr.com<br />
Job role: Courtney Blackman has held international roles in fashion and marketing before<br />
setting up Forward PR in 2004. She also sits on the Board of the Ethical <strong>Fashion</strong> Forum, the<br />
panel for <strong>Fashion</strong> Press Week, and is a steady fixture on fashion competition juries. In 2006<br />
she co-founded and launched <strong>Fashion</strong> Business Club, where she served as Co-chairman and<br />
Managing Director for 5 years. She has recently launched <strong>The</strong> Industry, where she sits as<br />
Managing Director. She was hailed as a style icon on ACCESS FASHION in 2010, listed on the 2010 Online<br />
<strong>Fashion</strong> 100 and frequently speaks about fashion and social media at universities and industry events including the<br />
<strong>Fashion</strong> Summit and the Ecommerce Summit. She regularly contributes to NBC’s Today Show as a fashion<br />
commentator. Favorite possession: A long brass necklace with a sliding box pendant that has brass<br />
insects in relief crawling across it.
Photography<br />
Retail<br />
Crosby Noricks: Founder & Editor @ PR Couture<br />
Job role: Crosby Noricks has more than seven years experience in fashion and<br />
consumer marketing. In 2010, Crosby was named “Blogger of the Year” at the<br />
inaugural ‘InfluenceSD’ Awards. Also launched PR Couture, an online resource that<br />
explores the ever-evolving role of public relations, marketing and social media in the<br />
fashion industry. PR Couture was named one of 25 Essential PR Blogs by PR Web<br />
(2010) and a Top 50 Niche Blog by Evan Carmichael (2009).<br />
Favorite possession: A tunic that my mom bought for herself during a summer<br />
spent in Italy when she was a teenager. She wore it as a dress. I do not.<br />
Dr. Bob Deutsch: Cognitive Anthropologist @ brain-sells.com<br />
Job role: Cognitive Anthropologist who consults with corporations and agencies on<br />
how leading ideas take hold in a culture, on understanding the mind and mood of<br />
various publics, and on how to design compelling offerings to those audiences.<br />
Favorite possession: Whatever I own that puts me in mid-air<br />
(such as my extra-wide brimmed Fedora).<br />
James Lightbown: Photographer @ Jameslightbown.com<br />
Job role: I've been a freelance fashion photographer for the past ten years and<br />
genuinely think I have the best job in the world. I've met some wonderful people, gained<br />
some great friends, fantastic clients and the most amazing partner from this industry.<br />
Julia Reynolds: CEO @ Figleaves.com<br />
Job role: 27 years of retail experience, covering fashion and other products. Bricks<br />
and mortar, online ecommerce and international. A broad experience across all<br />
areas of retail, including sourcing, product design, building brands, marketing both<br />
online & above the line, IT and finance. Have worked in large corporates and VC<br />
backed business. Have run business units and an entire business at CEO level.<br />
Katie Wade: Buyer (Womenswear <strong>Designer</strong> Brands) @ House of Fraser<br />
Job role: Buyer of womenswear designer brands - I select pieces from seasonal<br />
collections for sale in store and monitor product throughout the season.<br />
Favorite possession: A silver ring my mother designed and made for me.
Stylist<br />
Makeup<br />
Alana Kelen: Senior <strong>Fashion</strong> Stylist @ VH1 (alanakelen.com)<br />
Job role: Alana has over 10 years experience within the entertainment industry and<br />
is responsible for styling at VH1. She also works as a style consultant for many of<br />
the top entertainment channels, publications and designers including MTV, NBC,<br />
Nickelodeon, Bravo, InStyle Magazine and Michael Kors to name a few.<br />
Favorite possession: My grandmother's necklace.<br />
Rachel Anthony: Art Direction @ EmmaGriffithsLondon.com<br />
Job role: Art Direction, <strong>Fashion</strong> Styling, Branding and Identity for individuals and<br />
corporate clients. A holistic approach to business, taking into consideration the goals<br />
and aspirations of the individual or corporate client to create an image/ brand.<br />
Favorite possession: My vintage mohair teddy with threadbare velvet paws that<br />
my great grandfather gave to me when I was born.<br />
Tara Sugar: Freelance <strong>Fashion</strong> Stylist and Business consultant @<br />
Komodo International<br />
Job role: Freelance <strong>Fashion</strong> Stylist and Business consultant with a wide range of<br />
<strong>Fashion</strong> Brands and publications. Focused on luxury and eco/sustainable products<br />
as much and where ever possible. Strive to advance both the market and the<br />
industry's perception of waste, and worth. Firm commitment to craftsmanship and<br />
ethical manufacturing.<br />
Favorite possession: Freedom.<br />
Teneille Sorgiovanni: Makeup Artist working @ teneillesorgiovanni.com<br />
Job Role: Makeup Artist working in Australia and London – freelance and assisting.<br />
Favorite possession: My Handmade Kabuki Brush!!!
