Apparel Magazine // June 2014

$ 9.00

JUNE 2014 VOL 47 NO 5

www.apparelmagazine.co.nz

WORLD

Celebrates 25 Years pg 20

16

10

03

NEWS

STUDENT 101

COLOUR TRENDING

26

22

EDITD

ROYAL GOLD

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FASHIONABLE

EDITOR’S letter WINTER is definitely making itself known with cold crisp mornings and that wind and rain settling in. However, this cold snap doesn’t look to be slowing down business opportunities as yet. The past month has been a busy one, from spring/summer collections being released to restructuring of major industry game players.

In this month’s issue, we have profiled students from around the country, showcasing their talent and enthusiasm they have for the industry, it is great to see so many young up and coming people that want to join the fastpaced world we work in today.

Also to be noted is our new Apparel RADAR section where we share with you new brands and retailers that you should keep tabs on. If you are a new brand or are starting up a new company/line, we would love to hear from you!

The Apparel team is looking forward to attending Fashion Exposed later this year where the Australian fashion industry comes together to seek and discover what’s new in apparel, footwear and accessories.

Thousands of buyers are offered an unparalleled opportunity to discover new

labels, keep up-to-date with trends and network to build relationships with new designers and wholesalers.

The three-day trade event also hosts comprehensive business seminars. This year will deliver a fantastic line-up of seminars on a hot range of retail topics from visual merchandising to social media, and branding to trend forecasting.

Have a great month!

Sarah

sarah@reviewmags.com

READS

Empress of Fashion: A Life of Diana Vreeland

by Amanda Mackenzie Stuart This biography of the iconic fashion editor Diana Vreeland is a must-read. The book chronicles Vreeland’s career from her beginnings at Harper’s Bazaar and Vogue, to her time consulting the Costume Institute at the Metropolitan Museum of Art.

contributors Schiaparelli & Prada: Impossible Conversations

CHRIS VINCENT Practicology

pg8

THOMAS FOWLER

KATIE SMITH

Editorial Assistant

Trend Analyst, EDITD www.editd.com/blog

pg23

pg22

ANYA ANDERSON Managing Director RedSeed Ltd Christchurch www.redseed.me

pg24

Photograher

CORINNE BLUMSKY

CHRIS WILKINSON

Managing Director of Strategists, First Retail Group www.firstretailgroup.com

Partner at AJ Park corinne.blumsky@ ajpark.com

pg24

CAITLAN MITCHELL

by Andrew Bolton and Harold Koda, with an introduction by Judith Thurman; new photography by Toby McFarlan Pond and David Sims Miuccia Prada and Elsa Schiaparelli were from two different periods but share incredible similarities in design strategies and fashion manifestos. “Impossible Conversations” lays out the similarities between the two designers, presented as a conversation and illustrated through beautiful photographs.

NORRIE MONTGOMERY Phortgrapher

pg25

Fashionable Selby PUBLISHER EDITOR SALES & MARKETING SALES & EDITORIAL COORDINATOR ADVERTISING SALES SENIOR DESIGNER DESIGNER

Peter Mitchell - peter@reviewmags.com Sarah Mitchell - sarah@reviewmags.com Tania Walters - tania@reviewmags.com Jessica-Belle Greer - jessica@reviewmags.com Sarah Mitchell - sarah@reviewmags.com Raymund Sarmiento - raymund@reviewmags.com Maddi Duthie - maddie@reviewmags.com

PHOTOGRAPHER Caitlan Mitchell - caitlan@reviewmags.com EDITORIAL ASSISTANTS Nathalie Owen, Dearra Naidoo CIRCULATION/ADMIN Kieran Mitchell - kieran@reviewmags.com ISSN 1171-2287 Level 3, Suite 9, 20 Augustus Tce, Parnell, Auckland,

PO Box 37 140, Parnell, Auckland Tel (09) 304 0142 Fax (09) 377 2794

NZ Apparel is published monthly under licence. Please direct all enquiries and correspondence to NZ Apparel. The opinions and material published in this edition of NZ Apparel are not necessarily those of the publishers unless specifically stated. All material appearing in NZ Apparel is copyright and may only be reproduced with the consent of the publisher. Copyright 2014 NZ Apparel Magazine.

by Tom Selby Renowned photographer Tom Selby takes on the fashion world with his latest instalment in the ‘Selby’ series. This beautiful coffee table book profiles current designers, stylists, models and even shoemakers - taking the reader through the creative process, from production to final pieces.

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NEWS ICEBREAKER APPOINTS CEO

JEREMY MOON AND ROB FYFE

New Zealand merino wool apparel brand Icebreaker has announced the appointment of Rob Fyfe as chief executive officer of the company. In the past nine months, Fyfe as executive chairman of the board, has worked alongside company founder Jeremy Moon to grow the brand into a world-class omnichannel business. Taking effect in June, the new corporate structure will see Fyfe taking on the role of CEO and is designed to capitalise on Fyfe’s extensive experience at the helm of a global business and Moon’s visionary product and creative expertise.

PARISIAN X LIBERTY FOR MEN AND WOMEN

“I am excited and honoured for the opportunity to lead this incredible team towards the next stage in the company’s evolution,” said Fyfe.

Over the past few years, Icebreaker has been evolving to become a multi-channel integrated business with 19 company-branded retail stores, over 4000 wholesale customers, direct 3Commerce and over 400 employees. Sales have tripled in the last six years with sales projected to exceed $200m in 2014, with 80 per cent of these sales now in Europe and North America.

New Zealand’s premier tie maker, Parisian has teamed up with iconic design house Liberty of London to bring this range of accoutrements from the Liberty Art Collection. Printed on Liberty’s famous tana lawn cotton, the designs all have a floral/paisley theme to them, but with colour palettes that transcend the decades of the collection’s history. To give stores the ultimate in flexibility, each design is available in two widths of necktie, a pre-tied and a self-tie bow, and a pocket square for the finishing touch.

Parisian has dug into its own archives to resurrect and reinvent the two bow styles, the chumley and the batwing. Combining Liberty’s tana lawn with a cotton drill, not only gives an aesthetically pleasing peek of solid colour to the bows, but the additional robustness makes it easy to manipulate the bow into a puffed or flat shape, whatever suits the occasion. The Chumley pre-tied bow has neat dimensions making it ideal for both men and women. Similarly, the neckties comfortably cross the gender boundary, with a slim 6.5cm width pattern available. The order period closes in mid July for delivery in September. Contact Dennis at Parisian – 09 303 4129

3D BRA UNVEILED

Bras n Things have launched its Curvessence range. The world’s first 3D bra is engineered with nylon ribs that act as a replacement to the underwire. This brand-new patented technology is the most exciting development since the underwire bra was developed. The wire free innovation has been engineered in partnership with industry expert Kay Cohen, who has over twenty years experience in lingerie design. The Curvessence 3D technology uses the latest in 3D body scanning to create unique ribs which curve around the bust instead of sitting flat. “By capturing thousands of 3D body scans, Convessence studied and learned from the shapes of real women’s bodies and used these findings as the basis of creating this industry first innovation,” said Natalie Lenton, general manager of product at BNT.

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NEWS NIKE HIGH SPEED MACHINE

A running shoe designed for speed, Nike has unveiled the Nike Air Zoom Pegasus 31 this month. The Pegasus 31 is a result of the Nike design team partnering closely with double Olympic champion, Mo Farah and leveraging the insights from over 16,000 wear-tested miles logged by runners of all levels. As always, much of the design and inspiration for the shoe came from working with, testing and listening to athletes. The latest shoe retains key features loved by loyal Pegasus runners – heel Zoom Air units for a cushioned, quick and responsive ride, a breathable upper and excellent fit.

UNIQUE MODELS NZ LAUNCH

Launched earlier this month, Unique Model Management brings together longtime agents Andrea Basile and Ursula Dixon in a new venture. The duo bring years of experience in the industry and have scouted, developed and worked with many of New Zealand’s top models. Their boutique approach allows them to focus on providing individualised care and attention to models and clients.

PERSONNEL PRE-SCREENING

There have been a number of recent high profile examples where lack of adequate pre-employment investigation during recruitment has led to brand damage and costly legal processes.

“The apparel industry is particularly reliant on brand image supported by staff integrity and excellent customer service,” said Richard Miller of Intracheck Employment Screening Solutions. He said pre-employment screening meaning due diligence was often overlooked in the recruitment process but many large businesses now rely on it to protect their image.

“There are a wide range of checks available including credit, criminal history, immigration, references and qualifications and this is now recommended for all cash handling roles where financial stability is critical. “Of course not everybody with a bad credit rating or a criminal record is going to be a risk but it is often asked whether businesses should be exposed,” he said.

Certainly the appropriate checks will save time and resources during recruitment and improve the chances of employing the right candidate. For about $100, employers can now gain valuable insight into an employee’s background and minimise risk.

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NEWS NZ WOOL WEEK CAMPAIGN

ABOVE: Sheep walking through Britomart, Auckland. BELOW (clockwise from left): Mr Sheep and friends in Britomart, Anna Caselberg and Billy Black, Zambesi window for Wool Week, Billy Black showing off his sheering skills.

With an aim to inspire and promote participation from the NZ apparel industry, fashion editor and stylist Anna Caselberg signed up many local fashion designers as brand partners in The Campaign for Wool NZ. In the process of this, Caselberg caught the attention of Bay de Lautour, chairman of Primary Wool and one of the directors of Elders/Primary Wool. Mr de Lautour provided huge support and backed the initiative to launch a billboard campaign followed by Wool Week NZ in support of the global Campaign for Wool.

The national campaign featured a strong retail focus with participating stores unveiling ‘Wool Window’ installations created by local designers throughout the country. Having sheep in the city helped mark the opening of wool weeks globally from Sydney to New York and Milan. NZ Wool Week launch saw its very own Billy Black ‘the Sheep Man’ who guided his show sheep through Auckland’s Britomart to open the event and demonstrated some of the remarkable fire retardant qualities of wool. Noted wool artist Miranda Brown wrapped trees and the week also saw an after-dark projection above Britomart Country Club that highlighted both the Wool Windows and the winter 2014 campaign images from participating designers. Renowned photographer Sara Orme, who shares Caselberg’s passion for wool, joined the campaign to create a nationwide billboard campaign entitled ‘We’re Loving Wool’.

“We wanted to bring wool alive, to make it accessible to everyone and make people fall in love with wool again. We wanted to make it the unquestionable fibre of choice,” said Orme. Caselberg and Orme wanted Wool Week 2014 to result in driving awareness and to see more wool content in our garments and generate consumer spend and demand. “We see wool as a modern choice – it’s the most environmentally friendly and sustainable fibre of choice. It’s renewable, biodegradable, and breathable and is grown right here in NZ! The ultimate would be to see more of New Zealand’s wool mills re-opening here as we have seen happening in Britain, Wales, and Scotland,” said Caselberg.

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NEWS JAMIE’S WORLD VENTURE INTO APPAREL

Jamie’s World is a popular YouTube channel produced by 16-year-old Jamie Curry from the Hawkes Bay. Curry’s hilarious videos have attracted millions of fans throughout the world.

Curry is now trying her hand at design, with a range of womens and mens tee shirts with phrases such as “Keep Calm and Curry On” and “Shark Face”. The tee shirts can be bought online from her website and retail for $35 dollars.

