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The Basics Fashion Design seriescomprises a collection of titles that,together, cover the key elements of fashion design: Research andDesign, Textiles and Fashion,Construction, Developing aCollection and Fashion Drawing.The series provides an essentialintroduction to the subject and forms a comprehensive referencetool for students and anyone interestedin the art of fashion design.

Fashion collections vary dependingon market level, product type, season,customer and retailer. Developing aCollection examines all of these inmore detail and follows thedevelopment process from initialdesign ideas through to the finaloutcome: a collections exhibitionand sale. Developing a Collection isdivided into five chapters that covereverything the fashion student needs to know about developing a collection, including an overview of the development process; thecommon themes used by designers;different market levels, from hautecouture to the high street; specialistcollections and finally, approaches to designing the student collection.Underpinning each chapter areinterviews with designers from allover the fashion industry.

Ethical practice is well known, taughtand discussed in the domains ofmedicine, law, science and sociologybut was, until recently, rarely discussed in terms of the Applied Visual Arts. Yet design is becoming an increasingly integral part of our everyday lives and its influence on our society ever-more prevalent.

AVA Publishing believes that our world needs integrity; that theramifications of our actions upon others should be for the greatesthappiness and benefit of the greatestnumber. We do not set ourselves out as arbiters of what is good orbad, but aim to promote discussion in an organised fashion for anindividuals understanding of their own ethical inclination.

By incorporating a working with ethics section and cover stamp on all our titles, AVA Publishing aims to help a new generation of students,educators and practitioners find a methodology for structuring theirthoughts and reflections in this vital area.

Elinor Renfrew graduated with an MA in Fashion from Central SaintMartins College of Art and Design andworked for over 15 years at all levels ofthe industry, including having her ownbusiness. She has since taught for afurther 15 years on BA fashion coursesin Melbourne, Edinburgh and Manchester.As course leader at RavensbourneCollege of Design and Communicationshe set up the successful placementprogramme. She joined KingstonUniversity in 2004 as course director ofthe renowned BA Fashion course and isalso responsible for sponsored projectsand international student internships.

Colin Renfrew graduated with a first-class honours in Printed Textiles atGlasgow School of Art and went on to study fashion on the MA course atCentral Saint Martins College of Art andDesign. Colin has 27 years experiencein fashion education in the UK, Australia,Sri Lanka and Russia. He is also avisiting professor at the Beijing Instituteof Fashion Technology and the ChinaAcademy of Art. Colin is now the Deanof the School of Design and Technologyat the London College of Fashion.

Featured topicsresearch and developmentmarket researchidentifying the customertrend forecastingconceptual fashionglobal influencespolitical influenceshaute couture ready-to-wear mass market childrens wear footwear and accessoriesknitwear briefsdesigning from your researchportfolios

Featured contributorsBill AmbergBanana RepublicHolly BerryBrooks BrothersWill BroomeGiles DeaconDKNYShelley FoxIan GarlantSophie HulmeNicholas KirkwoodEley KishimotoJens LaugesenMarkus LupferKenneth MackenzieRichard NicollRed or DeadReissSiblingWilliam TempestOhne TitelTopmanJohn VarvatosVivienne Westwood

ava publishing sa [email protected]

BASICS

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DEVELOPINGA COLLECTION

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na group of accumulated items of a particular kind

Elinor RenfrewColin RenfrewFASHION DESIGN

vgrow or cause to grow and become more matureadvanced or elaborate

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An AVA BookPublished by AVA Publishing SARue des Fontenailles 16Case Postale1000 Lausanne 6Switzerland Tel: +41 786 005 109Email: [email protected]

Distributed by Thames & Hudson (ex-North America)181a High HolbornLondon WC1V 7QXUnited KingdomTel: +44 20 7845 5000 Fax: +44 20 7845 5055Email: [email protected]

Distributed in the USA & Canada by:Ingram Publisher Services Inc.1 Ingram Blvd. La Vergne TN 37086USATel: +1 866 400 5351 Fax: +1 800 838 1149Email: [email protected]

English Language Support OfficeAVA Publishing (UK) Ltd. Tel: +44 1903 204 455Email: [email protected]

Copyright AVA Publishing SA 2009

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the copyright holder.

ISBN 978-2-940373-95-6

10 9 8 7 6 5 4 3 2 1

Design by Sifer Design Cover illustration courtesy of Giles Deacon

Production by AVA Book Production Pte. Ltd., SingaporeTel: +65 6334 8173 Fax: +65 6259 9830Email: [email protected]

All reasonable attempts have been made to trace, clear and credit the copyright holders of the images reproduced in this book. However, if any credits have been inadvertently omitted, the publisher will endeavour to incorporate amendments in future editions.



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Introduction 6

How to get the most out of this book 8

Contents

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What is a collection? 10

How to start a collection 12Research and development 18The team 26Showing the collection 32

InterviewsGiles Deacon 38Shelley Fox 40Richard Nicoll 42Markus Lupfer 44William Tempest 46Colin McNair 48Louis Armadola 50

Collections and their influences 52

Background 54Conceptual influences 56Form and function 58Futuristic influences 62Global influences 64Political influences 66Archivism 68

InterviewsJames New 70Kenneth Mackenzie 72Sophie Hulme 74Will Broome 76

Collections designed for different markets 78

Haute couture 80Ready-to-wear 84Mass market 90Home shopping 96

InterviewsIan Garlant 98Jens Laugesen 100Ohne Titel 102Emily Craig 104James Spreckley 106Simon Kneen 108Gordon Richardson 110



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Glossary 160

Featured designers 162

Useful resources 164

Acknowledgements and picture credits 168

Working with ethics 169

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Childrens wear 114Footwear and accessories 116Knitwear 120Fashion jewellery 122Corporate collections 124

InterviewsMark Eley 126Sibling 128Katie Greenyer 130Holly Berry 132Bill Amberg 134Nicholas Kirkwood 136

The student collection 138

The brief 140Your portfolio 146Research and development 148Presentation 156





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Introduction

All designers go through the same stages when developing a collection. Whether they have their own label or are employed by a large company, the starting point and processes are invariably the same: research,design, development, editing and presentation.

Basics Fashion Design: Developing a Collectionwill guide you through the different aspects of thedevelopment process. The first chapter asks What is acollection? It provides an overview, explaining who and what is involved. Chapter 2 looks at the common themesused by designers, from global and political influences to themore abstract themes of humour and fantasy. Chapters 3 and4 introduce different types of collections: looking at marketlevel, from haute couture to the high street; and specialistcollections, such as childrens wear and jewellery. The final chapter is focused on you, as a student, to give you guidelines and inspiration for designing your own degree collection.

Underpinning each chapter are interviews with designersfrom all over the fashion industry, who share their ownexperiences of developing collections. These exclusiveinterviews include illustrations and archive images.

Basics Fashion Design: Developing a Collection is richlyillustrated with images from international collections, both on and off the catwalk, in addition to archive material.