Style/Trends<br />
www.fashionising.com/trends - <strong>The</strong> latest clothing and fashion trends from around the world.<br />
www.thefashionspot.com - Community based source of celebrity news, gossip and style trends.<br />
www.trendhunter.com - <strong>The</strong> largest community for Trends, Trend Spotting, Cool Hunting, and Innovation.<br />
www.fashionbuyeruk.blogspot.com - Essential fashion news and trend information for UK buyers.<br />
www.style.com - Covering the world of fashion, designers, models, celebrities, beauty and shopping.<br />
www.refinery29.com - Emerging fashion trends covered by experts.<br />
www.whowhatwear.com - Celebrity style, runway trends and shopping suggestions from fashion & beauty experts.<br />
www.frillr.com - <strong>Fashion</strong> trends, celebrity news, images and interviews.<br />
www.elleuk.com - Latest runway reviews, images, designer interviews, style trends and beauty.<br />
www.vogue.co.uk/<strong>Fashion</strong> - News daily, catwalk videos, backstage photos, fashion trends, interviews and more.<br />
Business<br />
www.businessoffashion.com - <strong>Fashion</strong> business intelligence on emerging designers, technology and global brands.<br />
www.drapersonline.com - <strong>Fashion</strong> jobs, fashion news and the latest fashion trends & international catwalk coverage.<br />
www.wwd.com - Breaking news, comprehensive business coverage and trends - fashion, beauty and retail.<br />
www.retailminded.com - Professional blog that support retailers, wholesalers, boutiques & independent businesses.<br />
www.startupfashion.com - Comprehensive resource for emerging and established fashion professionals.<br />
www.stylesight.com - Trend forecasting service and technology tool provider.<br />
www.youngentrepreneur.com - Online forum offering advice to entrepreneurs worldwide.<br />
www.internetretailing.net - Internet Retailing analysis, insight and stimulus for Europe’s multichannel retailers.<br />
Marketing & PR<br />
Link Crush<br />
Directory<br />
(Favorite links recommended by contributors)<br />
www.prcouture.com - A good place to find out about fashion PR, fashion publicity, fashion PR agencies and firms.<br />
www.thelookbook.com - <strong>The</strong> Definitive Directory for the <strong>Fashion</strong> Industry.<br />
www.sethgodin.typepad.com/seths_blog - Seth Godin's riffs on marketing, respect and the ways ideas spread.<br />
www.rocketwatcher.com - A marketing blog that provides practical advice and tools for product marketers.<br />
www.fashionablymarketing.me - Brilliant blog about retail and digital media.
Blogging<br />
www.tumblr.com - A feature rich and free social blog hosting platform.<br />
www.blogspot.com - Free weblog publishing tool from Google, for sharing text, photos and video.<br />
www.copyblogger.com - A brilliant blog dedicated to explaining the various elements of producing good copy.<br />
www.technorati.com - Real-time blog search engine.<br />
www.blogsearchengine.com - Search engine and directory listings of weblogs and tools.<br />
Luxury<br />
www.luxurysociety.com - Business network for the global luxury industry.<br />
www.fashionscollective.com - A resource focused on challenges faced by the fashion and luxury industries online.<br />
www.luxury-insider.com - Asia's leading online luxury magazine with luxury reviews and daily luxury news.<br />
www.luxist.com - Dedicated to covering the best the world has to offer on a variety of luxury and fine living topics.<br />
Video<br />
www.ted.com - A small nonprofit devoted to Ideas Worth Spreading in the form of short videos.<br />
www.net-a-porter.com/intl/video/search.nap?search=Interviews - Interviews with designers and other creatives.<br />
Online mags<br />
www.highsnobiety.com - A daily online lifestyle mag primarily reporting on sneakers, streetwear fashion and street art.<br />
www.hypebeast.com - Very good source of fashion news and information.<br />
www.nymag.com/daily/fashion - Daily fashion news with coverage of runway shows, trends, designers and models.<br />
www.fashiongonerogue.com - All the latest magazine covers from around the world updated daily.<br />
www.nytimes.com/pages/style/index.html - Style and fashion news from <strong>The</strong> New York Times.<br />
www.modemonline.com - A source of professional information dedicated to the fields of fashion and design.<br />
New talent<br />
www.<strong>Fashion</strong>156.com - Online fashion magazine that provides a celebratory platform for emerging talent.<br />
www.britishfashioncouncil.com - Supporting and promoting British fashion designers in the global marketplace.<br />
Street Style<br />
Swagger360.blogspot.com - Image based blog for well-dressed ladies and gents from all over the world.<br />
www.jakandjil.com/blog - Another great blog focused on bringing you the best of real life fashion.
