Thursday, November 29, 2012
While the idea of promoting domestically produced apparel seems like a great idea, the reality of organizing, marketing and implementing any such program is much more involved and political that it seems on the surface.
We can all agree that we want to know more about where our apparel comes from. 'Country of Origin' tags inside our clothes help to list that for us, but hang tags can emphasize that even more. Over the past decade, Los Angeles has become a top of apparel design and manufacturing region. While labels here may produce their product locally, at this time there isn’t any local hang tag to note that for the shopper. Some brands do carry the “Made in California” logo, but the actual state region is not listed.
In an attempt to brand the city of Los Angeles as a fashion capitol for design through manufacturing, the mayor has released a new logo promoting L.A. fashion. Intended as a label or hang tag, it boasts “Designed & Made in Los Angeles”. Behind this label is a new program to promote Los Angeles’s apparel industry, create resource guides, and other means of support for local companies.
The “Made in California” program already exists, and for some companies that is a strong branding tool that some aren’t in a hurry to trade off for the new localized tag. Another concern is that manufacturing in the Los Angeles region spreads wider than the city boundaries. The new “Made in L.A.” logo must be supported by performing all design and manufacturing functions with-in the city limits.
Rozae Nichols, who designs and produces her high end fashions in the city and is a well known proponent of local design and manufacturing injected a note of reality to the proposal to comment that for her, to produce off shore isn't always bad for her business.
Trina Turk also commented that she is already using the "Made in California" logo. She also noted that her customer is more concerned about style and fit when making their purchase. Turk’s line has long been designed locally and a significant portion of the products are manufactured in the region. She went on to point out that because of labor costs, she can only produce her more simple garments in the city. Items requiring more labor are made off shore. This is essential for keeping her price points in line with the market.
There is a concern that this new program has the requirement for all design and production to be Los Angeles city based. This is where simple to manufacture T shirt and sport clothing manufacturers such as American Apparel can be successful, while garment designers whose product is more complex must still seek off shore production. This creates a ‘split’ manufacturing concept with both local and off-shore production.
Will brands with this method of manufacturing be able to carry the tag? Will various products by one label be tagged, while other items in the line are not? These and other questions remain to be answered.
Many local but California designed and produced brands will be ‘out’ in this game. By confining the hang tag to companies located only in Los Angeles many labels designed in the city but manufactured in the San Fernando valley (where many are located in what had been the center of the aerospace industry in the mid-century), and the vast areas of L.A. county’s industrial belt will be ‘out’. This could make selecting a contractor tricky at best for the L.A. based design house.
It is important to understand that many companies have design rooms located in the city core, but the manufacturing process might be located further away in other cities and unincorporated county sites that offer less expensive locations to rent and maintain.
Another concern is what the hang tag will mean as a brand. Los Angeles produces a wide and diverse selection of apparel. This range covers items that will be sold at low price points on up to nearly couture level garments. How will the localized branding cover this stretch in quality and price points?
It may be difficult to ‘sell’ the idea of a regional tag to the higher priced design companies, since cheaply produced apparel will be able to carry the same hang tag along with their higher priced labels. The city logo won’t be able to signify high quality or design superiority.
Perhaps the mayor’s announcement (timed with the Spring Fashion Week in L.A. in October) was premature. The obvious support such an initiative requires, such as a web-site and resource lists and more importantly a large team of labels and manufacturers on board for support are as yet unformed. With only 19 out of 10,000 companies supporting this logo, most are taking a ‘wait and see’ position on this new concept.
To read more:
Los Angeles hopes to make a fashion statement
October 21, 2012|By Adam Tschorn and Booth Moore | Los Angeles Times
A PDF file of this article can be found HERE:
Tuesday, November 27, 2012
This version of "The Delineator" is a publication posted online, HERE. This format allows for small image browsing, as well as 'click' close-up views of the page. If you love this decade and want to know more about flapper fashion, this is a great resource to have. It is part of a set of other magazines from this month, assembled to create a news stand for the summer of 1925.
"The Delineator" magazine history, HERE
The News Stand for Summer 1925, HERE, Note: many of the magazines are not available for viewing, but the history overview is still posted on the site.
This topic was suggested by a post in The Vintage Traveler
Monday, November 26, 2012
This illustration from 1967 is from a set of Sunday magazine supplements to the "Radio Times" publications titled "Clothes that Count". They were written to promote a BBC series under the heading online of: "What We Wore". As a television show it first appeared in 1957 with six installments. These and others from 1967, 1969, 1976, and 1982 are available from the BBC video archives on line (but not in the US). Each installment is focused on one type of fashion garment and features British fashion designers.
These small brochures were published to be seen with the BBC shows in 1967, so the illustrations are of fashion styles from that year. The print is blurry, but there is a 'text' version that is easy to read. The content gives tips on sewing the fashion trends of the day, along with designer comments. If you love 60's fashion, these brochures will be fun to see and you may find them a worthwhile resource for both fashion and sewing during the late 1960's. If you are lucky enough to have seen the BBC series, let us know about those too!
Clothes that Count Part One, HERE, and the text of this pamphlet is HERE
Clothes that Count, Part Two, HERE, and the text of this pamphlet is HERE
BBC Archives Video Series: What We Wore, HERE
Thursday, November 22, 2012
Whatever your plans for this holiday weekend, I hope it's a great one: good food, good company and fun times!
This cute illustration comes from a Sunset magazine recipe cookbook that was written from 1929 through 1933. I just love the cute flapper line drawings that border each page of this vintage cook book. We should all look this great when we work in our kitchen!
Saturday, November 17, 2012
I thought it might be fun to take a closer look at this Mad Men era sheath dress with a great cape drape around the neckline. The back view really makes the dress, while the front view has a classic silhouette.