1 Backstage at Prada A/W08.Catwalking.com.

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I also like to work on fabrics that supposedly dont sell,like kid mohair. I was forbidden to use it but of course itbecame a best-seller for us.

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How to get the most out of this book

This book introduces different aspects of developing a collection.Each chapter provides numerous examples of collections byleading designers, annotated to explain the reasons behind thechoices made.

Key fashion design and development principles are isolated so that the reader can see how they are applied in practice.

IntroductionsSpecial section introductionsoutline basic concepts thatwill be discussed.

ExamplesImagery accompanyingthe content, visuallydescribing designdevelopment andinspirational collections.

CaptionsThese provide imagedetails and commentaryto guide the reader in theexploration of the visualsdisplayed.

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The team

The development process is cyclical and dependent upon a number of team members and specialist activities. The team willusually consist of a designer, a pattern cutter, sample cutter, samplemachinist and a costing/production manager. There may also bepeople who specialise in sourcing fabric and trims, print designersand graphic designers.

As the number of collections being developed increases, so too willthe number of staff in the team or business. Many larger companies(designer and retail) have established separate business units ordivisions to cater for the business demands and developmentprocesses involved. As such, within the largest fashion businesses, it is possible to have senior design positions with a responsibility for a very specific product area, such as mens casual knitwear or womens jersey separates.

1 Yves Saint Laurent in hisdesign studio in Paris, 1965.

2 Giles Deacon backstage at his A/W09 show.Catwalking.com.

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The designer is the central memberof the team and he or she is ultimatelyresponsible for creating the collection,from the initial design stages, rightthrough to overseeing first samplesfor selling. The designer will brief ateam of assistants or the studio staff to create further research or feedback for development.

Designers can have multiple workingrelations, dealing with everyone fromfabric and trim merchants, yarnsuppliers and textile designers to buyers, merchandisers, costingclerks, accountants and PR agents.The designer will take the responsibilityfor all decision making and amendmentsto any aspect of the process. The ability to communicate is just as important as being creative; infact, it is often key to success.

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Clear navigationEach chapter has a clearheading to allow readersto quickly locate areas ofinterest.

Running footersClear navigation allows thereader to know where theyare, where they have comefrom and where they are going in the book.

Additional informationBox-outs elaborate onsubjects discussed in the main text.

HeadingsThese enable the reader tobreak down text and referquickly to topics of interest.

Chapter titlesThese run along the bottom ofevery page to provide clear navigation and allow the reader to understand the context of theinformation on the page.


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The pattern cutter will work with the designers images and drawings,which convey the direction and lookof the collection. Often working withthe designer and sample machinist,the pattern cutters responsibility is to help realise an idea or vision inthree dimensions.

Working predominantly with theoverall silhouette sketched by thedesigner, the pattern cutters skill isto interpret the shape and proportionfor the new collection. The handleand use of appropriate cloth toachieve the overall silhouette is oneof the key skills of the creative cutter.Pattern cutters are also employed towork on less creative pieces, such as adapting previous patterns andgrading samples. Nowadays thisprocess is more often done on acomputer, but it helps if the cutterknows the principles of grading a pattern according to different body shapes and sizes.

The pattern cutter

The sample machinist is differentfrom a machinist on a factoryproduction line; they are skilled atadapting new designs. They workclosely with the pattern cutter tomake up the toiles and first samplescut in cloth. The toile is made first: it is a replica for shape but will not be finished with overlocking or anydetailing. Details such as buttonholesand pockets will be drawn on to thecalico. Once the initial toiles areassembled, the designer and patterncutter will adjust the size and positionof collars and pockets and adjusthem lengths before cutting thesample in the final cloth. In largercompanies, a sample-room managerwill ensure that deadlines are metacross a wide range of samplingrequirements. Machinists will begiven bundles of cut work and adesigners annotated sketch or a fullspecification sheet (which contains adrawing, accurate measurementsand detailed trims and finishes).

Sample machinist

Some studios employ sample cutters who work at great speed and accuracy to cut out the firstsample patterns in the correct fabricfor the sample machinist to make up.Smaller companies will expect thepattern cutters to perform this task;sometimes it is part of the samplingprocess that is often given tostudents on work experience.Sample cutters are also responsiblefor cutting out lays, which are layersof fabric with the patterns laid on topand cut with a band knife or rotarycutter to produce multiple samples.This process is usually computerisedin larger companies, which enablessamples to be cut out in factoriesthat are based overseas.

Sample cutter

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In a company that employs a team of designers and pattern cutters, astudio manager coordinates all thefunctions between the sampling andproduction processes. This isimportant if the company works from multiple sites.

13 Toiling the process ofmodelling on the stand tocreating flat pattern by Camila Rossi.

The blocksDesigners will usually compilea series of blocks from whichstyles can be developed. Ablock is a basic pattern shapecovering the upper body andthe lower body, as trousersor a skirt. Each designersblocks are refined basicshapes, often unique, andthe result of painstakingmeasurements, fittings andplacement of darts and seamlines. Blocks are often closelyguarded secrets; they formthe basis for excellent cutand fit when modified. Toilesderived from previouscollections may be includedfor future reference anddesigners can also unpicksourced garments to studycut and constructiontechniques. This practice isused within companies acrossall market levels.

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A collection is a range of garments, accessories or productsthat are designed and produced for sale to retailers or directto customers. This range of pieces may be inspired by a trend,theme or design direction reflecting cultural and socialinfluences, and it is usually designed for a season orparticular occasion. A collection is a grouping of outfits or looks that are presented in a variety of ways, from catwalk presentations to online web pages. Collections are usually constructed from a combination of silhouettes,colours and fabrics, with the emphasis varying depending onthe designers particular aesthetic. This chapter introducesthe concept of the collection. It explains who and what isinvolved in the development process, from the early design stages through to production and promotion.


1 YSL A/W08. Collectiondesigned by Stefano Pilati.Catwalking.com.

All creation is just recreation a new way of seeing the same things and expressing them differently.

Yves Saint Laurent

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1 Christian Dior menswearS/S08. Belgian designer KrisVan Assches debutcollection for Dior Homme,showing a tableau of malemodels in white eveningshirts with 1980s-inspiredtrousers. The arrangementreflects Irving Penns classicgroup of couture models.Catwalking.com.

How to start a collection

Any successful or financially viable collection requires an enormousamount of research, investigation and planning. Successful designers,manufacturers and retailers have a clear understanding of theircustomers needs as well as understanding their position in a highlycompetitive market. In addition to the creation and realisation of any collection, there are a range of issues that need to beconsidered if the final garments are to hang in customerswardrobes. For example, a collection may include a range of white shirts. If the cut, construction and retail price is favourable and there is a customer base for the shirts, and if the range isdelivered to stores at the right time and the stores pay for the stockwithin an agreed time frame, then there is a good chance that this is enough to start a fashion business. By offering a product that isnot currently available, or one with an added-value quality, fashionbuyers will consider stocking pieces from the collection. If the pieces sell quickly (and therefore at full retail price) there is anopportunity for the buyer to either reorder and replace stock or plan to order the following season.