POSTIE PLUS VOLUNTARY ADMINISTRATION Earlier this month the Postie Plus Group went into voluntary administration. There are 82 Postie stores nationwide that will be affected and existing employees have been told that they will remain in their current roles and will continue to work agreed hours unless otherwise advised. “This does not come as a surprise to us,” said Maxine Gay, retail secretary at First Union. “The last few years have been hard on the Postie Plus Group, and they have struggled to deal with serious supply chain issues.”

Gay also said that she was pleased to hear that they have voluntarily relinquished administration of the business and have been informed by the administrator that there are a number of credible and interested parties. The administrators, Pricewaterhouse Coopers, have announced there will be a creditors meeting that employees will attend to find out more about the company’s future.

STUDENTS ON TOP FORM AT COLOMBO

In the brand-driven world of fashion, strong imagery is a key to success so CPIT third year fashion design and technology students are delighted to be working with one of Christchurch’s best fashion photographers Dave Richards for FORM 2014. FORM will showcase student collections through photos, lookbooks and racks of garments – some of which will be for sale on the night at the Colombo.

The collections were directed by industry partners that the students completed their work experience with, including Karen Walker, Nom*D and Lonely Hearts. Working with Richards, whose customers include WORLD and Ballentynes is another way for students to gain first-hand experience within the industry. Photo by Dave Richards.

WOOLON CREATIVE AWARDS

WoolOn is a celebration of creativity and design that highlights wool as a fashion fibre, and a gala event of the Alexandra Blossom Festival.

New Zealand and international designers compete for the supreme award presented at a gala fashion and entertainment showcase. Entries are now open to all designers and creative’s to “spin a yarn” design in a variety of classes from felted accessories to eveningwear. Garments will be modeled at the WoolOn Gala Fashion Awards on Saturday 11th October.

Entries are available at www. blossom.co.nz. Pictured here is the 2013 winner of the Supreme Award entitled Radiation by Daphne Randle.

CADBURY COUTURE

The Cadbury Couture Fashion show celebrates the considerable fashion and creative talent around New Zealand. The popular event is held during the Dunedin Cadbury Chocolate Carnival in July. Entrants must create wearable artwork made only with their imagination and Cadbury chocolate foils. For the second year running, renowned fashion designer Margi Robertson from Nom*D has been announced as a guest judge. Along with Tamsin Cooper, both judges bring a wealth of local and international experience to the competition. “I am delighted to be judging the Cadbury Couture runway show again this year; it was incredible to see what people created last year – the level of detail that entrants put into their garments was amazing,” said Robertson.

For entry information visit www.chocolatecarnival.co.nz/ competition.

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CONNECT

#minimefashion WHAT they said . . .

“There is an upward trend among clients for individuality, and bespoke tailoring in its own right is individual — it fits you and no one else.” — William Skinner “Our aim is not to copy other fashion brands, it’s to give a new, more modern vision to our savoir faire.”

— Lorenzo Cifonelli “Everyone at Vanity Fair is very nervous because I really

don’t know where the line is. That fine line — I’m very confused where that line is.” — Michael Carl “There is no other event like the World Cup. It’s unique in terms of exclusivity and worldwide exposure,” — Peter Rohlmann “We have to have a lot to drink and dance a lot. Then maybe I’ll get back on the mic.” — Victoria Beckham

theWINDOW

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BEHIND THE BUSINESS

In Conversation With . . .

Dale Cooley from Papillon Boutique AFTER purchasing the store 16 months ago and a background in microbiology, Cooley has figured out the science of retailing.

Fashion retailing seemed like the natural choice for Dale Cooley when she wanted to pursue something she was passionate about. “I had been acting as a personal shopper and stylist for friends for a while and people were always asking me where I got my clothes from, so I decided to follow that passion. I didn’t want to design clothing as we have so many talented designers here in New Zealand already.”

The store was established in 2003 by Gretchen Paape, who wanted to showcase fashionable clothing from top local and international labels, that were previously unavailable in Hawke’s Bay. Spending time in store is important for Cooley as she loves to be involved in all aspects of the business, “Finding that outfit for a customer that makes them feel a million dollars and seeing the smile on their face as they look at themselves in the mirror is my favourite part about owning a store”. And together, with two of her part time staff the team works together to meet all their customers needs. With one staff member is a generation younger and the other a generation older, Cooley believes this has helped customers see that most labels can be worn at any age, they are just worn differently.

How do you manage the online vs bricks and mortar aspect of the business?

“Our online store is linked to our in-store POS system so inventory is automatically updated in both the store system and online when a sale is made. Online sales generate an email, which is received in-store, and the items are packaged up and sent out. It is a seamless and simple system, which you don’t need to be a computer genius to operate, thank goodness.”

What percentage of your business is online? Is this a popular option?

“The percentage of online sales is still small for us. We find our website is mostly used by our customers who visit us in store to keep up with new arrivals. Our online business is often driven by our suppliers selling out and by overseas customers, especially Australia, who are seeking out New Zealand designers. Most of the suppliers who have websites list our website under stockists and we get a lot of business from this. They are also happy to work with us by supplying artwork for our website.”

In what ways are you working to give customers a great in-store or online experience?

“We try and maximize our display space in store to show key new pieces and combinations. We often find customers need and appreciate being shown a garment or accessory that they hadn’t thought of purchasing or would work for them. The key to this is engaging with them. Finding their favourite styles and labels, and suggesting complementary pieces. We want our customers to treat shopping at Papillon as a fun and enjoyable experience, and to leave feeling and looking great. We have been conscious to retain a consistent branding around our logos and colour choices throughout our store and reflected in our carry bags, website and emails.”

How are you communicating with your customers?

“We generate periodic emails using mail software. Our subscriber list has slowly been building from both in-store and online sales. We target emails at the start of new season releases, sale time and when we have special promotions. We also have some customers that prefer to receive a phone call or text message when their favourite labels arrive in-store. We like that as it is all part of building a relationship with the customer.”

Multichannel Cross Pollination – how to make your stores blossom

By Chris Vincent

I WAS inspired recently by a discussion I had with a new client about their process easy if you want to return it via post, but even easier if you want to business and how the online store was positioned within the overall business. return it to store.

They were focused on ecommerce sales as THE metric for success in this To get store engagement right you need to have some sort of incentive for channel. Although the online store was growing at a rapid rate, it was from a store staff to service your online customer. I’ve seen way too many businesses low base. This client didn’t see this outgrowing their largest that have store staff solely remunerated based on sales or, bricks and mortar location anytime soon (not even close!). worse, not incentivised at all. In the multichannel world, My favorite saying I gave pause for thought; there are two ways to answer what happens when someone wants to exchange or return this question. The easy way would be to cite industry stats a sale that didn’t even originate in the store grid? here is that a rising and benchmarks to talk about how online should be their Don’t limit your online strategy to just sales oriented tide raises all boats largest store by a long shot but that isn’t the whole answer, metrics for online, think about how you can drive traffic is it? The reality is that you want to empower customers to to stores as a way to improve your entire business. Really and this is entirely shop your brand how they want to and that means that you think about all the touch points your customer will engage applicable to the should be thinking about your other assets; namely stores! you on, and make sure the store staff are behind you. The Thinking about cross-pollination between channels is more convenience you offer customers across your entire multichannel space the type of thinking that can help lift the entire business. chain, the more likely you are to gain and retain those when you get the My favorite saying here is that a rising tide raises all valuable customers. mix right. boats and this is entirely applicable to the multichannel How do you measure success in the multichannel space when you get the mix right. You can and should be world? encouraging your customers to visit your store channel. This can be done by Chris Vincent from Practicology, will be sharing his ecommerce insights offering a fitting service if you are more high-end and luxury or perhaps if at Fashion Exposed Sydney 16th-18th August. Register for free online nowyou have complex garments that naturally lend themselves to being tried on. fashionexposed.com For all other brands you can offer a pick up in-store service. In a recent study 43% of all US online shoppers said they currently use this service as a way to shop brands. Of course, the other way you can encourage both online sales and store engagement is to offer free returns; this makes the

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FAS

BEHIND THE BUSINESS 16—18 AUGUST 2014 SYDNEY SHOWGROUND

“Fashion Exposed is very important to see what labels are on offer, and so I can learn more about business” KYLIE GOLSBY SMITH, THE CAT’S MEOW FASHION BOUTIQUE

REGISTER NOW AT FASHIONEXPOSED.COM apparelmagazine.co.nz

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STUDENT 101 Apparel spoke to current students and graduates from around the country about their plans for the future and the importance of a formal fashion education in today’s industry.

NATALIE SAUNDERS

RENUKA MALIK

Photo: Chloe Fitz-Gerald The Bachelor of Creative Industries (BCI) is an exciting new degree, launched this year at the Bay of Plenty Polytechnic. The development of the degree is in response to intensive research into the creative industries to determine just what type of graduate is needed to work and thrive in the creative workplace. The overwhelming feedback was that graduates needed to be multi-disciplinary, able to work collaboratively and have an acute awareness of this ever-changing field. Students can choose to specialise in art, fashion or graphic design.

First year student on the BCI is 19 year old Natalie Saunders. She originally wanted to qualify in fashion design, but having looked closely at the BCI, was interested in the depth of the degree. “It’s a course with a range of creative fields that helps teach you ways in which industries run and how to think creatively to work well in an industry alongside other people. I’ve chosen to specialise in fashion.”

Already half way through her first year, Natalie is thriving in the busy environment.

“I have classes three days a week – Creative Core , Drawing for Design and Fashion Design, and Visual Art. Most of my days are all about practical work. Bookwork and research is expected to be independent study.

I’ve had days in my drawing for design class that go extremely fast because we are hands on sketching and doing practical work which is really great.

I usually go home feeling like I have accomplished a lot of work in a day.

Our second year will begin to put us in situations where we will have to work together to create an industry running project and work with others from different creative fields.”

Scoring a work placement with Nom*D was a coup for CPIT Fashion Design and Technology Diploma student Renuka Malik.

Renuka earned a rare work placement opportunity with Nom*D through her success at the Hokonui Fashion Awards where she won top prize, the Southland Times Award of Excellence. “I knew that Margi had heard of me because she was one of the judges at Hokonui, so I gave her a call,” Renuka says. “I really like their style,” Renuka says of the label renowned for darkly brooding and often asymmetrical ensembles. During Renuka’s work placement she performed a wide variety of tasks and got some invaluable industry experience with a label that helped put New Zealand on the global fashion map.

Now Renuka is putting her experience and skills into a collection for FORM (CPIT’s mid-year fashion exhibition by final-year students). The brief is given by designers the students completed their work placement with. “Margi asked me to design pieces that would slot into their current collection ‘I Will Be Good’.” The resulting pieces echo school uniform sensibility with twists and details like buckles from school bags.

But for now Renuka is concentrating on her final year of study. “This course has very high standards,” she says. “You learn a lot. I came here with no experience and now I am doing a collection from start to finish for Nom*D.”