It looks like a circle cape is sewn around the neckline, that plunges to a deep "V" that is squared off at the point with a wide bow in back. This cape was then folded up at the neckline in front (see detail), and arranged over the shoulders in a fold, while the back floats open.
I include here a view that shows me lifting the back drape so you can see how it is sewn to the dress.
And finally a few close-up views to show more details.
This pink crepe cocktail dress was designed by Anita Modes (I'm guess it was sold at the popular Anita shops). It is fully lined with a center back zipper that has the cape floating open over that zip. A wide bow covers this opening. The sheath dress design has darts to fit and is very simple.
Isn't this inspiring? This style of cape could be added to an existing simple dress for a great holiday look. It flows nicely in crepe here, but a soft satin or even a soft lace could be gorgeous over a simple dress you already own. I would love to try draping this kind of cape collar sometime. If you try it, let me know how it goes!
Wednesday, November 7, 2012
How to put a fashion group together is critical in knowing how to design. This post will look at how fashion designers organize their groups of fashion items. It will list the most common types of fashion groups produced in the US.
Seasons and Market week
Most successful garment labels produce their fashions in specific ways. Each year they release new designs at specific times, along with other companies producing similar products. These are called ‘seasons’ and they do relate to the seasons of the year, however they precede the seasons in nature by many months. This early presentation event is called ‘market week’ and it allows store buyers to see what is available and place their orders with the company. The company in turn will need time to produce the garments that were ordered and ship them out to the store. All of this must occur before a specific deadline date when the store will put these garments out for shoppers to buy.
When new fashions arrive and go on display in the store, many times they are grouped by brand name, price, target customer and type of clothing. This is called ‘merchandising’ the store. Because the brand knows that their products will be displayed together, they try to create garments that look good on the racks together and help to give the store a well coordinated look in that area. This is often done by selecting a color and fabric theme and even a style concept for the entire group.
Coordinate lines appeal to shoppers who see the pleasing colors and garments in the area, and want to try on more than one piece. Ideally they will select several pieces from the brand that they can wear together, such as a few tops that work well with a few bottoms. These are called ‘coordinate groups’ and they present the customer with pieces that mix-and-match together easily. Brands who do this are popular with store buyers because they know that customers will want to buy entire outfits, especially when the colors and fabrics look good together.
The illustration above shows a Simplicity pattern from the 1950's that contains a summer play group. Every element was carefully designed to work together. The fabric color and pattern, the silhouette and even the "Sari" theme helps to make the look sophisticated. Because each piece can be worn with the other pieces, this is an example of a small coordinate group.
This illustration from a McCall's pattern during the late 1940's show two gowns made from the same fabric, with the same style theme, but having small changes. It is shifts in design like this that can make up a line.
Some designers create single garments, or a group of styles that aren’t intended to be worn together. If a single style will be sold alone, it is called an item line. This might be a group of tops that have different styles and fabrics.
A collection may pull together several lines, so it is a larger concept. It will be made up of many designs that have well planned set of colors, prints, trims and textiles. There is usually an overall style theme as well. Within the collection are smaller groups of styles called lines.
Sometimes brands will create unique lines for bigger stores who are willing to pay for the privilege of selling exclusive lines to their customers. The stores may even set up displays and racks dedicated to this exclusive group. The brand may want to assist by training the sales force so that they understand the fit, sizing and style that the brand is known for. Doing this means that the customer will be assisted in each store by a sales person who knows how to sell the product well.
The fashion illustration at the top of the page are two suits from 1944 designed by the American designer, Vera Maxwell. Although these suits differ, they clearly have the same fabric, color and trims. There is also a strong design sense that ties them together. This is what a collection should have when it is carefully assembled from lines that work together well.
This Fashion Design article about designing fashion groups is part 8 of a series of original tutorials on how to become a fashion designer that are posted HERE at Pintucks. The contents of this article are the intellectual property of this blog. Please do not copy any content to another blog or digital media without contacting me first. I will ask that you link back to this article and give reference to this source within your feature. If you are using content for a research paper or project, please link back to this page in the traditional academic format, thank you!
Monday, November 5, 2012
Bonnie Cashin's fashion style seems so natural, easy fit and easy to wear. But the illusion is often easier to achieve than the reality, as we can see in the foundation garment advertisement from the spring of 1961.
The dress is described as a green and gold striped knit on bright red which is such a modern, 1960's color concept. The knit has a 'natural' fit in the shoulder and body torso. This ad suggests wearing a Maidenform girdle to achieve that slender, effortless looking silhouette. It was promising a newer, more natural girdle of power mesh that would do the job. Where the previous decade had seen a stronger, boned waistline, the early 1960's would lead into a silhouette where natural was the newest look, and Bonnie Cashin was a leader in that field.
Friday, November 2, 2012
Announcement by fashion designer Gilbert Adrian, made in the Spring of 1948:
Sometimes dreams come true. For years I have wanted to show my complete collection in New York as I show it in California. At last it is possible. It is with great pleasure and pride that I announce the opening of the Adrian Room at Gunther in New York.
Here, for the first time, you may always see a complete collection, for we have arranged that all models be kept permanently in stock throughout each season.
Gunther will be the only shop in New York showing my clothes. Please consider this a personal invitation to see them there.
This gorgeous taffeta gown advertises the genius of Adrian, whose designs were well known by the fashion world of his day. As a primary American designer of his generation, it seems astonishing that he would have to wait until 1948 to have a year-round salon venue for his collection in New York. Only the previous spring, he had shown his collection in the St. Regis Hotel. In his early 40's, he had already established a Los Angeles salon and a $2 million business before launching this new salon at the center of the American fashion world.