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In order to gain an understanding of current fashion stock and rangesacross market levels, many, if not all,designers will conduct a comp shop.This term refers to comparing stockin competitor retail outlets, regardlessof market level. Quality of fabric,construction and detailing are carefullystudied alongside prices and origin ofmanufacture. This provides a greatdeal of information that is usefulwhen planning and selling a fashioncollection. Ultimately, it will be thefashion buyers who make thedecision to order fashion ranges and their decisions are based on a combination of the following:historical knowledge of theirparticular customers; sales figures,which track how many items of each piece within a collection were bought the previous season;delivery and availability of stock;quality of merchandise; exclusivity;and price. Designers are increasinglyproducing pre-collections in additionto the main seasonal collections. Forexample Stefano Pilati, design

director at YSL, designs up to 20collections a year, covering everyoccasion for menswear andwomenswear. The pre-collection will account for up to 80 per cent of the seasons sales, with maincatwalk collections aimed at press and publicity.

Many small fashion businesses lack the infrastructure to provideaccurate market and marketinginformation. However, intuition and awareness of fashion directionswill help a start-up label becomecommercially successful. The buyersare usually cautious when adoptingnew designers and therefore use asystem of sale or return, which offers new talent the opportunity toshowcase their collections alongsidemore established brands; they canthen be picked up as the next newname if their collections sells.Another way of launching a newfashion business is by concentratingon one particular piece. Manysuccessful designers have started

this way, later expanding into a rangeof product areas based on their heroproduct. For example, Calvin Kleinsfirst collection was a range ofwomens coats and Ralph Laurenbegan his vast empire with a smallcollection of ties.

Buying and selling presents achallenge in predicting how muchfabric will be required for productionof orders, and the possibility ofreordering within a season. Toomuch fabric can result in funds tiedup in stock, which then needs to be sold or reused. Too little fabricordered can result in lost sales and reduced profits. The sameconsideration must be given toproduction time whether it is asmall team of machinists or a large-scale factory.

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By careful investigation andcompetitor analysis, designers canbegin to identify a specific marketarea and customer for their fashionvision. At times, designers will createan imaginary situation wherecharacters are involved in a plot,journey or scenario. Characters maybe well-known historical figures orcompletely fictitious, but this collageof people and events can provide arich starting point for imagining,visualising and defining colours,fabrics and shapes withoutconstraints. John Gallianoscollections exemplify this methodand his designs illustrate the hugerange of possibilities in collagingfragments of inspiration. Whilst thismakes for a romantic or stylisedapproach to customer profiling, most large companies are able to define every aspect of theircustomers through sales andspecialist marketing information.

This information takes into accountsocial and economic influences andhow customers lives are defined by a range of factors. Successfulfashion producers are able to definetheir customers in relation to thebusiness, from the past and present to the future. It is possible to startwith a fashion view, or puristapproach to fashion, where anaspect of the process perhapscreative cutting informs the finalpieces. The customer, occasion and cost remain considerations if the final garments are to work inany commercial context. However,not all pieces within a collection aredesigned on a commercial basis.Catwalk showpieces work as apromotional tool to attract the press, which helps to reinforce thedesigners popularity and currency.

Identifying the customer

The museIdeal or inspirationalcustomers are sometimesknown as a muse usuallya woman who embodiesthe designers style orapproach to fashion. Manydesigners will adopt a musewho will act as a supplementaryinput into the development ofeach collection. John Gallianoworked with Lady AmandaHarlech, only to lose her toKarl Lagerfeld at Chanel,where her input continues aspart of the design process.Models may also beinfluential figures eitherthrough their own personalstyle, or as a face to beused in advertisingcampaigns for the designer or the brand.

1 Stephen Jones hascollaborated with JohnGalliano for over 15 years.John Galliano S/S09.Catwalking.com.

2 Illustration by StephenJones.



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Creativity is a subjective issue, as allfashion expresses a creative visionand process. Wearability is alsosubjective and rests with theconsumer, who can make personaljudgements about self-image,acceptability and suitability, dependingon occasion or lifestyle. Todaysconsumer is inundated with fashionchoices and the medias infatuationwith fashion, celebrity and influenceprovides enormous coverage of howfashion and style can be portrayed.Many designers will create extravagantshowpieces whether they are hats,shoes or garments which aredeliberately included to excite thefashion press and gain maximum

coverage. Established fashion houses stage catwalk shows for both haute couture and prt--porterand designers are encouraged tocreate spectacular, theatrical showsas a prelude to the advertisingcampaigns. Showpieces are oftenthe result of creative collaboration.John Galliano, for example,collaborates with milliner StephenJones and Alexander McQueencollaborates with milliner Philip Treacy to enhance their catwalkstatements. This type of collection is more about storytelling than sales.Other designers are innovative in theway they present their collections at low cost, by staging shows in

unusual venues and presenting theclothes in experimental new ways.But irrespective of the approach,whatever the market level andcustomer, the commercial reality is that creativity and wearability are mutually interdependent if afashion business is to succeed.

Creativity versus wearability

What really makes Stephens millinery so unique is his personality, his elegance andrefinement. Everything he does looks simply blown together. That is the art of millinery.

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1 Designer > inspiration >visualisation > briefing tosample team, includingpattern cutter, sample maker and finance (costing and business).

2 Designer > businessmanager for final costingsand ordering for production(materials and manufacturingtime).

3 Designer > stylist for final show presentation.

4 Designer > businessmanager and retail buyers to establish orders andconfirm production.

5 Designer > show producer for venue, music,set, ticketing, models, hairand make-up.


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Research and development

Themes and directions for collections can be enhanced anddeveloped from primary research, regardless of location, time orseason. The research process is an ongoing aspect of the designers role and it is unlikely to start from scratch.

When developing a collection with the staff team on-site, thedesigner will begin by explaining the overall look or theme for thenew collection. This may be in the form of images and drawings oninspiration or mood boards, as well as sourced garments, fabriccuttings (sometimes taken from vintage garments) and trims, all ofwhich may be key to the new collection. After discussing shapes andfabrics, the first patterns and toiles will be prepared. These toiles willbe recut and refined a number of times in the process from initialidea to final reality. Most designers and manufacturers will hire amodel, known as a fit or house model. This is crucial in refining and confirming exact proportions, detail placement, movement andoverall look. Models are hired specifically for their height and body

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7 Designer > PR, to coverpost-show interviews orrequests for editorialcoverage. Possible requestsfor loan garments to beused in photo shoots.

9 Designer begins to gatherinformation for the nextcollection or season andplans trade visits to underpin this activity.

6 Designer > businessmanager and PR toestablish press information,future editorial coverage andshow; guest lists, which mayinclude VIPs or sponsors.