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SARAH XIAOPING JONES

RUBY DAVISON

EASTERN INSTITUTE OF TECHNOLOGY

DAS TRAINING

Originally from the city of Shenzhen in China, Sarah moved to New Zealand to study and graduated from Whitirea Polytechnic with a NZDB in Marketing. After graduating, Sarah wanted to follow her passion and interest in clothing and fashion design and she knew then that she wanted to enroll in a course that would help her own her own fashion based business. After some research, she decided to take up the free trial offered at DAS Training and fell in love with the garment construction process, then went on to enroll in the S.I.T Zero Fees Design and Pattern Making course that was offered by DAS. These courses have allowed Sarah to enter many competitions and fashion shows including the Miss World (NZ) pageant for 2014.

“My inspiration and motivation comes from the personal satisfaction I get, by enhancing the human form through fashion.”

Sarah’s next step will see her enroll in the SIT Bachelor of Fashion in Invercargill.

Pictured here is Sarah with two of the four garments designed for the Miss World 2014 pageant.

EIT fashion design student Ruby Davison loves working with natural fibres, recycled materials and environmentally friendly dyes.

“I’m from a very organic family,” the 18-year-old from Napier explains.

“I’d rather take the creative path than pursue industry-driven fashion.”

As a youngster, she sewed at her grandmother’s house as her grandmother was a sewing “guru”, said Ruby. Her entrée to study at EIT’s ideaschool was a STAR course, which she chose because her school didn’t offer textile technology.

From there she progressed to EIT’s Certificate of Fashion Apparel and is now in her final year.

“What I like doing is hand-stitching rather than the drawing side of fashion. But now that I’ve been taught how to illustrate I enjoy that more than I did.”

Ruby bought an adjustable mannequin and pins and stitches using that.

“I make the clothes to my body shape,” she says of her tall, slim frame. “I like using organic fabrics, second-hand materials and sustainable textiles and using coffee and onion skins as dyes. “There’s a lot of clothing I’ve crafted at home but I haven’t thought of selling it yet.”

After graduating, Ruby plans travelling to Vietnam and Thailand to collect more of the materials she loves.

Create Your Future

Anna Spicer fashion design

Massey University College of Creative Arts Toi Rauwharangi creative.massey.ac.nz

Ann Li fashion design

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STUDENT101 DANI LARIMER

MASSEY UNIVERSITY WELLINGTON

With a multi-national background, Dani Larimer’s collection Not a Label explores and visualises multiracial diversity and celebrates it, with the aim of further developing society’s acceptance.

“Fashion is frequently an external expression of identity and my work showcases multiracial diversity on a positive platform. This diversity is represented by external traits and garment interaction; skin and hair are primary aspects that inform this design through colour and texture.”

All of the garments in the collection are reversible with a design feature that reveals the opposite side. This element enables both audience and wearer to discover different dimensions of the garments, challenging initial perception. “Not a Label highlights and challenges issues around ethnicity and identity, particularly predetermined associations. Exposing flaws in predetermined ways of thinking will educate society about where we stand in relation to true equality,” Larimer says of the collection.

a week to attend the academy; this was where she finally felt she could start her dream of working in the Fashion Industry.

Fiona loved the Patternmaking portion of her study, and is looking for a position as a patternmaker in the future. The Academy uses a patternmaking template which enabled her to quickly understand the basics and to draft her own blocks from any measurements. No arduous metric system of measuring and fitting, the patternmaking tool allows Fiona to make quick and easy adaptations of her own or others designs.

Fiona is heading towards the completion of her Diploma in Apparel Production Level 3 with good basic skills that will see her excel in the future either in the industry or if she wants to go onto further study in her chosen field.

ERIN WELLINGTON NEW ZEALAND FASHION TECHNOLOGY

FOLLOWING an interest in fabrics, design and photography at school Erin was always interested in the fashion industry. Dissuaded by the normality of her choice it wasn’t until Erin competed in ‘Trash to Fashion’ that her interest turned into a potential career option.

After completing a Taster Course at AUT, Erin sought out New Zealand Fashion Tech in order to obtain a more practical approach to fashion design and

FIONA CHI

NZ ACADEMY OF FASHION DESIGN

Fiona joined the NZ Academy of Fashion Design on the mid year intake in 2013 and is now finalising her Diploma in Fashion from PAAV\Q-SET in the UK. Fiona’s desire was to get a start in fashion and learn the basics, as she wanted to construct her own fashion. She quickly found herself looking forward to travelling by train and bus twice

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CONNECTED & SUCCEEDING Call 0508 327 872 Miss World (NZ) wearing the National Costume designed by sewtec student Amy Lautogo

www.dastraining.co.nz

Wintec is proud to have NYNE on board as our Designers in Residence. Our fashion students are inspired by the advice, expertise and critique from NYNE, and it leads to success – just check out Mitchell Vincent, Wintec Fashion graduate and MIROMODA finalist. *Subject to NZQA approval

BACHELOR OF MEDIA ARTS (FASHION) wintec.ac.nz/fashion

create your world

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was inspired by the paper dress challenge made famous by NZFT. Erin approaches her design with the female figure in mind - seeking to enhance feminine shapes rather than hide them, incorporating classic elements and transforming them into a contemporary offering for the modern market. Erin is a keen patternmaker and was recently awarded along with her family the Best Dressed Family at the Ellerslie Boxing Day races in which she created her families clothing with hopes of taking her award winning skills into the professional market.

GEORGIA FERGUSON OTAGO POLYTECHNIC

AFTER extensive travels throughout her study and graduation from Otago Polytechnic, Georgia Ferguson has finally settled in Auckland where she is developing her latest collection.

Georgia enjoyed the intimate teaching environment at Otago Polytechnic and praised the school for offering opportunities to take her abroad. Ferguson studied her final semester in Milan before heading to Shanghai to capture her first collection and showcase in their local fashion week. The highlight of her career so far has been her debut in New Zealand at the iD fashion week where she competed in the emerging designers competition, making connections both within New Zealand and internationally. The invaluable information obtained from her past lecturers is what Georgia uses to guide her through the challenges of establishing herself within New Zealand as an up and coming young designer.

LENON WAWUKA

SOUTHERN INSTITUTE OF TECHNOLOGY

Southern Institute of Technology Bachelor of Fashion Design student Lenon Wawuka stepped into the spotlight when he displayed his fashion designs and culture to the producers of popular TV3 show, Both Worlds. Lenon is training to be a fashion designer and being African from Zimbabwean decent he utilises his cultural heritage in his designs. Lenon says, “We learn to appreciate our culture and who we are when we are in another country and because of this it has inspired me to express my culture through my fashion design”.

The production crew of Both Worlds filmed Lenon, as he prepared to make his unconventional wear garment in his SIT fashion class with Lindah Lepou. Both Worlds producer Kate Cresswell said “It will give an audience an insight into the life of a fashion design student, one who is flamboyant and an intriguing character, and along the way learn about how Lenon manages to be Kiwi and African at the same time.”

GINA STEVEN UCOL

UCOL Bachelor of Fashion student Gina Steven may have six months of her degree to go but she is already getting first-hand experience at two top London Fashion Houses.

The highly motivated 21 year old is currently spending time with New Zealand

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STUDENT101 born and British based designer Emilia Wickstead, and Kate Halfpenny of Halfpenny London, on a self-funded internship. She is well on the way to realising her dream of owning her own fashion business. Gina says the small class numbers were the main draw card for her decision to study fashion at Whanganui UCOL. “We get a lot of one on one teacher time,” she says.

“I’m just loving it.”

COURTNEY HARPER

WHITECLIFFE FASHION DESIGN

RECENT Whitecliffe graduate Courtney Harper has been awarded first prize in the Fashion and Textile Design category of 2014 Australasian graduate of the year award (AGOTYA). Harper focussed her work towards the implications of the fast-fashion industry.

Harpers statement ‘a balance between creativity, functionality and sustainability is an integral part of my design philosophy’ struck the judges Claire Beale and Christine Hunter by surprise explaining that such a targeted approach to fundamental issues surrounding the current fashion industry is a fresh and exciting research topic for a young designer. Harpers past tutors have expressed their excitement over the award and remember her being an intelligent and thoughtful investigator who paid close attention to contemporary global concerns. Showing resolution in her work and seamless sophistication also saw Harper snap up both the Year Four Whitecliffe Fashion Prize and the Year Four Bachelor of Fine Arts Prize.

MADELEINE SCHULZ WINTEC

Photo: Peter Drury Madeleine Schulz is a young designer going places.

Currently in her final year at Wintec, Madeleine has won many prizes for her skills and expertise, including top new entrant during her first year. Creating unique and versatile garments is a forte of Madeleine’s. Her interpretation for the celebration of YKK hundred year anniversary of the zip in New Zealand involved an impressive zipped neckpiece as part of a four-piece outfit.

Her attention to detail and excellent construction skills came together and she was awarded the top overall student in her first year. Other accolades include Hawes and Freer for Excellence in Fabric Use, and during the Wintec Designers in Residence programme with Nyne, Most Commercial Outfit.

Wintec will be launching the fashion degree as an endorsement of the Bachelor in Media Arts in 2015, where students can study their degree with other creatives and prepare a pathway of study to suit the ever changing demands of the fashion industry.

Contact EIT Hawke’s Bay or Gisborne for your Application Pack: (06) 974 8000 x 5019 ideaschool@eit.ac.nz or visit www.eit.ac.nz

Full CMT Service Providing end to end solutions for sampling and production • Pattern Grading • Cutting • Making • Finishing • Pressing • Ticketing

Providing quality for 25 years Your label at the centre of our business

Call us today on 09 444 9010 or email us at

enquiries@kerilinfashions.co.nz for our introductory offer www.kerilinfashions.co.nz

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Your businesses are as varied as our students . . .

. . . let us help you make the best match through work experience and employment options.

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pretty pink BEHIND THE BUSINESS

IN IN IN IN

RESENEPRETTY PRETTYIN INPINK PINK RESENE RESENE PRETTYIN IN PINK GIAMBATTISTA VALLI RESENE PRETTY PINK GIAMBATTISTA VALLI GIAMBATTISTAVALLI VALLI GIAMBATTISTA

RESENE TWILIGHT RESENE TWILIGHT RESENE TWILIGHT MONIQUE LHIULLIER RESENE TWILIGHT MONIQUE LHIULLIER MONIQUE LHIULLIER MONIQUE LHIULLIER

RESENE GELATO RESENE RESENE GELATO OSCAR DEGELATO LA RENTA RESENE GELATO OSCAR OSCAR DE DE LA LA RENTA RENTA OSCAR DE LA RENTA

RESENE POT POURRI RESENE POTPOURRI POURRI CHRISTOPHER KANE RESENE POT RESENE POT POURRI CHRISTOPHER KANE CHRISTOPHER KANE CHRISTOPHER KANE

RESENE SHILO RESENE SHILO EMILIA WICKSTEAD RESENE SHILO RESENE SHILO EMILIA WICKSTEAD EMILIA WICKSTEAD EMILIA WICKSTEAD

RESENE COLOUR ME PINK RESENECOLOUR COLOURME MEPINK PINK THAKOON RESENE RESENE THAKOON COLOUR ME PINK THAKOON THAKOON

RESENE CARISSMA RESENE CARISSMA CHANEL RESENE CARISSMA RESENE CARISSMA CHANEL CHANEL CHANEL

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RESENE KNOCK OUT RESENE RESENE KNOCK KNOCK OUT OUT RESENE KNOCK OUT VALENTINO VALENTINO VALENTINO VALENTINO

RESENE SMITTEN RESENE SMITTEN RESENE SMITTEN RESENE SMITTEN DIOR DIOR DIOR DIOR

RESENE BLOSSOM RESENE RESENE BLOSSOM BLOSSOM RESENE BLOSSOM GUCCI GUCCI GUCCI GUCCI

RESENE PAPER DOLL RESENE RESENE PAPER PAPER DOLL DOLL RESENE PAPER DOLL RALPH LAUREN RALPH RALPH LAUREN LAUREN RALPH LAUREN

RESENE PETITE ORCHID RESENE PETITE ORCHID RESENE PETITE ORCHID RESENE PETITE ORCHID JENNY PACKHAM JENNY PACKHAM JENNY PACKHAM JENNY PACKHAM

AA

distinct feminine flair has been distinct distinct feminine feminine flair flair has has been been distinct feminine flair has been injected into the winter season with injected injected into into the the winter winter season season with with injected into the winter season with pink and blush tones leading the pack pink pink and and blush blush tones tones leading leading the the pack pack pinkrunway and blush tones leading the pack during the season. during during the the runway runway season. season. during the runway season.

