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in their designs. Embellishment also limits the degree of vulnerability of designers’ creations to being copied (Rogerson, 2006). The role of fashion events is a vital component in the value chain for designers, as such spaces provide designers with opportunities not only to network within their industry, but also to interact directly with their prospective market (Skove, 2006: 765). 64
7.1 Introduction CHAPTER SEVEN Methodology of the Study Every day, worldwide, consumers aspire to be seen wearing brand-names that demonstrate their choice of the most fashionable clothing. The desire to emulate iconic personalities (and, by association, their status in society) by conforming to the trends they set, is reflected in the clothes worn by individuals from every walk of life. The human desire to attire oneself in the most up-to-date fashion is driven by marketing directed by the brand’s companies, fashion magazines and other conduits of social influence. Consumers who pursue and thereby create demand for fashionable brands and styles that rapidly change throughout the year, give little thought to the individual producers of these goods and the economic and developmental complexities behind what hangs in the end- users’ wardrobes. In South Africa, there is substantial academic research and public debate through the media focusing on the state of the clothing and textile industries. However, there has been very little research on the fashion designers themselves, who contribute in their own various ways to the rise and fall of the clothing and textile industries. In identifying this lacuna in the research, it was vital for me to provide a definition of the term “independent fashion designers”. For the purpose of this study, this term refers to the collective entity made up of those who create, market and sell their own designs - whether these be haute couture (high fashion) or ready-to-wear collections. 7.2 Focus of the Study The study recognises that fashion designers do not work in isolation and are not excluded from the various local and global influences and factors that affect their business. The result of globalisation and the changes in the clothing and textile industries across the world have had either a positive or negative impact on designers’ ability to maintain successful businesses and to contribute to the growth and sustainability of South Africa’s clothing and textile industries. There are, however, a number of independent designers who are succeeding, even in the face of increased global competition. Therefore, the objective of this research is to explore and assimilate the experiences of some South African designers. Given that there has 65
Page 2 and 3:
Declaration This study represents t
Page 4 and 5:
Abstract A fundamental change in th
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8.10 Comments on the Clothing Indus
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CHAPTER ONE Introduction A Sicilian
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esearch on the global clothing and
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2.2 The Global Industry - post-2005
Page 14 and 15: they are starting to go back home,
Page 16 and 17: Fashion is acknowledged as a vital
Page 18 and 19: fashion designers cope with these u
Page 20 and 21: natural fibres: wool and cotton; ot
Page 22 and 23: By the 1950s, Durban was the specia
Page 24 and 25: Lu Jean Clothing, closed its operat
Page 26 and 27: Due to South Africa being a middle-
Page 28 and 29: pivotal role in sustaining and deve
Page 30 and 31: This table shows that there are far
Page 32 and 33: Late in 2004, SACTWU reported that
Page 34 and 35: Basic Conditions of Employment Act
Page 36 and 37: environments, the erratic payment o
Page 38 and 39: A feature that is advantageous to C
Page 40 and 41: (Mokopanele, 2006). Deputy Minister
Page 42 and 43: Figure Three Profits before tax R m
Page 44 and 45: Further import figures collaborate
Page 46 and 47: share the space, none showed any in
Page 48 and 49: CHAPTER FIVE The South African Fash
Page 50 and 51: eiterated the need for local manufa
Page 52 and 53: women owners of the South African l
Page 54 and 55: 5.4 China’s entry into high-end f
Page 56 and 57: 6.1 Introducing the Value Chain CHA
Page 58 and 59: developed. Apparel operations can u
Page 60 and 61: “ripple effects back into manufac
Page 62 and 63: Rogerson endorses this view thus: T
Page 66 and 67: een very little formal research on
Page 68 and 69: The owner of a new retail outlet in
Page 70 and 71: critical resource for profiling Dur
Page 72 and 73: 8.1 Introducing the Designers CHAPT
Page 74 and 75: In addition, they have not embraced
Page 76 and 77: from international magazines and ev
Page 78 and 79: Peter Bosman (Interview: 3/7/06) Bo
Page 80 and 81: Another critical success factor is
Page 82 and 83: with fabric, and colour co-ordinati
Page 84 and 85: dictated by the buyers. This behavi
Page 86 and 87: to protect their own business inter
Page 88 and 89: clothing designs, and questions how
Page 90 and 91: manufactured off-shore and resellin
Page 92 and 93: Iqbal (Interview, 18/7/06) was outr
Page 94 and 95: These events run concurrently betwe
Page 96 and 97: support from buyers for retail outl
Page 98 and 99: formulate collective approaches to
Page 100 and 101: can advertise their latest designs
Page 102 and 103: due to their ability to manufacture
Page 104 and 105: and textile suppliers need to focus
Page 106 and 107: With regard to suppliers and the ma
Page 108 and 109: divisive environment prevails in th
Page 110 and 111: 9.2 Suppliers Policy Recommendation
Page 112 and 113: 9.5 Cluster Initiatives The cluster
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would also create business opportun
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shackled to either the large retail
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Appendix One Letter by the research
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endorsement by economic giants such
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Primary Interviews with Designers S
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"There should also be more engageme
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References Ascol, Nina. 2004. The G
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Fakude, Gordon. 2000. ‘Informalis
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Naidu, Sanusha. 2005. ‘South Afri
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Vlok, Etienne. 2006. ‘The Textile
Page 134 and 135:
Robbins, Tom. 2006. ‘SA fashion d
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