8 Designer > businessmanager to review orders,confirm production anddelivery. Final costings to be agreed.

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dimensions, as this information will be crucial to the pattern cutterand also when casting models for a show. Once garments havebeen bought for retail they will be resized, with changes made tolength, proportion and so on. This is important if exporting to someinternational markets, or may simply reflect the type of customer,who may demand a less extreme version of the showpieces.

Depending on the season being developed, additional specialistfreelance team members may be contracted to work to specificpieces or looks. These may include knitwear specialists, beadingspecialists, embroiderers, hand-craft tailors or fashion-printdesigners. As the team grows and the variables within a collectionincrease, the designer must control this range of activities to ensurethat the original vision or brief is still in view. Freelance designers who contribute to the collection may be briefed at the onset orcommissioned to produce individual pieces, such as shoes or hats, which will highlight a particular aspect of the collection.

1 This diagram illustrates eachstage in the process ofdeveloping a collection.



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A key part of the designers role is sourcing fabric and they will visittrade fairs twice a year before thestart of the following season tosource the newest fabrics (or, if theyhave an established relationship withfabric mills, they may develop theirown fabrics). Premire Vision is themost famous of the fashion fabricand trend exhibitions and drawsdesigners and manufacturers fromacross the world. Other fairs includePitti Filati in Florence, which dealsmainly with yarns and colour, andLinea Pelle in Bologna, whichspecifically deals with leather andleather-based products and trends.Premire Vision, Pitti Filati and

Linea Pelle are staged twice a year,usually in January or February andJune or July. Another fabric fair,Texworld, covers fabric produced inthe Far East at a sixth of the cost ofEuropean fabrics and is becomingmore and more popular because itoffers a cheaper alternative toPremire Vision. Smaller fairs are also emerging, such as Tissu Lille inFrance and the Turkish Fabric Fair inLondon, which welcomes students,as well as designers. Trend directioninformation is gathered from the vastrange of exhibitors.

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At all the fairs manufacturers displaytheir ranges on fabric hangers, oftenorganised as trends or stories.Designers and manufacturers visitthese exhibitions with a view to order sample lengths, which aredelivered in time to plan and developthe new seasons ranges. Mostexhibitors at Premire Vision arehappy to deal with business of allsizes for sample orders, but have a required minimum order to ensureproduction is viable for particularprints, colourways or fabrics. Forsmaller orders, manufacturers maylevy a surcharge or combine theorders, which delays delivery time. A number of the more establisheddesigners will request certain fabrics,prints or colourways as an exclusivepurchase. This additional cost ispassed on to the customer and isreflected in the final garments price.

1 A selection of trade faircatalogues: Premire Visionand Tissu Premier are themain fabric shows and PittiFilati showcases yarns.

2 A sample book of shirtingsby Ringhart.

34 Trade stands at fabric fairPremire Vision.





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Existing and emerging fashion trendsconstantly provide stimulus and trendinformation is seen as a key elementacross all the creative industries.Traditionally, trends have beenidentified and packaged fordesigners as forecasting packages,where colours, fabrics, yarns,silhouettes and graphics are collatedinto books or presented online andused to predict key looks for theforthcoming season. This detailedtrend information may inform orinfluence a collection in greater depth than a single seasonsdirection or look.

Trend forecasting companies orfuturologists will give presentationsinternally to larger organisations toestablish a direction based on theclients needs and aspirations. Oneexample is Li Edelkoorts Paris-basedforecasting company, Trend Union,which produces the magazines Viewon Colour and Bloom. Clients usethese prediction manuals as startingpoints for their next collections. Li Edelkoorts aim is to open theimagination of our clients and act asa stimulus. The books give a newdirection, but its up to the client tointerpret and take further.

As fashion has evolved andinformation sources are now widelyavailable online, the trend forecastingindustry has responded to provide awider range of products. Theseinclude trend intelligence, trendmanagement, international retailtrends, customer trends, advertising,catwalk shows and technologytrends; all available by subscription.Another forecasting agency, StudioM, based in London, works closelywith clients all over the world toproduce bespoke packages forinspiration. They take influences from tear sheets, photographs,objects, fabric taken from source

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1 A montage of trend boardsby Studio M.

2 Trend information by Studio M, incorporatingfashion flats.

Trend companieswww.thefuturelaboratory.comwww.carlininternational.comwww.trendstop.comwww.fashioninformation.comwww.promostyl.comwww.kjaer-global.comwww.stylesignal.com

pieces, paintings or any otherimagery that complements the story, and use them to create A1trend boards. They can dip-dye aseries of colour swatches on basefabrics to create a palette; providesamples of embroidery and specialisttrims; and remake elements such as collars taken from vintage garmentsto interpret looks. By offering a fullservice, clients can then pick andchoose elements as required for their own collections.



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Archiving is now common across all levels of the fashion market, wherediscarded ideas or prototypes can berevisited and reconsidered for futurecollections. Source pieces can includeitems from a designers own archiveof past collections. These piecesmay form part of a new collection, as replicas cut in different fabrics orprints, for example, or may insteadinfluence fresh development.Sometimes a collection can becreated using rails or grids whereimages, garments and fabrics arecollated into a three-dimensionalcollage that captures a theme ordesign direction, illustrating thecolour, shapes and details involved to create a cohesive look. This isuseful for all team members involvedin the development and realisationprocesses and it helps to informdecision making. It is important tonote that the processes involved

are evolutionary and changes,additions and deletions will occurthroughout the development timeframe. Research and developmentactivities are interactive and oftendictate even last-minute revisionsand changes. The designer or designdirector will have the overall and finaldecision on the complete collection content and look.

Photographic archiving is used torecord the development of drapedtoiles on stands as staged versionsof an idea, or images of the collectionin individual outfits or looks. The latteris useful when allocating outfits toindividual models and planning therunning order for a fashion show.Many designers use photography tocompile images for possible researchand, because much of the collectionsdevelopment is visually based, thissaves time and establishes a

common visual language. Photographyplays an enormous part in thedocumentation, development andarchiving of fashion garments. Withthe accessibility of digital photographyand wireless technology, it is nowpossible for designers to source andcollate an endless number of imagesfor personal reference databases.

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Regardless of how or when adesigner begins a new collection,there will inevitably be problems thatchallenge the most careful planning.Deliveries, mistakes and delays arevariables that must be expected andmanaged. Additional problems canoccur when the designer subcontractsor employs freelance specialists to collaborate on the collection and the final show.

Even when most pieces are complete,fitted and photographed as outfits orlooks, further changes may be requiredif the whole collection is adrift of theoriginal vision, or the range isimbalanced in colour, garment typeor fabric. During the developmentcycle, it is very common for ideas to be rejected, for new aspects to beintroduced to the collection plan, andfor nearly everything to run late.Whilst this is the popular view of the

creative process involved within the fashion industry, it accuratelyacknowledges the complexity andconvergent energies involved.