Christopher Kane showed ananimpressive impressive Christopher ChristopherKane Kaneshowed showedan impressive Christopher Kane showed an jackets impressive collection that included double and collection collection that that included included double double jackets jackets and and collection that included doublecocktail jacketsdress and slouchy trousers.

A geometric slouchy slouchy trousers. trousers.

A A geometric geometric cocktail cocktail dress dress slouchy trousers.

Aof geometric cocktail dress was the highlight the show, matched here was wasthe thehighlight highlightof ofthe theshow, show,matched matchedhere here was the highlight of the show, matched here with Resene Pot Pourri.

The mille-feuille with with Resene Resene Pot Pot Pourri.

Pourri.

The The mille-feuille mille-feuille with Resene Pot looked Pourri.like Theanmille-feuille ofoforganza organza dress open book of organzadress dresslooked lookedlike likean open openbook book of organza dress looked like anan open book found its way onto the bodice, hemline and found found its its way way onto onto the the bodice, bodice, hemline hemline and and found its way ontointo thepleats, bodice,with hemline and neckline, spliced the pages neckline, neckline, spliced spliced into into pleats, pleats, with with the the pages pages neckline, spliced into pleats, with the pages wafting with every step.

His collection also wafting waftingwith withevery everystep. step.His Hiscollection collectionalso also wafting with every step.

His collection also marked another milestone for Kane, an eightmarked marked another another milestone milestone for for Kane, Kane, an an eighteightmarked anothercollection milestone that for Kane, an eightpiece handbag featured styles piece piecehandbag handbagcollection collectionthat thatfeatured featuredstyles styles piece handbag collection that featured styles crafted in calfskin, python and crocodile. crafted crafted in in calfskin, calfskin, python python and and crocodile. crocodile. crafted in calfskin, python and crocodile.

Along with Monique Lhuillier’s striking Along Along with with Monique Monique Lhuillier’s Lhuillier’s striking striking Along with Monique Lhuillier’s striking floral gown, both designers transformed fall’s floral floral gown, gown, both both designers designers transformed transformed fall’s fall’s floral gown, both designers transformed fall’s traditionally dark and moody palette into one traditionally traditionally dark dark and and moody moody palette palette into into one one traditionally darkand andelegance. moody palette into one ofof sophistication of sophistication sophistication and and elegance. elegance. of sophistication and elegance.

This year’s Chanel show turned the runway This This year’s year’s Chanel Chanel show show turned turned the the runway runway This year’s Chanel show turned the runway into high-end luxury supermarket, anan into intoaa ahigh-end high-endluxury luxurysupermarket, supermarket,an into a high-end luxurythat supermarket, an incredible mise enen scene featured model incredible incredible mise mise en scene scene that that featured featured model model incredible mise en scene that featured model designer-muse Cara Delevingne sporting and anddesigner-muse designer-museCara CaraDelevingne Delevingnesporting sporting and designer-muse Cara Delevingne sporting crop-topped ensemble.

The collection a pink a pinkcrop-topped crop-toppedensemble. ensemble.The Thecollection collection a pink crop-topped ensemble. The collection and represented the brand’s reinforced reinforced and and represented represented the the brand’s brand’s reinforced and represented the brand’s craftsmanship and luxurious wonderful wonderful craftsmanship craftsmanship and and luxurious luxurious wonderful butcraftsmanship and luxurious came cut forforan anan everyday-wear aesthetic, aesthetic,butbutcame camecut cutfor everyday-wear everyday-wear aesthetic, but came cut for an everyday-wear Framing the clothes ininaa consumerist world. world.Framing Framingthe theclothes clothesin aconsumerist consumerist world. Framing theChanel clothesisinana apex consumerist ofofwhich which brand, culture, culture,of whichChanel Chanelis isananapex apexbrand, brand, culture, of which of Chanel is an apex badges brand, opposite making clothes was wasthetheopposite oppositeof ofmaking makingclothes clothesbadges badges wasconsumerism the oppositethat of was making clothesinbadges presented of ofconsumerism consumerismthat thatwas waspresented presentedin inaa past apast past of consumerism that was presented in a past collection.

Moschino Moschino collection. collection.

Moschino collection. week also saw Raf Simons return The Theweek week also alsosaw sawRaf RafSimons Simonsreturn returntototo The week also saw Raf Simons return to

his sportswear roots for the Christian Dior his hissportswear sportswearroots rootsfor forthe theChristian ChristianDior Dior his sportswear roots for the Christian Dior show, fusing masculine and feminine style, show, show, fusing fusing masculine masculine and and feminine feminine style, style, show, fusing masculine and cultivated feminine style, continuing the vision he has since continuing continuing the the vision vision he he has has cultivated cultivated since since continuing the vision he has cultivated since his appointment.

In speaking of his latest his his appointment. appointment.

In In speaking speaking of of his his latest latest his appointment.

In speaking of hisaslatest collection Simons noted, “As much you collection collectionSimons Simonsnoted, noted,“As “Asmuch muchasas asyou you collection Simons noted, “As much you are attracted to something, and as much as are are attracted attracted to to something, something, and and as as much much as as are attracted to something, and as much as you are respectful to it, you have to also, not you you are are respectful respectful to to it, it, you you have have to to also, also, not not you are respectful to it, youwas havesotoultimately also, not attack but change it”. attack attackit,it, it,but butchange changeit”. it”.ItIt Itwas wassososoultimately ultimately attack it, but change it”.

It was ultimately Raf, and transformed the future, while Raf, Raf,and andtransformed transformedtoto thefuture, future,while while Raf, and transformed totothe the future, while completely respecting the code of Dior.

The completely completely respecting respecting the the code code of of Dior.

Dior.

The The completely respecting the code of collection Dior. The clean, modern and structural clean, clean, modern modern and and structural structural collection collection clean, modern and structural collection had purposefully jarring colour ways with had hadpurposefully purposefullyjarring jarringcolour colourways wayswith with had purposefully jarring colour ways with masculine tailoring, double dresses that had masculine masculine tailoring, tailoring, double double dresses dresses that that had had a aaa masculine tailoring, double dresses that had cartoonish silhouette was a vibrant and vivid cartoonish cartoonish silhouette silhouette was was aavibrant avibrant vibrant and and vivid vivid cartoonish silhouette was and vivid addition.

The pink and green dress pictured addition. addition.

The The pink pink and and green green dress dress pictured pictured addition.

The pink with and Resene green dress pictured here, and matched Smitten adds here, here, and and matched matched with with Resene Resene Smitten Smitten adds adds here, and matched with Resene Smitten adds touch ofof colour toto the season. aaaplayful aplayful playful touch touch of colour colour to the the season. season. playful touchmake of colour tostriking the season.

Bold hues for statement Bold Boldhues huesmake makefor foraaaastriking strikingstatement statement Bold hues make for striking statement and this was the case with Valentino’s and and this this was was the the case case with with Valentino’s Valentino’s and thisflamingo was the case with Valentino’s vibrant pink mini dress, matched vibrant vibrantflamingo flamingopink pinkmini minidress, dress,matched matched vibrant flamingo pink mini dress, matched with Resene Knock Out, being the ultimate with withResene ReseneKnock KnockOut, Out,being beingthe theultimate ultimate with Resene Knock Out,autumn. being the ultimate cocktail dress come Valentino’s cocktail cocktaildress dresscome comeautumn. autumn.Valentino’s Valentino’s cocktail dress come autumn.

Valentino’s collection formed the fundamentals collection collectionformed formedthe thefundamentals fundamentalsofofofa aa collection formed the fundamentals of a woman’s wardrobe with mid length sleeveless woman’s woman’s wardrobe wardrobe with with mid mid length length sleeveless sleeveless woman’s wardrobe with mid length sleeveless shifts, turtleneck combos and the rebirth shifts, shifts,turtleneck turtleneckcombos combosand andthe therebirth rebirth shifts, turtleneck combos and floor the grazing rebirth the covered up gown and ofofofthe thecovered coveredup upgown gownand andfloor floorgrazing grazing of the covered up gown and floor grazing hemlines.

From fragile lace embroidered hemlines. hemlines.From Fromfragile fragilelace lacetototoembroidered embroidered hemlines.

From fragile lace to embroidered tulle, the garments had an elegance that tulle, tulle,the thegarments garmentshad hadan anelegance elegancethat thatisisis tulle, the garments had an elegance thatwas is unsurpassed byby any other and the appeal unsurpassed unsurpassed by any any other other and and the the appeal appeal was was unsurpassed by any other and the appeal was widespread from girlhood womanhood. widespread widespread from from girlhood girlhood tototo womanhood. womanhood. widespread fromqueen girlhoodBritish to womanhood.

Meanwhile, fashion and Meanwhile, Meanwhile,queen queenofofofBritish Britishfashion fashionand and Meanwhile, queen of British fashionairand style, Emelia Wickstead offered style, style,Emelia EmeliaWickstead Wicksteadoffered offeredanan anairairofofof style, Emelia Wickstead offered an air of uptown sophistication midi skirt, uptown uptownsophistication sophisticationinininaaamidi midiskirt, skirt,ininina aa uptown sophistication in a midi skirt, in a colour similar Resene Shilo.

This season’s colour coloursimilar similartototoResene ReseneShilo.

Shilo.This Thisseason’s season’s colour similar to Resene Shilo. This season’s

collection had undertones daring desire collection collectionhad hadundertones undertonesofof ofdaring daringdesire desire collection had undertones of daring desire and a nod to the dark side, which is unlike and and a a nod nod to to the the dark dark side, side, which which is is unlike unlike and a nod toPeachy the dark side, which is unlike Wickstead. pink lace clashed with Wickstead.

Wickstead.Peachy Peachypink pinklace laceclashed clashedwith with Wickstead.

Peachy pink lace clashed with strong dark tones and leathers, which showed strong strong dark dark tones tones and and leathers, leathers, which which showed showed strong darkand tonesseductive and leathers, which showed strong direction. was a aaastrong strongand andseductive seductivedirection. direction.It It Itwas was strong and seductive direction.

It was demure but with a hint of danger.

According demure demure but but with with a hint a hint of of danger. danger.

According According demure but with aWickstead hint of danger.