Lifestyle bogs<br />
www.seaofshoes.typepad.com - Great shoe photos.<br />
www.kingdomofstyle.typepad.co.uk - A style blog relating to fashion and all things creative.<br />
www.whatkatiewore.com - Joe writes the words. Katie wears the clothes. A different outfit every day.<br />
www.fashiontoast.com - Personal style and fashion blog from southern california by blogger Rumi Neely.<br />
www.5inchandup.blogspot.com - One of my favorites - girls got style!<br />
Random inspiration<br />
www.thecoolhunter.co.uk - <strong>The</strong> very best of random design inspiration from all over the globe.<br />
www.butdoesitfloat.com - An eclectic curation of aesthetic beauty.<br />
www.coutequecoute.blogspot.com - Random news on fashion, art, design and pop culture.<br />
www.goo.gl/Sk6ie - Lectures given by industry experts - a fantastic way to be inspired by very talented people.<br />
www.designboom.com/eng - Trendy design ezine with topics on art, architecture, fashion, photography and graphics.<br />
www.altamiranyc.blogspot.com - Random photos of models off duties.<br />
www.lovelypackage.com - Curating the very best packaging design.<br />
Jobs/Career advice<br />
www.fashioncareersclinic.com - Great support and career advice for new designers.<br />
www.fashionmag.com - Jobs for fashion, luxury and beauty professionals.<br />
<strong>Designer</strong> Resources / Research<br />
www.firstpullover.com - An informative footwear production blog dedicated to footwear professionals.<br />
www.design-seeds.com - Brilliant blog dedicated to exploring the wonderful world of colour.<br />
www.shouldiworkforfree.com - Help and advice for those considering freelance or self employment.<br />
www.creativeboom.co.uk - Online mag and free network community - aims to inspire and support creative industry.<br />
www.core77.com - Devoted global audience of industrial designers ranging from students through to seasoned pros.<br />
www.designmuseum.org - An exhibition programme captures the heart of design, architecture and fashion.<br />
www.headoverheelshistory.com - Shoe history.<br />
www.fashionmonitor.com - A good source for fashion and beauty contacts, news and events.<br />
www.ftape.com - One of the best directories for models, photographers, designers and brands.
Ecommerce<br />
www.thewebdesignblog.co.uk - Web design tutorials, articles, freebies, downloads, reviews and interviews.<br />
www.freewebstore.org - Create your own free ecommerce web store.<br />
www.ecommerce-templates.volusion.co.uk - Professionally designed ecommerce templates.<br />
www.order.1and1.co.uk - Hosting package, Domains and Web space & more features.<br />
www.software.toptenreviews.com - Great site for comparing software to help you build your business.<br />
www.seomoz.org - One of the most popular SEO software providers.<br />
www.uxbooth.com/blog - Articles and resources on usability, user experience and interaction design.<br />
www.useit.com - Research findings from many usability studies - one of the most popular sites on the subject!<br />
Networking<br />
www.linkedin.com - Find connections to recommended job candidates, industry experts and business partners.<br />
Shopping/Selling<br />
www.shopstyle.com - Find the latest couture and fashion designers while shopping for clothes, shoes and jewellery.<br />
www.Amazon.com - Find books on any subject along with everything else under the sun.<br />
www.ebay.com - Sell your possessions if you’re serious about setting up your own business…you’ll need the money!<br />
www.oki-ni.com - Shop exclusive designer menswear at oki-ni.com.<br />
www.polyvore.com - Shop the latest products and styles handpicked by a global community of trendsetters.<br />
www.belleandboo.com - A collection of artwork from the imagination of illustrator Mandy Sutcliffe.<br />
www.makeupstore.se/eeen/home.php - Massive online store dedicated to makeup.<br />
www.notcouture.notcot.org - A sophisticated and stylish roundup of fashion's finest brands.<br />
Tech/Social<br />
www.mashable.com - Social Media news blog covering cool new websites and social networks.<br />
Images<br />
www.ffffound.com - Image bookmarking.<br />
www.flickr.com/explore/interesting/7days - One of the best online photo management and sharing sites about.<br />
www.google.co.uk/imghp?hl=en&tab=wi - Endless supply of images.