Editorial decisions are based on the whole collection working asenvisaged at the outset. Thedesigner may acknowledge thatsome pieces or outfits have notworked as well as hoped, or mayperhaps look repetitive. Changes or rejections exist as part of thedevelopment process and arecommon at every market level.

Editing collections

1 A series of boards by HollyBerry, showing photographicarchiving.

2 Final, edited collection byKingston graduate AlisonGaukroger.

Useful archive sourcesWayne Hemingway set up anonline archive for the Land ofLost Content museum. Thishuge collection of popularBritish culture images is auseful resource for studentsand industry alike.



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The team

The development process is cyclical and dependent upon a number of team members and specialist activities. The team willusually consist of a designer, a pattern cutter, sample cutter, samplemachinist and a costing/production manager. There may also bepeople who specialise in sourcing fabric and trims, print designersand graphic designers.

As the number of collections being developed increases, so too willthe number of staff in the team or business. Many larger companies(designer and retail) have established separate business units ordivisions to cater for the business demands and developmentprocesses involved. As such, within the largest fashion businesses, it is possible to have senior design positions with a responsibility for a very specific product area, such as mens casual knitwear or womens jersey separates.

1 Yves Saint Laurent in hisdesign studio in Paris, 1965.

2 Giles Deacon backstage at his A/W09 show.Catwalking.com.



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The designer is the central memberof the team and he or she is ultimatelyresponsible for creating the collection,from the initial design stages, rightthrough to overseeing first samplesfor selling. The designer will brief ateam of assistants or the studio staff to create further research or feedback for development.

Designers can have multiple workingrelations, dealing with everyone fromfabric and trim merchants, yarnsuppliers and textile designers to buyers, merchandisers, costingclerks, accountants and PR agents.The designer will take the responsibilityfor all decision making and amendmentsto any aspect of the process. The ability to communicate is just as important as being creative; infact, it is often key to success.

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The pattern cutter will work with the designers images and drawings,which convey the direction and lookof the collection. Often working withthe designer and sample machinist,the pattern cutters responsibility is to help realise an idea or vision inthree dimensions.

Working predominantly with theoverall silhouette sketched by thedesigner, the pattern cutters skill isto interpret the shape and proportionfor the new collection. The handleand use of appropriate cloth toachieve the overall silhouette is oneof the key skills of the creative cutter.Pattern cutters are also employed towork on less creative pieces, such as adapting previous patterns andgrading samples. Nowadays thisprocess is more often done on acomputer, but it helps if the cutterknows the principles of grading a pattern according to different body shapes and sizes.

The pattern cutter

The sample machinist is differentfrom a machinist on a factoryproduction line; they are skilled atadapting new designs. They workclosely with the pattern cutter tomake up the toiles and first samplescut in cloth. The toile is made first: it is a replica for shape but will not be finished with overlocking or anydetailing. Details such as buttonholesand pockets will be drawn on to thecalico. Once the initial toiles areassembled, the designer and patterncutter will adjust the size and positionof collars and pockets and adjusthem lengths before cutting thesample in the final cloth. In largercompanies, a sample-room managerwill ensure that deadlines are metacross a wide range of samplingrequirements. Machinists will begiven bundles of cut work and adesigners annotated sketch or a fullspecification sheet (which contains adrawing, accurate measurementsand detailed trims and finishes).

Sample machinist

Some studios employ sample cutters who work at great speed and accuracy to cut out the firstsample patterns in the correct fabricfor the sample machinist to make up.Smaller companies will expect thepattern cutters to perform this task;sometimes it is part of the samplingprocess that is often given tostudents on work experience.Sample cutters are also responsiblefor cutting out lays, which are layersof fabric with the patterns laid on topand cut with a band knife or rotarycutter to produce multiple samples.This process is usually computerisedin larger companies, which enablessamples to be cut out in factoriesthat are based overseas.

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In a company that employs a team of designers and pattern cutters, astudio manager coordinates all thefunctions between the sampling andproduction processes. This isimportant if the company works from multiple sites.

13 Toiling the process ofmodelling on the stand tocreating flat pattern by Camila Rossi.

The blocksDesigners will usually compilea series of blocks from whichstyles can be developed. Ablock is a basic pattern shapecovering the upper body andthe lower body, as trousersor a skirt. Each designersblocks are refined basicshapes, often unique, andthe result of painstakingmeasurements, fittings andplacement of darts and seamlines. Blocks are often closelyguarded secrets; they formthe basis for excellent cutand fit when modified. Toilesderived from previouscollections may be includedfor future reference anddesigners can also unpicksourced garments to studycut and constructiontechniques. This practice isused within companies acrossall market levels.

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Fashion buyers are judged by sales and departmental profitability.As such, most buyers are keen toinvestigate new lines or designerscapable of adding to an establishedretail business. Quality, reliability ofdelivery and reordering are essentialconsiderations in addition to cost.The relationship between designersand buyers is important and canlaunch a successful career, such asJoan Burstein at Browns in London,who bought John Gallianosgraduation collection and featured it in the stores windows.

In large, multiple companies the role of the merchandiser is equal to that of the designer; they oftenwork together to create and edit thecollection to a price. Merchandisersare responsible for the pieces of a collection that end up in store.They are accountants and decisionmakers with a creative understandingfor the product. In the USA themerchandiser is the designers other half. In the UK, however,merchandisers deal with figures and quantities, working alongside the buyers, who are responsible forranging and selecting from thedirective of the design team. Working to budgets, the designer,merchandiser and buyer are allresponsible for a companyscommercial success.

Buyers and merchandisers

Designers and producers will work with a fashion stylist whenconsidering the presentation of thecollection for press, buyers or theconsumer. Usually working on afreelance basis, the stylist willoversee each element of thecollection to ensure that the originalvision is realised. The stylist may alsobe the main contact person forcoordinating a catwalk show; theycan work on footwear, accessories,hair and make-up, as well as themusic used as part of the show.Experienced stylists transform the most basic fashion piece into a key look or trend and inspire awider audience of designers and producers.

PR agents can also work in a stylist capacity, being responsible for the look of the catwalk show and working with photographers to create editorial and advertising for magazines. PR agents alsodistribute look books and arrangeappointments with buyers.

Stylists and PR agents

1 Designer Natsumi Zamafitting a final garment for a photo shoot.

All garments within a collection thatare produced to sell must be costed.This is either the responsibility of thedesigner or, in larger companies, acosting administrator. Costings arebased on two main components:materials (direct cost) and labour(indirect cost). Costings are a keypart of technical packs, whichinclude detailed specification sheetsof sketches, measurements, fabricand trim references and specialinstructions for finishes.