According show notes, was influenced toto toshow shownotes, notes,Wickstead Wicksteadwas wasinfluenced influenced to show notes, Wickstead was influenced this season by film noir as ititprojects projects aa fresh this this season season by by film film noir noir as as it projects fresh this season byfocus. film noir as it projectsa afresh fresh androgynous androgynous androgynous focus. focus. androgynous focus. followed suit, producing Jenny Packham Jenny JennyPackham Packhamfollowed followedsuit, suit,producing producing Jenny Packham followed suit, producing another exceptional collection with another another exceptional exceptional collection collection with with thethe the another exceptional collection with the spotlight on a signature embellished blush spotlight spotlight on on a a signature signature embellished embellished blush blush spotlight on a signature embellished blush column gown colour similar Resene column columngown gowninin ina aaacolour coloursimilar similartoto toResene Resene column gown in colour similar to Resene Petite Orchid.

Petite Petite Orchid.

Orchid.

Petite Orchid.

Matched with Resene Pretty Pink, Matched Matched withResene ResenePretty Prettyinin inPink, Pink, Matched with with Resene Pretty in Pink, Giambattista Valli’s superb fall collection Giambattista Giambattista Valli’s Valli’s superb superb fall fall collection collection setset set Giambattista Valli’s superb fall collection set tone to the week with this delicate a aaladylike a ladylike ladylike tone tone to to the the week week with with this this delicate delicate ladylike tone to dress. the week with this delicate and angelic floral Shapely dresses and and andangelic angelicfloral floraldress. dress.Shapely Shapelydresses dressesand and and angelic floral dress.

Shapely dresses and caped coats matched the soft and romantic caped caped coats coats matched matched the the soft soft and and romantic romantic caped coats matched thewhich soft and romantic tone the collection, comprised tone toneofof ofthe thecollection, collection,which whichcomprised comprisedofof of tone of the collection, which comprised of lace layers, botanical prints with hint lace lacelayers, layers,botanical botanicalprints printswith witha aahint hintofof of lace layers, botanical prints with a hint of metallic shine. metallic metallic shine. shine. metallic shine.

Frida Giannini’s 60s inspired collection Frida FridaGiannini’s Giannini’s60s 60sinspired inspiredcollection collection Frida Giannini’s 60s inspired collection for Gucci herald’s Gucci’s glory days with for forGucci Gucciherald’s herald’sGucci’s Gucci’sglory glorydays with for essence Gucci herald’s Gucci’scool. gloryDusty days pink with downtown anan anessence essenceofof ofdowntown downtowncool. cool.Dusty Dustypink an essence of downtown cool.

Dusty pink mod coats serves perfect transition mod modcoats coatsserves servesasas asa aaperfect perfecttransition mod coats serves night, as a matched perfect here transition piece from day with piece piecefrom fromday daytoto tonight, night,matched matchedhere with piece from day to night, matched here with Resene Blossom colour, the collection had Resene ReseneBlossom Blossomcolour, colour,the thecollection collectionhad Resene Blossom colour, the collection had authentic sixties swing, and hadan an anan anauthentic authenticsixties sixtiesswing, swing,and andhad an authentic sixties swing, and had an extremely attainable vibe the audience. extremely extremelyattainable attainablevibe vibeforfor forthe theaudience. extremely attainable vibe for the audience.

The collection embraced youthful tonetoto The Thecollection collectionembraced embraceda aayouthful youthfultone The collection embraced aand youthful tone to the palette with sage green duck egg blue the the palette palette with with sage sage green green and and duck duck egg blue the palette with sage green and duck egg blue hues. hues. hues. hues.

Colours available from Resene ColorShops ||0800 737 363 Colours Coloursavailable availablefrom fromResene ReseneColorShops ColorShops| |www.resene.co.nz |www.resene.co.nz www.resene.co.nz| 0800 0800737 737363 363 Colours available from Resene ColorShops | www.resene.co.nz | 0800 737 363

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Resene Resene Blossom Blossom Resene Blossom Resene Blossom

Resene Resene Knock Knock Out Out Resene Knock Out Resene Knock Out

Resene Resene Pretty Pretty InIn In Pink Pink Resene Pretty Pink Resene Pretty In Pink

Resene Resene Carissma Carissma Resene Carissma Resene Carissma

Resene Resene Paper Paper Doll Doll Resene Paper Doll Resene Paper Doll

Resene Resene Shilo Shilo Resene Shilo Resene Shilo

Resene Resene Colour Colour Me Me Pink Pink Resene Colour Me Pink Resene Colour Me Pink

Resene Resene Petite Petite Orchid Orchid Resene Petite Orchid Resene Petite Orchid

Resene Resene Smitten Smitten Resene Smitten Resene Smitten

Resene Resene Gelato Gelato Resene Gelato Resene Gelato

Resene Resene Pot Pot Pourri Pourri Resene Pot Pourri Resene Pot Pourri

Resene Resene Twilight Twilight Resene Twilight Resene Twilight

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DAINTY DEEDS TAYLOR & CO Taylor & Co is founded on New Zealand designer Shelly Barlow’s love of travel, photography and Scandinavian designs. The brand has become synonymous with self-expression and modern design, producing a line of luxe travel bags and homeware products. Taylor & Co’s iconic travel bags were designed in New Zealand with the busy women in mind.

Featuring quality craftsmanship, the genuine leather and 100 per cent cotton canvas bags combine contrasting colours and textures with a practical application that works. With their airline approved size, detachable shoulder strap, funky colours and stylish designs, Taylor & Co has created the perfect weekend bag. Contact info@ taylordesigns.co.nz for more information.

Dainty Deeds is an online fashion venture launched in 2014 by 31-year-old Rachel Deeds.

Deeds was inspired to set up the online boutique by her brother-in-law after he mentioned starting a business importing clothes from various countries.

“The idea instantly struck a chord with me, as I found it extremely hard to find a dress for a wedding that was a high quality, contemporary style at an affordable price point.”

The store offers a unique range of sophisticated and sustainable clothing, from everyday pieces, to the perfect dress for that special occasion.

Environmentally conscious, Deeds imports the collection from an overseas supplier who uses some of the most sought after sustainable fabric blends on the planet, which leave an eco-friendly footprint that doesn’t tax the environment.

With only a select quantity of stock for each product, Dainty Deeds ensures its customer’s beautiful unique clothing is perfect for any occasion. For more information contact, josiedeed@yahoo.co.nz.

ECHOES OF YOU Created by 26 year-old Zara McKenzie in September 2013, Echoes of You is the ultimate label for luxe leather. The brand’s emphasis on classic, refined leather basics with a slight tough edge has seen the label form a cult like following.

“I saw a gap in the New Zealand market for affordable luxury leather clothing., so I decided to have a go at it,” said McKenzie. McKenzie’s love of fashion stems from memories of her grandmother and great-grandmother’s store, “I remember visiting the store and being so fascinated by everything, I can’t remember ever wanting to do anything else”.

Starting her retail career by working at a little boutique selling all her favourite New Zealand

designers, McKenzie learnt a lot about the industry.

Later working for Mala Brajkovic in her workroom learning about production, wholesaling and what goes in to making a collection.

The Echoes of You label was born out of McKenzie’s desire to create leather basics that would be a wardrobe staple for years to come. The brand’s classic leather pieces give women a sleek modern edge and are perfect for the sexy, confident woman who is not afraid to show a little skin. For more information contact, info@echoesofyoulabel.com.

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CABIN AND COVE Luxury Australian online fashion and home wares label Cabin and Cove, prides itself on excellent customer service and affordability.

Since its inception in 2012 Cabin and Cove has brought cool luxurious clothing to a wider audience.

“We only sell suede and leather products and have an obsession with leopard print,” said founder Kristen Stock, who founded the brand and online store with her partner.

A business in fashion wasn’t always on the cards for Stock: “I was almost forced into creating it by designing

products that friends also wanted to own - and thanks to social media, word soon spread”.

Cabin and Cove exudes luxury with high-end fabrics and sophisticated pieces to create the ultimate capsule wardrobe. Perfect for women who feel comfortable mixing basic staple pieces with an interesting flair in texture or print. For more information contact, info@ cabinandcove.com.au.

LOVE AND LUCK Founded earlier this year by best friends Kate Harding and Emma Owens, Love and Luck is an online fashion boutique bringing affordable fashion to women around the world. After meeting on a trip to Croatia, the two decided to draw upon both of their experiences to open the online venture. “Emma owned her own successful business on the Gold Coast, and I told her my dream of owning my own boutique in New Zealand and the rest is history,” said co-founder Harding.

The online boutique is based on using a social media platform, Facebook and features an array of Australian designers as well as one-off pieces sourced from their travels.

“We both knew there was a market for a New Zealand based online boutique, and there is a such a huge variety of fashion in Australia, we though it was a great opportunity to bring that to New Zealand.”

Harding and Owens sell quality, stylish pieces that they love and are passionate about. They believe that any women wearing their clothes can look and feel beautiful no matter their shape or size. With the duo’s sights set on creating their own label one day, the future looks bright for Love and Luck Boutique. For more information contact, loveandlucknz@gmail.com.

MIGHTY PURSE Not satisfied with the current ‘techie’ solutions on the market, husband and wife duo Ana Slavka and Stephan Kljajio founded Handbag Butler. The label gained great exposure and praise after the launch of the Handbag Hook, a chic portable hook to hang your bag off the ground at tables.

However, it was the creation of the Mighty Purse that catapulted the brand to international success. Mighty Purse is a stylish leather purse that conveniently charges your mobile phone. Handbag Butler has designed the sleek clutch bag in an array of colours that features the inbuilt and removable battery to charge your device.

“Our purse charges on any USB source, where others require a docking station or their own outlet charges. The Mighty Purse appeals to a wider market because of its wonderful simplicity, where other purses focus more on the handbag look,” believes director Caroline Mitchell. For more information contact Lia Turner, lia@handbagbutler.com.au.

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COMPANYprofile

This year sees the 25th anniversary of the iconic Kiwi brand WORLD, so Apparel sat down with company founders and designers Francis Hooper MNZM and Denise L’Estrange Corbet MNZM, to talk industry, business and the importance of being the tortoise not the hare.

WORLD has come a long way from its humble beginnings in accessories and denim, and after 25 years in the industry, company directors Hooper and L’Estrange-Corbet find themselves with a brand that is at the forefront of modern luxury, and have learnt one or two things along the way.

“We were a lot more ‘street’ and rebellious,” said Hooper of the brand.

“Our first slogan in 1989, ‘We Fought Fashion and Lost’ really was a tongue and cheek play on being fashion conscious and very trendy, very of the moment.”

During the early years, WORLD made a name for itself with its funky, street-wear denim garments, but there came a point where the duo just weren’t happy to fall into the manufacturing hole and be completely price focused. The decision to transition to a luxury, high-end fashion brand and leave their denim days behind them was a tough decision discussed Hooper.

“We turned our back on something we did very well,” he said. To aid the transition they decided to change their slogan and adopted ‘Factory of Ideas and Experiments’.

Despite this, denim has made a resurgence in WORLD’s latest collection after Hooper wanting to bring it back, organically, without the fanfare, showcasing denim in a more tailored, dressed up light that was easy and wearable. Acknowledging they are not a couturier or an atelier, the designers are proud to stand by the fact that WORLD is a Kiwi luxury brand that loves to experiment.