Photography<br />
www.photographers.co.uk - Directory for UK based photographers - also offers a forum, exhibitions and more.<br />
www.vanilladays.com - Good photography blog.<br />
www.photoschau.de/index.php - Another one!<br />
www.amateurphotographer.co.uk/forums/forum.php - Photography discussion and chat - huge community!<br />
www.talkphotography.co.uk - Free photography forum, community and resource with discussion forums and chat.<br />
Models<br />
www.elitemodel.com - One of the world's most prestigious international modeling agencies.<br />
www.premiermodelmanagement.com - London based agency represents women and men for editorial / runway work.<br />
www.ukmodelagencies.co.uk - Online Directory of Model Agencies in the UK.<br />
www.bmamodels.com - Model agency presents male & female models, Child & Baby Models for TV, fashion, catwalk shows.<br />
www.bookingsmodels.co.uk - Model agency est. in 1976 with good selection of female fashion and male models.<br />
www.motmodel.com - Model agency specialises in high quality commercial and fashion models for stills and TV com.<br />
www.nevsmodels.co.uk - Kings Road agency represents men & women for editorial, runway, and ad campaigns.<br />
Trade Shows & Events<br />
www.emapconferences.co.uk/fashionsummit - <strong>The</strong> Drapers <strong>Fashion</strong> Summit - A must see!<br />
www.theindustrylondon.com/ - Networking club bringing bright-minded, fashion business professionals together.<br />
www.ffany.org - <strong>Fashion</strong> Footwear Association - not for profit trade association for footwear manufacturers globally.<br />
www.gds-online.com - International platform for shoes and accessories. (28,000 trade visitors from 79 countries)<br />
www.lineapelle-fair.it - International exhibition dedicated to leather, accessories, components, synthetics and models.<br />
www.londonfashionweek.co.uk - Amazing platform for fashion designers to show case their creations to the world.<br />
www.micamonline.com - One of the best footwear exhibitions in the world.<br />
www.milanounica.it - Brilliant trade show for textiles.<br />
www.premierevision.com - One of the world's premier fabric show.<br />
www.prescottandmackay.co.uk/student-information/events - Offers a unique range of short courses on shoe making.<br />
www.purelondon.com - Leading trade fashion event for sourcing women and mens wear.<br />
www.thekensingtonshoeevent.co.uk - One of London’s leading events for footwear and fashion buyers.
Useful sites<br />
www.ezinearticles.com - Hundreds of quality articles on many niche subjects published by expertrs.<br />
www.ipo.gov.uk/home.htm - Official government body responsible for granting Intellectual Property (IP) rights.<br />
www.businesslink.gov.uk - Self-help portal of action-focused information for SME’s.<br />
www.smarta.com - Business support and advice for start-ups, small business owners and entrepreneurs.<br />
www.businessballs.com - Free online education for ethical work, business, careers and life learning.<br />
www.lebook.com - One of the most comprehensive and current directory of the photographic industry.<br />
www.chb.com - Brilliant directory of Photographers, Illustrators, <strong>Designer</strong>s, Casting services and more.<br />
www.fashioncapital.co.uk - Resources for fashion designers, manufacturers, latest fashion news, trends & jobs.<br />
www.whoistesting.com - London fashion photographers, stylists, hair and make up artists and model agencies.<br />
Mark’s recommended reading<br />
- Rich Dad, Poor Dad by Robert Kiyosaki: http://goo.gl/k3Con<br />
- Eating the Big Fish by Adam Morgan: http://goo.gl/mei2s<br />
- Let them eat cake by Pamela N. Danziger: http://goo.gl/XulzH<br />
- <strong>The</strong> Pocket <strong>Guide</strong> to <strong>Fashion</strong> PR by Sophie Sheikh: http://goo.gl/dSpdW<br />
- Word of Mouth Marketing by Seth Godin: http://goo.gl/aOvt0<br />
- Marketing to Women by Martha Barletta: http://goo.gl/2Mjya<br />
- Debrett's Etiquette for Girls by Fleur Britten: http://goo.gl/H2lah<br />
- Gentleman: A Timeless <strong>Fashion</strong> by Bernhard Roetzel: http://goo.gl/sSMFL<br />
- New Shoes: Contemporary Footwear Design by Sue Huey: http://goo.gl/ZX8e3<br />
- <strong>The</strong> Secret by Rhonda Byrne: http://goo.gl/oYwpg<br />
- 365 Days of Shoes Calendar by Workman Publishing: http://goo.gl/yqx60<br />
(Not really a ‘read’, more of a recommended ‘look’ - every shoe lover should have one!!!)
Contact<br />
Feel free to contact me if you have any questions:<br />
email: info@fashiondesignerguide.com<br />
twitter: @tfdg_<br />
I hope you enjoyed reading it, good luck!<br />
<strong>The</strong><br />
<strong>Fashion</strong><br />
Des gner<br />
‘<strong>Guide</strong>’<br />
by Mark Charles