The costing process links samplingand production and ensures that thedesigners vision is carried through tothe shop floor. Samples are reworkedand sometimes fabrics substituted ifthe cost is too high after margins areadded (margins can be up to 250per cent for some stores to covertheir costs). Samples are beingincreasingly sent to factories in the Far East to be copied at a farcheaper rate for both fabric andlabour. But with the current andincreasing emphasis on sustainableand organic fabrics, costs are alsoincreasing so marketing plays animportant part in promoting theadded value and social conscience.

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A typical start-up designer business may well be located insmall or adapted premises. Thebasic requirements, if samples are tobe made in the design studio, are acutting table, industrial machines andpressing equipment. There should beallocated space for storage of fabrics(current season sampling fabric andproduction fabric), trims, patternpaper, final patterns and hangingequipment. A space for meetingsand showroom for visitors isdesirable for a professionalappearance. Most rental spaces for fashion companies will beconfigured to allow for all thesefunctions. Depending on how a collection is produced, it iscommon to outsource most activities to specialist providers suchas pattern cutters and sample makers.This relies on subcontractors or cut,make and trim outworker units beingable to understand the designersrequirements and specifications.

Regardless of the exact provision of resources, overheads and costs must be carefully managed and builtinto the garment costings. Manydesigners starting out with a newfashion label fail due to inadequateknowledge of the business side.Some of the most successfuldesigners, such as Yves SaintLaurent, Giorgio Armani and UKdesigner Betty Jackson founded their businesses with a business or financial expert thereby allowing clear role definitions within the company.

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Most designer collections are shown internationally as part of aseasonal show schedule of spring/summer and autumn/winter. This traditional method of showing the latest looks is the same inevery fashion capital, with a week-long schedule of fashion showsattracting buyers and press. Major fashion houses rely on theseshows to promote their brand and will more often sell through asmaller salon show or exhibition to targeted clients or through pre-collections aimed specifically at loyal customers. But increasinglydesigners are choosing to show their work in alternative ways, eitherthrough an exhibition, installation or online presentation. Nick Knightsbroadcasting website showcased ShelleyFoxs early installations. The website continues to promote alternativeways of showing collections. He promotes the work of Gareth Pughand Aitor Thorp, showing films of their installations instead oftraditional catwalk shows. Some designers collections are based on fashion as fine-art pieces or collaborations with artists. Thesegarments may be influential to fashion designers but are rarely seenas fashion pieces: they are not intended to be worn as clothing, butserve to broaden our perceptions of clothes.

Showing the collection

1 Look book of graduatecollection by Nicolas Barton.

2 Shelley Foxs PhiladelphiaFlorist exhibition at theStanley Picker Gallery,Kingston University.



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For example, in the 1930s, Elsa Schiaparelli collaborated withsurrealist artist Salvador Dali to create playful trompe loeil prints andaccessories. This collaboration was intellectually interesting, highlyinfluential and is still referenced today. Fashion designer and artistLucy Orta uses garments as a narrativeelement within a series of internationally acclaimed exhibitions. There is no immediate fashion application to these images, yet theinfluence of this work can inform the fashion process and consumer.

Another example of fashion collections showcased for enjoyment,rather than immediate commercial application, is the curatedexhibition, such as Superheroes: Fashion and Fantasy at theMetropolitan Museum of Art in New York, a thematically curatedexhibition of fashion pieces based on comic-book characters and their style. In addition, retrospective exhibitions, designed to celebrate a designers career, may create a fresh interest in a particular style or look. Examples include Giorgio Armani, Viktor & Rolf and Bill Gibb.

Capsule collectionsSome designers offer anadditional, smaller collectionin December/January, knownas the cruise collection (orholiday collection in the USA).These collections areprimarily summer lines,prepared and available before the new spring rangesare fully delivered into stores.Cruise collections are popularwith wealthy customers whoholiday at this time of year.Increasingly clients wantexclusivity. Designers such as Nicolas Ghesquire atBalenciaga have reintroducedspecialist capsule collections.Similar to haute couture,these collections are shownto private customers and are not available to a wider audience.



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Whilst often spectacular, fashionshows may not be necessary forcommercial success. Although thecatwalk shows are attended bybuyers and press, the pieces boughtfor retail may be significantly different(i.e. more wearable) and are selectedbefore the seasons collection isshown. Designers and retailerscompile each collection into a lookbook, where each piece is ranged aslooks and photographed as such.Away from the catwalk, decisions are

made on what the customer willwant when the items are available.This buying or selection process maytake place on the designerspremises or else in a rented studio.Designers who show in London, forexample, may be invited to sell atevents such as Trenois or Rendez-Vous in Paris. They can rent a salonfor the duration of the selling period usually up to two weeks so thatbuyers can make appointments tosee the collection.

Look books

1 Menswear look book byChris Owen.

2 Look book of A/W09collection by Danielle Scutt.



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Catwalk presentations are a way of showing collections in anexperiential, idealised context inorder to create press coverage aswell as orders. Costs and workloadincrease dramatically and at timesmay create no orders for thecollection. However, many designerssecure financial support or backingfor their catwalk shows, which areseen as essential in building adesigners business or brand.

All fashion shows follow a similarprocess in production, the variablesbeing budget and scale. The budgetmust allow for venue, models, music,hair, make-up, show producer,ticketing and promotion. Costs tendto be high and planning is exhaustiveas shows are typically live andscrutinised by the press, buyers and fashion experts. Decisions

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have to be made on each aspect ofthe production and invariably thereare problems that demand patienceand flexibility. At this stage of theprocess deadlines become critical,as the show will be scheduled for anexact time and date and rehearsalsare required to ensure that themodels have time to change and also understand anychoreography requirements.

The collection will usually be shown as looks, or exits, where each piece is coordinated to present the designers vision. Largercollections will be shown by colour,fabric or occasion. Shows usuallylast about half an hour, depending on the number of looks or exits.

12 Catwalk presentation ofgraduate collection byAlison Gaukroger.

3 Make-up artist VaidaMygnete with modelbackstage.



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Giles Deacon, fashion designer, interview


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How do you start your collections?We start the next collection beforewe finish the one we are working on.For example, the autumn/winter2009 research started three weeksbefore the spring/summer 2009show. We need to keep up the pacein the studio as certain staff are on amonthly salary, so we are producingall the time and do pre-collections aswell. When researching for the newcollection I use stuff that has beencollected all year round and I work in sketchbooks.

How do you develop new shapes?Patterns that havent worked in thepast are reworked. Cutters work onnew shapes from inspirational moodboards; finishes may come from anysurplus garments for new fabrics. Ialso set mini projects for assistantsand students who will go around theshops looking at how garments suchas those at Prada and Lanvin aremade. The interpretations of newstyles need to look like they comefrom Giles.

How many collections do you design?There are eight in total: two maincollections, spring/summer andautumn/winter for Giles; two pre-collections for July andNovember; and four collections a year for New Look.

How many are in your team?There are nine full-time, four part-time and a number of students.