“After trendy there is tacky,” said Hooper, “and WORLD made a conscious decision not to be an ‘in’ brand and take itself more seriously.

Sometimes we get it wrong, and we know that, but you don’t get better or learn unless you do make mistakes.”

The last 25 years have not been short of achievements for the company but Hooper and L’Estrange-Corbet admit to having some memorable moments along the way also. One experiment that Hooper remembers vividly was the suit that featured live electricity running through it at the close of one New Zealand Fashion Week.

“It was probably the most horrific experiment, but we were determined to conquer it and capture the moment, to entertain an audience not a consumer”. L’Estrange-Corbet recalls a denim bikini that was possibly not the best experiment either, as it shrunk when it got wet.

“It was definitely a learning curve – always pre-wash your denim!”

After starting out as an accessories brand, the pair decided it would be

a good idea to go back to their roots by purchasing a deceased estate of hats - 4000 hats to be exact. Following inheriting these hats they decided to create an exhibition in-store with Hooper acknowledging that despite being a fun time in-store, the decision was “financially ridiculous” for the company.

A stand out collection for both Hooper and L’Estrange-Corbet, was the AW09 collection ‘There is No Depression in New Zealand’ showcased at the 2008 New Zealand Fashion Week. The collection featured a suit made from NZ$30,000 Swarovski crystals. Vogue editor-at-large, Andre Leon Talley and America’s Next Top Model judge, Miss J, both loved the outfit also, after seeing it in the WORLD workshop during a trip to New Zealand.

“It was so sparkly, so exuberant,” said Hooper. “It blew everyone away, and was a real fashion moment in New Zealand.”

The show also featured hair by Brent Lawler, which was then directly copied by Christian Dior the very next year, reinforcing the fact that WORLD was definitely on the international radar and a well-respected New Zealand luxury brand.

Collections haven’t always seen the label use traditional fabrics and embellishments. In 1995, WORLD entered the Benson and Hedges Fashion Design Awards in the Avant Garde division. This new inclusion of Avant Garde to the awards show encouraged experimentation with materials as diverse as carpet underlay, fibreglass, astro-turf, PVC, welder’s plastic and paper. After entering the competition, the design duo went back to day-to-day business and forgot about creating the dress. A last minute call from Maysie Bestall-Cohen, requesting the garment be delivered in the next 24 hours, sent Hooper and L’Estrange-Corbet into panic mode.

“I went down to Whitcoulls and bought some cardboard and that night I made an origami outfit on a mannequin. It was black and white with a raffia shawl and it was so beautiful.” The Origami Dress won the Avant Garde award that year and dress is now housed in the Auckland Museum.

“It was the first award we ever won. It’s amazing what you can create when you put your mind to it and you have very little money but great ideas. That was a real career moment for me,” she said.

Bricks and mortar retailing has been an integral part of WORLD’s business strategy. Tough retail conditions, and the post global financial crisis, have seen consumers work longer hours and have less time to spend

The only industry bigger than fashion is warfare. – Hooper

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shopping, hence the shift to online. This shift hasn’t slowed down the brand’s growth however. Now with eight stores, the in-store experience is something that Hooper feels very strongly about and believes that if you really want to understand the customer and interact with them, you must spend at least one day a week in-store no matter what position you hold in the company.

“We are an ideas brand and we have always dressed the mind first and the body second. Understanding the character of the brand and being able to dress creative’s whether they are 15 or 95, is one of WORLD’s biggest strengths.” Both designers believe that retailing is easy; the challenge is to recreate that experience online, and being a creative brand, it is hard to excite the customer on a daily basis via this medium. Hooper suspects that the big fast-fashion conglomerates are the ones who will succeed the most on the Internet, as it is a time consuming and costly beast to keep mass consumer involved.

L’Estrange-Corbet remembers when they first opened and they never dreamed about the potential of the online retailing. “We just got the big brick of a mobile phone and that was amazing! Everything now is so accessible and the New Zealand retail landscape has changed so dramatically that retailers need to adapt.”

New Zealand Made is a hot topic for both designers who place significant importance on local manufacturing with their label and have done over the last 25 years. “I really believe if you want to trumpet the fact you are a NZ designer, you have to stand behind that and manufacture in NZ,” said L’Estrange-Corbet. “There are not many who do but I firmly believe it’s the country that gives us a good living and gave us a foot on the rung of a ladder the least we can do is support the industry.”

Producing garments and collections for consumers that will last the distance is synonymous with the brand. Being a self-proclaimed ‘control freak’, Hooper likes to be able to go to the people he works with and see the quality and be able to constantly check, manage and improve the process. “If so called ‘New Zealand’ designers continue to manufacture off-shore and not invest in the next generation, there will be no industry.

That’s slave labour, and I’m not into that. – L’EstrangeCorbet

WORLD’s 1999 Australian Fashion Week show in Sydney. SS2000 ‘Prehistoric’ featured the Swarosvski crystal suit.

WORLD’s 2004 NZFW show at the Northern Club in Auckland.

AW05 ‘I don’t like sport but I can high jump’ collection featuring denim garments.

We employ people who rely on us and rely on the decisions we make,” said L’Estrange-Corbet.

“What really bugs me is that in this country we demand a minimum wage, yet everyone is quite happy to buy cheap imports made by people who are living below the poverty line. If it’s not ok for you to earn a dollar a day, why are you happy to buy cheap things that the retailer is making a living off but the person who made it is not? That’s slave labour and I’m not into that. You can’t have your cake and eat it too.”

“For me – my proudest achievement is that my brand is ‘Made in NZ’ and the day my garments have ‘Made in China’ is the day that I’m probably not proud of what I’m doing,” she said. Changes in the industry have meant that WORLD has re-evaluated the weight of a fashion show.

While still believing in the consumer show, trade shows have evolved both locally and internationally with the introduction of the Internet. “A fashion week for me is only relevant if you get orders,” discloses L’EstrangeCorbet.

“Media is great, but at the end of the day you’ve got to back it up. A blogger isn’t going to pedal my brand. I don’t even know who these people are, I’m too busy running a business and it’s about the buyers, without them, there is no reason for me to be there.”

L’Estrange-Corbet goes on to say that even if a designer did get an order, you then had to manufacture it before receiving any payment. She remembers when WORLD got its first big order from Selfridges after showing overseas, despite being inundated with orders, it suddenly hit home that they had to produce it without the financial advance.

“I remember asking Selfridges for a letter of credit, and their words were, ‘We’re Selfridges, we don’t do letters of credit’. Both designers are proud of how far they have come and how they have weathered many storms over time. Hooper believes the greatest achievement is meeting and working with great people to create beautiful fashion experiences.

“Being at the pointy end of the fashion landscape has enabled us to be creative, forward thinkers and adventurous in design. We are able to tell a story without being pressured by time and money.” “I am really glad we stuck to what we did and didn’t give up because we thought no one would get it,” added L’Estrange-Corbet.

WORLD has proved that sometimes being the tortoise not the hare is a good option, slowing down and enjoying the journey isn’t so bad. Here’s to the next 25 years – congratulations WORLD! apparelmagazine.co.nz

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BEHIND THE BUSINESS

NASTY GAL, BURBERRY, H&M How Brands Create Cult In Fashion

By Katie Smith, Trend Analyst, EDITD

THERE are certain brands and retailers who instil in their consumers, a level of exorbitant faithfulness. We’re living in a time when a new H&M store induces fanatical queues around the block and Kenzo only have to update the colour of a product for bloggers to decree their ongoing devotion.

The frenzied following of brands isn’t reserved for apparel: there are armies of Apple worshippers setting forums alight with news of software updates or new products, hoards of beauty bloggers enthuse about the latest lipstick release from Mac and furniture enthusiasts who know the Swedish name of each Ikea product. Here, we’ve analyzed the way three different brands and retailers have inspired a cult following.

1. NASTY GAL The US online retailer with its charismatic leader, Sophia Amoruso, has excelled in creating a cult following. The brand has defined its own tribe – girls who are “super-body confident” according to Amoruso – and a language in which to communicate to them. The retailer’s email newsletters are a triumph in communication; not only are they artistically laid out but they’re dripping in emoji text-speak and reinforce the aesthetic and core values of the pack. “This summer we ride for team neoprene” and “For the summer goth in all of us”, instills the feeling of group belonging, whilst there are directive calls to action in “Get with the program”, “Time. To. Sale.” and the prescriptive “Invest in this dress”.

Language is also self-congratulatory, “more babe for your buck”, making Nasty Gal a reassuring space for tribe members.

The encouraging tone is set from the top: Amoruso’s just-released book ‘#GIRLBOSS’ is part Amoruso bio and part inspirational musings and female empowerment. Nasty Gal’s own were of course encouraged to purchase the book, with the retailer offering shoppers $25 off purchases when they ordered their copy of the brand’s bible. It’s a compelling mix, and a successful one too: the company has an estimated revenue of $100million.

2. BURBERRY It’s a more natural fit for a designer brand to inspire a crowd of devoted supporters, given the aspirational lifestyle that branding projects.

Burberry stand out amongst other brands for their cultish following, which is entirely based around their British heritage. The brand frequently uses London imagery in its email newsletters – a Thames skyline being their preferred vista. In their email newsletters, Burberry discuss their “Heritage Collection”, use “English lace” and explain that their Bloomsbury Girls collection was inspired by

“British Decorative Arts”.

The brand’s Instagram often posts snapshots of London: Hyde Park, Battersea Park, Tower Bridge, with the hashtag #BurberryWeather and the current temperature. This is clearly not done for their local market: instead the brand knows their most valuable luxury customers are overseas, and are the ones who follow the brand in these places, hankering after a buyable slice of heritage from the self-described “global brand with a distinctly British attitude”.

Yet the brand is locally revered too, its flagbearing heritage is not twee or cliché: how? By pairing the past with the cutting edge, continually redefining digital for the industry, part-retailer, part-technologist. Emails are loaded up with QR codes, shows are live-streamed with buynow capabilities touted as “Runway made to order” and clever stunts like Burberry Kisses are well marketed to the masses. Of course, their collaborations with musicians and celebrities do wonders for the cult of the brand too. Often the British stars they pick are known within the UK and Burberry launches their career internationally – take Suzi Waterhouse for example.

3. H&M H&M proved that fast-fashion retailers can drum up a devout following too. Recently they opened their first store in Australia (we’ve compiled a report around their entrance into that market, which you can download) which had all-day, round-the-block queues for the entire first-week of opening. The retailer even provided a DJ to entertain the waiting shoppers. Australia hadn’t previously had access to the retailer, online or in-store, so how did the Swedish brand manage to hype their offering from afar?

For H&M, the story they create around their brand is not tied to one consumer type, and while that must be a challenge for the retailer, they succeed well in not simply speaking in the

stylistic language. Their referencing is cohesive, and yet manages to travel far: they team up with musicians, Beyoncé fronted an ad campaign, whilst the lesser known Swedish Lykke Li paired with the retailer for an album exclusive. They pair with bloggers known by fashion followers, like Berta Bernard, as well as collaborate with broadly known designers, like Isabel Marant.

H&M also manage to make their bargainpriced offering appear to be more exclusive than price tag suggests, which drives demand.