How do you compile a colour palette?I do it instinctively, starting with coreblack and navy and adding a fewnew colours for trims. Choosing acolour is not a major problem.

Where do you source your fabrics?Japan and the UK, France for denim,lace from Austria and I develop crpefabrics in UK mills who will produce30 metres specifically for us.

How do you develop your prints and knitwear?I have a long working relationshipwith designers Fleet and Rory, whointerpret the feel of the collection orprints. Ideas develop in conjunctionwith the print designers. Rory worksthrough drawings and Fleet workstexturally. Syd will work large-scaleknitwear showpieces and fine gaugeknitwear samples are made in Italy.We also use Swarowski crystals onembroideries and prints.

How do you communicate with your cutters?I sketch ideas for our creative cutterswho work on patterns and drapingon the stand. They draw in cloth onthe stand, working spontaneouslyputting things on and often createhappy accidents that are made into toiles for the collection. We photograph everything and keep notebooks.



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How do you produce your first samples?All samples are made in the studioand if I am travelling, the team willsend images of developmentsamples by phone.

What do you define as a rangewithin a collection?Little families. I use a range gridwhich gives me an overview, forexample 70 per cent dresses, ten per cent coats, ten per cent skirtsand ten per cent tops.

How much do your dresses sell for?They start at 600 ($950) and go upto 2,000 ($3,200) in the departmentstores. Everything we show is forsale. A special one-off gown sold inBarneys or La Moda can go for30,000 ($48,000).

How many looks do you show?About 42, with the first ten lookssetting the feel of the show.

Do you collaborate with anyone else?Yes, Stephen Jones for the hats,Christian Louboutin for shoes. AlsoLCF, Swarovski and MAC aresponsors. I also work with Dell Intel,LG Phones, Tanqueray No. Ten andCPL perfumes.

Do you work with a stylist?Yes, Katie Grand. We have meetingsthroughout the season and finalisecolours and fabrics together.

Where do you sell your collection?We have a showroom in Paris to show to store directors and head buyers for two weeks after the shows.

14 Illustrations by Giles Deacon.



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How do you start yourcollections?My collections dont start with a blank sheet of paper. With thePhiladelphia Florist, I found threediaries in a flea market and lived with them for three years; then, whena fellowship came up at the StanleyPicker Gallery at Kingston University,I thought the diaries could be usedfor the project. I am constantlycollecting things but I dont alwaysknow when and where I am going touse them. I never dump an idea oncethe collection is done as ideas will gosomewhere else in the future. I thinkthere is a constant thread of interestweaving its way through eachcollection, with a different point of view depending on how you are feeling at the time. In 1998 Iproduced my first installation, calledthe Braille collection, which becamean iconic collection in the Josephstore during London Fashion Week.It has since been shown in a numberof international exhibitions; mostrecently in the exhibition calledArchaeology of the Future byforecasting guru Li Edelkoort, in Paris and Eindhoven.

How many collections do you design?Now that I am located in New York, and working around myprofessorship at Parsons, I couldonly manage one project a year orover a longer period. I think it is stillimportant for me to develop my ownway of working. I stopped producingcollections to sell in 2004. The nextbig project after that was Fashion at Belsay, an installation that wasstaged in a 19th century house inNorthumbria, England. It was basedaround clothing but as packed wallsrather than mannequin displays.

Do you compile a colour palette and, if so, how?I am not an overly colourful collection designer as I tend to focusmore on silhouette and texture, butthere have been collections where Ihave worked with scorched yellowwools, morse-code-printed fabricsand burnt sequin fabrics. Colour isnot a priority at the beginning of acollection. The all-white PhiladelphiaFlorist collection came about from a white fabric I sourced from acompany in Japan; it was moreabout fabric manipulation than print.

How and where do you source fabrics?A combination of Premire Vision forgood basics such as great suitingsand shirtings from the UK. I havedeveloped an identity for making myown fabrics, such as felting from mygraduation collection, using yarnsupplied by John Smedley, knitted at Nottingham Trent and felted inwashing machines. For production Itrain assistants in the felting processto know the right handle. No twogarments are the same in productionand the beauty is in the uniqueness.

Do you commission textiles, such as knit, print, weave and embroidery?I have worked with knitwear designer Tomoko at LivingstoneStudios for chunky hand-knits whenshe was still at the Royal College ofArt. She worked on a couple ofcollections for me. I also workedclosely with Todd and Duncan whosponsored yarns for three seasonsand then the clothing was producedin a factory in Hawick, Scotland.

Shelley Fox, fashion and textiles designer, interview



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How do you develop your shapes and silhouettes: flat pattern, draping or modelling on the stand?The early circle cutting was based on cutting up crude drawings tocreate new silhouettes. It was aprocess that developed over someearly collections; it was influenced bymy partner who is a fine artist andhas a different head on my work.Shapes are also developed on thestand and then photographs taken ofthe details; the design is developedback and forth between drawing andphotography and eventually we workon the cutting. Once the fit is right onthe stand the shapes are then madeinto a flat pattern.

How do you create your firstsamples and how many are made for each collection?First samples are made in the studio but the knitwear goes out tobe sampled in the factories straightfrom spec sheets, which havealready been sampled in toile form in the studio. For my own label,agents used to select samples from Japan that were relevant tothem and they were remade.

How many looks on average percollection are for catwalk only?I made 12 outfits for my MAcollection at Central Saint Martins but I have done up to 45 outfits,which can cost too much money torepeat in different colours and fabricsfor production. The collections wereoften confusing when they got toobig. I keep the best press pieces and usually a copy of each piece for archive and sell the rest throughsample sales.

Do you have any second lines to the main range?No, as I never really designed thecollections that way. It was moreimportant for me to focus on themain collection.

How do you work with stylists and PR for selling the collection?I have worked with different stylists in the past such as Nancy Rhodeand, more recently, Jane Howard forthe Spectres show at the V&A. I alsoworked with Abnormal PR theyheld each collection for six months to show to press and worked withme closely on the shows.

13 Shelley Foxs PhiladelphiaFlorist exhibition at theStanley Picker Gallery,Kingston University.



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What was your first collection after graduating?After freelancing for other companies(Topshop, Matthew Williamson andBora Aksu) and assisting stylists,Mandi Lennard PR asked me to do a small capsule collection of eightdresses for autumn/winter 04 calledTwisted. This was developed frommy graduate collection, which wassporty with engineered panellingbased on couture techniques. LuluKennedy at Fashion East saw it andsponsored the winter version, whichincluded jackets. I met my businesspartner who turned my spring/summer 06 collection into a realityand sold it to b Store in London. Idid three New Generation shows,which were unprecedented; one of them was a slide show, which was a collaboration with a stylist.

How do you start yourcollections?I start with silhouette, then research,which starts with mood then colourpalette. I produce a basic toile thatinforms a few outfits. I design thecomponents separately, such as fiveideas for five bottoms, then sleevesseparately, so that pieces build up. I then draw the outfits in line-ups.

How many collections do you design?I design two collections twice a year and two pre-collections.

How many are in your team?There are four cutters, one fortailoring, and I work with Jacob, who is a stylist.

How and where do you source fabrics?I source fabrics from stock that millscarry and also agents, such as anItalian agent that carries specialist silksfrom Tessio and I use fabrics fromCanepa in Switzerland for shirtings.

Where do you produce your samples?I have them made in factories inPoland and France for tailoring anddresses; shirts are made in England.

How many pieces on average percollection are for catwalk only?About 1015 per cent are for catwalkonly and are couture pieces.

How many pieces/exits are ineach collection and does this vary by season or line?It can be anything from 23 outfits to39 (which was the last collection andtoo many); usually about 35 for themain collection, with fewer in a pre-collection.

How many second lines to the main range do you have?I design a range for Thomas Pink,which started out with shirts and has now moved into dresses (I havedone a photo shoot using model Ben Grimes, which is very differentfor them). I also design a range forDesigner Collaborations at Topshop.I also do a shirt range called RichardNicoll Shirt for Barneys in New York.

Do you collaborate with other sponsors or brands?I work with Christian Louboutin onshoes, Serapian for bags and Ksubifor sunglasses. I do the entire lookwith the running order, includingaccessories. My hats for thecollections are made by Jeffrey Pullman.

1 Look book of S/S09 pre-collection by Richard Nicoll.





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How do you start your collections? I go to Premire Vision to look for fabrics with an idea of somethingI have researched before. I find newthings, developments in fabrics, thendo more in-depth research looking inlibraries and markets for themes and inspiration. Researching is 24-hour looking, with fresh ideasevery season.

How many collections do you design? Four: two seasonal collections for Armand Basi in Spain and two for my own label Markus Lupfer inLondon. For pre-season ranges I will have a core range and addembroidery or dip-dye for a flexible service.

Do you compile a colour palette and, if so, how?After Premire Vision I decide oncolourways to sample, depending onthe season, but I always keep it openbecause fashion is a chameleon andit is important to change with howyou feel and bring in personal soul.

How and where do you source fabrics?Italy, France, Germany and Japan. I also go to Moda In, a fabric fair inMilan, but it is not as important asPremire Vision. I also visit agenciesand specialist mills.

Do you commission textiles: knit,print, weave and embroidery?Knit and jersey for Markus Lupferand knit, jersey, woven and leatherfor Armand Basi. I give researchinspiration to knitters and embroiderersto develop things in the season; ifcommissioned too far ahead thingsmay change within the collection. I source embroideries in India forArmand Basi and in Hong Kong and the UK for Markus Lupfer.

How do you develop your shapesand silhouettes?Before and after Premire Vision I will collect a file of initial ideas andtear sheets to create a library; this is where the pyramid starts. Thepyramid represents the ideas beingrefined and edited right up until thefinal collection, which is the peak.

For my own collection I start with flat patterns, then modelling on thestand and back to flat patterns.

Where do you create your firstsamples and how many for each collection?Samples for Markus Lupfer are made in London; for Armand Basithey are made in the factory in Spain.For Armand Basi I have to draw up arange plan of first designs early on asit is a ready-to-wear line and I need toprovide all the designs as accuratelyas possible. Only during the fittingscan I change styles. If a look is not inplace I will have to drop it so that I canfocus on the range plan of designsgoing into the collection. The rangewill consist of coats, jackets, trousers,dresses, tops and skirts. About 810dresses will be in the final collectiondepending on the season.

On average, how many looks percollection are for catwalk only?For Armand Basi usually about 35,which are approved by their PR.

How many looks are there in each collection?For Armand Basi looks vary and canbe between 125 and 150 pieces foreach collection. For Markus Lupferthere are 70 pieces in eachcollection. For jersey they includetops, dresses, jackets, trousers andskirts, and for knitwear they includedresses, tops and cardigans.

How many second lines to themain range do you design?Markus Lupfer for Topshop only.

Do you collaborate with othersponsors or brands?I have collaborated with Kangol,Mulberry, Ruffo and Cacharel withClements Ribeiro, who I used towork for. I dont have any particular sponsors.

How do you edit and present the collections to your clients?Through my PR for Markus Lupferand with a stylist for Armand Basi.

Where do you sell yourcollections?I sell in Japan and Germany. I amgoing to be selling the Markus Lupferknitwear and jersey pieces online forASOS, which is very exciting.

Any advice for graduates who want to design their own collections?You have to be determined and haveto love it. If you are not 100 per centabout it then dont start!

Markus Lupfer, fashion designer, interview

1 Markus Lupfer resortcollection 2009.



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How do you start your collections?I usually start by visiting libraries,sourcing images and looking at how clothes are worn. My idealwoman would be someone likeCharlotte Rampling; intelligent andinteresting, not a glitzy person. Iprefer to think about real women,and this influences my own design style.

How would you describe your design style?Evening wear, glamour with a twist.Comfort is important. I check the fitmyself with the models and listen totheir comments as the garments arebeing developed. I dont like todesign for stick-thin women.

You graduated in 2007 how didyou get to this stage so quickly?During my time at college I hadworked at Giles on placement andcontinued this during my final year. I spent one season at Giles when I graduated. Whilst at college I won a scholarship, sponsored byMarchpole, in London. Marchpolehas links with Jean Charles deCastelbajac in Paris, which led to an interview and the offer of aposition there. I was one of Monsieurde Castelbajacs assistants. It wasgreat and I learned a lot. In France,the employment law means that afterthree months the contract can beextended towards a permanentposition, which is what the companyplanned. Living in Paris was great

and the company had arranged anapartment for me, but at the pointwhere my contract was going to beextended, I was contacted by acompany in the UK who had seenmy work at the degree show. Thecompany were interested in workingwith me, to back me as a designer. I decided this was a greatopportunity, and returned to London to pursue this collaboration.

How did you start your own label?I approached a number oforganisations to find out more aboutsupport and showing in London. Mybacker has financed a show for meand is happy for me to develop myown range in this way, whilst workingwith them.


William Tempest, fashion designer, interview



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How did you develop this new collection?Its a spring/summer collection, and I started by looking at my graduatecollection glamour with an edge ortwist. I went to Harvey Nichols andSelfridges to look at price points forsimilar fashion commercially viablepieces. Then I went to PremireVision in Paris for fabric sourcing; I had made a number of contactswhilst at Giles, so that was reallyhelpful. Im working on 12 outfits for this collection.

Is it tough doing everythingyourself, in terms of managing it all?Well, its about 40 per cent creativity and 60 per cent businessand managing. Total organisation isrequired to make it work. I produceweekly plans to ensure that everythingis going to schedule. Working forGiles and Castelbajac was invaluabletoo hands-on experience in how abusiness works.

12 A/W08 collection by WilliamTempest.



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