They do this with use of expansive imagery and minimal text in their email newsletters – akin to a luxury brand. They also take an authoritative tone, informing their newsletter readers of the technological properties of their highly affordable activewear range and referring to their Conscious Foundation, imploring consumers not to “let fashion go to waste” – a lofty tone from one of the world’s biggest manufacturers of apparel. It is the breadth of these references and styles which creates global demand: everyone can associate with a part of H&M’s marketing, if not all.

The price architecture of cult Analysis of these three retailers at commerciallevel reveals that the strategy in creating cult extends beyond the marketing activities of a brand or retailer. It’s interesting to note that all three of the retailers discussed here have an exceptionally broad price architecture in comparison to their competitors. Nasty Gal may not have as large an assortment as the well-established Topshop, but they build their pricing out to optimize the desires of their tribe. H&M’s consumer is very different from that of price-competitor, Forever 21, and their price architecture uses that demographic to expand upwards. And Burberry have a cast-iron price architecture, accessible at all levels, yet in their newsletters every item is treated with highest esteem, from phone covers and lipsticks to investment trench coats. Now that’s the stuff of miracles.

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BEHIND THE BUSINESS

Millicent Millicent

Making the Making theCut Cut

SS14/15 view this collection and more at apparelmagazine.co.nz

IT all begins when Paula picks up that hero-piece of fabric. From IT allshe begins when out Paula Shepherd up that hero-piece of here branches and lets the picks collection grow in an organic fabric. From here she branches out and lets the collection grow way. Constantly influenced and inspired by her surroundings, in an organic way. Constantly influenced and inspired by her Paula looks to Paula streetlooks wear to andstreet whatwear her and customers arecustomers wearing to surroundings, what her dictate the direction of each collection. are wearing to dictate the direction of each collection. tendnot nottotofocus focus a direct theme inbeginning the beginning of “I“Itend onon a direct theme in the of my designs, I’d I’drather ratherseesee what’s there it grow my designs, what’s outout there andand let itletgrow into into something for both both the thecurrent currentmarket marketand andmy myexisting existing something suitable suitable for customers.”

Staple structure and and comfort are strong this this Stapleelements elementslikelike structure comfort are strong season, which led to the eventual theme of sportswear.

“I season, which led to the eventual theme of sportswear. “Ikind kindofof just took a look and realised that it was a sportswear collection, just took a look and realised that it was a sportswear collection, which is is perfect perfect for the accessible accessible market which for the marketofof New New Zealand.”

Zealand.”

For Paula, the Florence dress is a clear standout “the dress For Paula, the Florence dress is a clear standout “the dress feels great on and could be worn by so many different people for feels greatoccasions.” on and could be worn by so many different people for different different occasions.”

The SS14 collection titled Making the Cut is the latest in SS14library collection titled Making is the latest in the theThe growing of Millicent deigns.the TheCut collection focuses growing library of Millicent deigns.

The collection focuses on on clean-cut, comfortable pieces that transition well whilst clean-cut, pieces that transition well whilst remaining remaining comfortable stylish. Black, white, blush and silvery blue are prominent this white, season blush paired and withsilvery vivacious fuchsia and cobalt,this stylish.

Black, blue are prominent reminiscent of with hues vivacious featured infuchsia common attire. season paired andsports cobalt, reminiscent of With a recent trip to Japan, it’s no surprise the collection hues featured in common sports attire. houses oriental design its either namesake, Withelements a recentof trip to Japan, no through surpriseitsthe collection the cut, or in silhouette.

Overall the collection exudes houses elements or oriental design either through its quiet namesake, confidence, wearability and effortless beauty. Each piece is cut the cut, or in silhouette. Overall the collection exudes quiet and constructed to the highest quality to ensure each wearer is confidence, wearability and effortless beauty. Each piece is cut completely satisfied. and constructed to the highest quality to ensurebyeach wearer is Thomas Fowler completely satisfied.

by Thomas Fowler

HATS OFF IT’S A SACK, HAT

WORLD OF HATS KNOWN for their adventurous take on contemporary fashion, World has given a nod to the past with a selection of classic shaped hats in modern fabrics in their SS15 collection. We love this fedora shaped wide brim hat in navy blue, a classic style for the modern man.

COMFORT IS KEY THERE are two staple elements in a Michael Kors collection, comfort and elegance.

Kors pays attention to the body and designs wearable clothes with beanies featuring heavily in his latest winter menswear collection. Knitwear as a whole is used to achieve a level of wearability without looking too casual or cheap, making it an optimum choice for the fashionable customer.

THE ultimate reduce, reuse and recycle plan. Hills Hats are taking otherwise discarded coffee bean sacks and transforming them into a modern selection of hats for the retail market. The hats have taken off across a multitude of domestic and export markets, including Australia, US and Japan. One style sold out in Japan a week after arriving.

Hills Hats’ Simon Smuts-Kennedy believes the idea is so successful that plans for a possible documentary on the process from farmer to consumer are in the pipeline.

ON THE STREET

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BEHIND THE BUSINESS

tips for coaching success

By Anya Anderson

One: Get to Know Your Team Any way you look at it, coaching is the best way to encourage positive change in your business. Since it is such an important part of your role, we thought we’d give you a bit of a hand! We’ve picked out the three most important factors you should know before even beginning to coach your team.

Think about when you deal with customers. Would you treat every customer the same and expect to get a sale out of each of them? Probably not. Much the same, you shouldn’t coach your staff in the same way and expect the same results. It’s important to understand that everyone is different.

Everyone has their subtle nuances, and as a manager it’s your job to make sure you know what your teams are. Does your trainee respond better to sugar-coated feedback? Do they prefer feedback from someone who’s not scared to ‘call a spade a spade’? Whatever the preference is, get to know your team before you begin coaching so you can appeal to them on their level.

Love it or hate it, if you’re a manager, coaching forms an integral part of your role. Studies have shown that by coaching your team, you can expect a minimum increase of 17% in both productivity, and revenue. This is why we place such emphasis on the face-to-face aspect of training in our courses (not to mention other benefits like; increasing staff confidence, and improving customer satisfaction).

Staying ahead of trend

Two: Know the ‘What’ and the ‘Why’ Every technique we teach trainees involves a process; a correct order of things. Before you complete an observation it’s important to know exactly ‘what’ it is that you’re observing. And, your team will expect you to know.

The bottom line is; you can’t effectively teach a technique that you don’t completely understand.

Just as important is knowing the ‘why’ of a technique. If you can clearly explain ‘why’ to a trainee, you’ll build credibility. Not only is this good for the current coaching session, but it builds stock for future sessions.

If you’ve logged into RedSeed and reviewed the training material, you’ll already be aware of the ‘why’ factor.

You owe it to yourself, and your team to invest time in setting down the foundations of quality coaching and training in your business. Excellence doesn’t just happen. Excellence is the product of habitual good practice, and coaching is an important step to establishing good habits within your team. Through ongoing coaching, your team will become more self aware. They’ll have a greater understanding of their strengths, and areas for improvement.

Three: Keep it Simple, Stupid It can be hard to hold your tongue at times. But, in the interest of your trainee (and for your own sanity), don’t over-complicate your feedback.

Remember, your staff aren’t always going to get it right, and sometimes they might even get it horribly wrong.

When you’re giving feedback, particularly to someone who’s learning a new skill, pick just one part of the technique for them to improve on. Resist the urge to pile your trainee up with a list of things to fix. Sure, there may be a few things you want them to improve on, but you’ve got two options: 1. Pick the first error – Following the logical order of the process, work on it from beginning to end. Pick the first error and work on that until they get it right, then move on to the next error in the process.

2. Pick the error having the biggest impact – Sometimes, some errors are too big to ignore. Here’s where you can make a judgement call to skip the linear approach and cut straight to the problem.

Convenience matters.

Removing complexity and making it easy to do business must be a focus across all areas of customer interaction. From promotional campaigns through to click and collect services, keeping things simple and enjoyable further separates you from the competition.

The web is a key influencer. Recent US studies show nearly 50% of sales in some categories are now researched, validated or initiated online.

This places even more importance on the need for enhanced web visibility, range profiling and e-commerce functionality. For the fashion sector, video is now a further tool for online success – so whether it’s styling tips or range launches, adding this functionality to websites is vital.

Recently, when presenting to a franchise conference in Australia and were asked about emerging trends in retail right now. This was a great opportunity to reflect on the dynamic industry we’re involved Social media can be your best friend. with and how rapid change has been in recent Done well, social media (predominantly Facebook for most NZ retailers) connects with consumers at levels previously unattainable. years. While multiple factors affect each sector we New strategies such as celebrating customer stories helps achieve higher engagement and goodwill. Watch other platforms too, such as considered those that were common across most retail Instagram, Pinterest and YouTube to ensure the channels you’re using categories to come up with our top observations: continue to align with your market.

By Chris Wilkinson

Consumers’ lives are changing.

They are becoming busier, even more deal-savvy and developing real purpose in purchasing decisions. Today, people often know what they want to purchase well before leaving home.

This challenges traditional opportunities to build add-on sales.

Consequently there’s a need for stronger margins across core products in order to make up for lost opportunity in those impulse purchases that retailers used to enjoy.

Differentiation is everything.

Those retailers struggling currently have a common theme. Their products, stores or overall offer rarely have a clear point of difference over competitors. Success today relies on unique lines and a shopping experience that’s equally special. ‘Business as usual’ no longer guarantees success.

Today, staying aware of key trends will help your business understand opportunity and manage risk.

Couple this with regular conversations with customers, suppliers, staff and other retailers to determine what will work best for your situation.

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BEHIND THE BUSINESS

Fashion Profiles

Leading Australian swimwear brand, Seafolly, has won a long-running lawsuit against Fewstone (trading as City Beach) who copied its bikini designs.

By Corinne Blumsky

THE bikini battle lasted almost two years and cost City Beach $250,000 in damages.

The court case centred on Seafolly’s top bikini designs—its English Rose print bikini, popular Covent Garden floral design, and Senorita prints.

City Beach was found by the Federal Court to have knockedoff Seafolly’s bikini designs, and then sold them in its 60 stores Australia-wide under its own brands.

This decision follows the earlier decision of the Full Federal Court in Elwood Clothing Pty Ltd v Cotton On Clothing Pty Ltd [2008] FCAFC 197. In that case, Cotton On and its designers had used the Elwood Clothing designs as a reference to create a product with ‘the same look and feel’ as the Elwood clothing but would have enough differences not to constitute an infringement of the copyright of Elwood Clothing.

In the Seafolly case, City Beach took a similar approach with three designs created by Seafolly and its designers. In both cases infringement was found because the design elements were taken (in particular, the layout, selection, arrangement and style) even though there were many differences between the visual elements in each of the competing designs.

The Federal Court has again made it clear there are considerable dangers in riding on the coattails of successful styles in the fashion industry. It is important to make sure your designs are original.

While this case centred around copyright infringement, it was comments made by Leah Madden, the swimwear designer of City Beach, that provided another lesson. And it serves as a helpful reminder on the use of Facebook pages.

The story starts in September 2010 when Leah Madden made comments, on her personal Facebook page which was also the page of her swimwear business ‘White Sands’, that Seafolly had copied eight of her swimwear designs. The comments Madden made on her Facebook page subsequently went viral.

Concerned, Seafolly responded quickly by denying any allegations of copying.

They also began proceedings against Madden claiming that as Seafolly had not copied City Beach’s designs, the statements made by her constituted misleading and deceptive conduct under the then applicable Australian Trade Practices Act 1974 (Cth). Seafolly won at the Court of First Instance. Madden appealed.

In her appeal, Madden argued that the statements she had made on her personal Facebook page were not ‘in trade or commerce’.

This argument was rejected by the Federal Court stating that the comments could not be seen as private.

The Federal Court also approved the findings of the Court of First Instance and said the statements were made by the principal of a company and directed at the commercial activities of a competitor. The Federal Court also found that many of the people who made comments on Madden’s Facebook page were in the fashion industry. Her postings

on her personal Facebook page used both her own name and the name ‘White Sands Swimwear Australia’ when responding to the postings of her Facebook ‘friends’.

Her comments fell within the range of ‘in trade or commerce’.

So what are the lessons to be learned from this?

First, before you start alleging that someone has copied your designs, make sure you are correct.

Do your research and get legal advice – the costs of being wrong can be high. Madden found that out to the tune of $250,000.

Second, Facebook pages are neither personal nor private – they are open to the world. Once

on Facebook, any comments you make can spread like a virus, and once out there, they can be difficult to retract. If the comments you make have a connection to your business or someone else’s business they will likely be viewed in Australia as statements made ‘in trade’.

The same result is likely in New Zealand if a similar matter ever comes before the courts.

Thirdly, behave on Facebook as you would in the physical world.

The same rules apply. As a rule of thumb, if it’s not okay face-to-face, then it’s not okay on Facebook.

iP is about ideas protected If you’re in the design industry then you’re in the business of creating intellectual property. Helping you turn that IP into a valuable asset is where we come in.

If you want to find out how to be rewarded for your creativity and innovation – talk to us about protecting and commercialising your IP. We’ve been helping designers do this since 1891! Contact us today to find out more.

0800 257 275 I www.ajpark.com I New Zealand + Australia

AJ Park is about iP • intellectual property • igniting passion • ideas pervading

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specialREPORT

ROYAL GOLD How the Duchess of Cambridge is boosting local and international designers’ brand awareness and bank accounts.

‘The Kate Effect’ or the ‘Duchess Effect’ is a term coined by media referring to the effect that the Duchess of Cambridge, Kate Middleton, has on the world around her and more specifically the fashion industry. Despite many industries being affected by this phenomenon, it would seem that the fashion industry in particular is reaping the benefits, with many news outlets reporting that the ‘Kate Effect’ has boosted the UK economy by US$1 billion with some even as high as $2 billion.

This could be facilitated by the technological and social media development, with websites and apps launched since the couple’s engagement announcement in November 2010 wearing the royal blue Issa wrap dress. The dress was later reproduced in maternity sizing and rumours suggested that the brand almost went bankrupt due to the overwhelming demand for it; brand representatives later dismissed this. Websites created show outfits Kate wears with links to the designers and where consumers can get their own slice of the royal pie.

Angela Kelly has been appointed the Duchess’ style advisor, previously the Queen’s personal dresser, and the world has seen Kate’s style effortlessly segue from High Street princess to regal couture and back again. The subtle but most significant change to her wardrobe being the hemline growing three inches, with conservative coats being her new sartorial staple.

However, this transition into more formal attire hasn’t seen Kate lose her thrifty streak, recycling a red Luisa Spagnoli suit in Christchurch and a navy Rebecca Taylor suit at the Royal New Zealand Police College during her royal tour of New Zealand.

After wearing Taylor’s ‘Sparkle Tweed’ skirt suit for a 2012 engagement in London, the Duchess has been a fan of the New Zealand designer, however, the UK based designer admits that seeing Kate wearing it in her home country of New Zealand, “was really quite moving for me”.

“When I was young, I remember my family and I gathering to see Diana in front of the same airport. It brought back so many memories.”

Taylor is a self-professed Kate fan and was overwhelmed with excitement when she first heard the news. The ‘Sparkle Tweed’ suit retails for US$450 and promptly sold out in 30 minutes at Neiman Marcus, causing Taylor to re-issue the suit due to popular demand. Whilst the suit is not available anymore, Taylor offers similar styles to those eager to replicate the look.

“People around the world really pay attention to what she’s doing and what she’s wearing, so it is wonderful exposure

for us.” The royal tour also saw the Duchess flying the flag for British designers such as Alexander McQueen, Jenny Packham, LK Bennett and up and coming brand Me + Em. Me + Em founder Clare Hornby said she was shocked when she learned that the Duchess had worn their humble £48 top.

“I was ecstatic. There is no better endorsement for a womenswear business than seeing the Duchess of Cambridge in one of your pieces.”

The top sold out by 9am, but thankfully, the designer had another delivery on the way and was able to supply the demand that then went on to sell out before close of business.

Along with sales, the brand’s exposure has also rocketed.

“The biggest impact it has on a business like ours is the brand exposure at an international level. Our site traffic increased by over 1000 per cent and a high volume of orders came in from New Zealand, Australia and Singapore.

“As a British royal who is constantly in the spotlight both home and abroad, the Duchess has the ability to influence the personal style of millions of women and has become a real international trendsetter.”

The fact that Kate effortlessly glides from £48 top to a £1200 Emelia Wickstead dress is a testament to her charm and innate ability to make women everywhere feel as though they can emulate her sophisticated look.

Christine O’Brien, editor of the popular What Would Kate Do website said the Duchess of Cambridge has a gift for balancing style, trend and protocol while remaining timeless and elegant.

Royal watchers are trying to replicate dresses she wore ten years ago, while also lusting for the trends she wears today.

“The Duchess has proven to be a huge influence on the fashion industry, with British brands becoming so successful that they can branch into international markets.”

It seems that Kate is able to impact consumer spend no matter what end of the spectrum the garment is, including everyday jeans. James Lesley, co-owner of Trilogy where Kate buys much of her denim noted that they always have a great reaction any time that she buys and wears garments from Trilogy, like her Hudson Jeans.

“However, the worldwide exposure after the wedding has meant we have seen nothing like this and the demand is ten times bigger than ever.”

Denim guru Donna Ida agreed, saying that J Brand 811 are always a popular style but she witnessed a rise in sales after the Duchess was spotted wearing them.

“The Goldsign Passion are a boot cut style which have also

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proved popular and we now only have two pairs left. These are more classic styles rather fashion jeans, so we would always have good stocks of these, although we have reviewed our orders following Kate Middleton being spotted wearing them.

The Minnie Rose Shawl was so popular we got calls from the UK and the US, with the specific colour she was wearing, selling out within the day and others proving just as popular.”

August 2013 marked another milestone for ‘The Kate Effect’ when the family portrait was released. This time, UK brand Seraphine was thrown into the spotlight with the Duchess donning the brand’s fuchsia Jolene dress. The brand’s profit quadrupled in the past year and posted a £1.1m profit up from £0.25m profit in 2012.

Turnover also increased by a whopping 60 per cent.

Creative director Chelsey Oliver, attributed the majority of the gain to the Duchess, stating, “We were the only specialist maternity retailers that were seen to be dressing her during her pregnancy, which put us on the map. The fuchsia Jolene dress was the really big cherry on the cake but we benefited from the overall message about who we were to the Duchess of Cambridge.”

Founder of Seraphine Cecile Reinaud, believes that Kate’s likeability and personality are behind her pulling power when it comes to influencing consumers.

“The Kate Effect has proved time and time again to be a powerful force in fashion – young women want to emulate

her elegant style, and when she chooses pieces from accessible high street brands over expensive designer labels, this desire becomes attainable.”

Although the trend has certainly spurred business in the UK, it has also had an adverse effect towards certain high-end brands. Knock off products in just the jewellery and accessory market was worth nearly US$10 million in 2012 alone.

It is now also suggested that the ‘Kate Effect’ is exaggerated and it is really due to the fact that she wears styles that have previously sold out and wears clothes that are from season’s past meaning any hopes that consumers had to replicate her look were long gone.

Business was more likely boosted by US reality television stars, according to designer Roland Mouret.

CEO of Whistles Jane Shepherdson agreed when asked about the cream blouse chosen for an official engagement portrait that was more than two years old.

“It didn’t do anything for sales. We do short runs. By the time you see pictures of Kate, we’ve probably sold out anyway.”

Shepherdson went on to say that the Duchess was “a great advert, but no more than that”.

All critique aside, ‘The Kate Effect’ certainly has been witnessed by everyone around the globe and puts the Duchess in more of a business opportunity light for designers and has helped clothing brands, big and small, rustle up a royal profit.

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STUDENTprofile

Determination and skill is helping Bobby Campbell Luke achieve his goal of becoming one of New Zealand’s next top designers.

BOBBY Campbell Luke is an up and coming fashion designer in his final year at the Auckland University of Technology.

The 21-year-old designer is an impressive talent, who is working hard to carve out a bright future in the world of fashion design.

“I’ve been involved in the industry for about five years now. In 2009 I applied to be a volunteer at Air New Zealand Fashion Week, and from then on I’ve taken every single opportunity I get.”

From assisting on photo shoots, to working as a summer intern at Trelise Cooper; Luke’s tenacity and determination paid off when he landed an assistant position at Miromoda, a

collaborative fashion show supporting up and coming Maori and Pacifica designers at NZ Fashion Week.

“I wanted to experience a role that identified with me and working at Miromoda has really given me a sense of place,” said the young designer. “I have learned so much and I love supporting our young rangatahi’s work”.

Luke believes he was destined for a career in design, “I have always been a creative person and have always perceived things differently, so being a designer in any form was definitely something I wanted to be, it just so happened to be fashion.”

As a child Luke recalls regularly visiting his marae and being in awe of the people and clothes he saw. “What struck me were the old women and the clothing they wore; crocheted blankets worn as cardigans, felted wool used to wrap around their waist, and feathers and plants

in their hair”. It was at that moment Luke fell in love with design, “seeing those women is a moment I will never forget,” he said.

Luke’s Maori heritage has inspired his final collection, most significantly the work of documentary photographer Ans Westra, who famously took candid pictures of Maori throughout the 1960’s. “My inspiration came from Ans Westra and what derived from that was my concept which is based on matriarchal societies within Maori culture.”

Luke designs garments that are easy and effortless, with a modern edge for the everyday woman; “A woman who knows what she wants, and does not feel like she is conforming to what other people are wearing”.

Studying Fashion Design at AUT has been an eye opening experience for the young designer.

“AUT has put the ‘real’ in reality check about what the industry is like,” he said. “It has taught me how to be a stronger person and to have a good work ethic”.

Luke’s advice to those aspiring to break into the industry is simple, “build yourself a routine and a good work ethic; and have a passion for fashion, as ironic as that sounds, it’s true. Without passion and drive, you’re at a dead end”.

Determination and skill at his craft has lead Luke to already establish a strong position in the industry, and with his sights firmly set on his own label in the future, Bobby Campbell Luke is definitely a student you need to watch.

words by Nathalie Owen

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PREVIEW LUXOTTICA Mantells On The Water, Auckland was home to all that’s new in eyewear this month with the media preview of various collections from Luxottica. Photos: Norrie Montgomery

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LAUNCH K E E W L O O NZ W Held at Britomart Country Club in Auckland, NZ Wool Week launched its campaign for wool awareness. Photos: Sam Lee

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