Business in Fashion

Last week I attended a debate titled "Business in Fashion" which was held at London college of Fashion. 

The panel included: 

Adam Atkinson: CEO of Cherchbi

Doug Atkinson: Innovation research fellow- Designer Manufacturer Innovation Support Centre (DISC)

Zahra Ash-Harper: MA Fashion Entrepreneurship Alumni

The debate was based on a recent British Fashion Council (BFC) report, the Future of Fashion. the report estimates that the value of UK fashion manufacturing has fallen by two-thirds since 1995. Overseas sourcing has become the default strategy from high end to High Street, resulting in a massive loss of infrastructure and technical skills across the UK fashion manufacturing sector. BUT the pendulum is swinging back. Marks and Spencer, John Lewis, George at Asda and the legendary Mary Portas have kick started demand for ‘Made in Britain’ fashion.

Just in the past three years really Britain has had a re-surgance of manufacturing again. This is a subject I am very passionate about, hence why I attended the debate. And also this is the sector of the industry I want to go into, if there is no manufacturing left in the UK I have no job. When you think of a typical design studio the average age is probably about 40-50 years old. And no young faces are being drawn to the glamourous job or a machinist, pattern cutter or sample cutter, everyone wants to be there own designer. But what people are not realising is if the pattern cutters and machinist did not exist these hundreds of designers would have no one to make there collections. So I am just going to run through briefly what was all discussed at the debate. 

Adam Atkinson started off the panel discussing the leather goods industry. He previously worked at Nike and Puma, where a lot of the leather was manufactured in Asian countries and imported to Britian. However he wanted to try and change that by creating a leather good company - Cherchbi, which is completely MADE IN BRITAIN and is a HERITAGE Brand. Britain and the made in Britain branding is surrounded by the idea of Heritage and the innovation is a key factor. 

Adam has created his own British tweed made from the Herdwyck Sheep fleece. It is a brand new Tweed called the Herdwyck No.10 Tweed. The fleeces come from the lake district so they are locally sourced. However the fleece is very very difficult to spin and weave as it is a low value fleece and creates a very rough and ready feel. Adam has took 3 years developing this tweed and it is named the Herdwyck No.10 as it was the 10th try until he finally cracked it.

Herdwyck No.10 tweed printed Holdall

British manufacturing does have a lot of unique elements to it, When you are out there looking for a manufacturer, you have the power to discuss the use of the fabric, it is very important to get what you want across to whomever is making your garment. The biggest value of having a british manufacturer is  you can ask for a sample, you can check up on the progress of your order and can order small amounts. Where as abroad you normally have a minimum order of say 10,000 garments, in which you may not notice any mistakes that may have been made until it reached the shops. where as if you have a small order made in Britain you can resolve the problem before hand.  

However it is very difficult to try and commercialise a company when using british manufacturing, as straight away if you choose Britain you are placing your company in the high end market because it is just not feasible to create a high street garment for example at an affordable price because the labour/fabric, etc is too high. 

Many fabrics are also very difficult to get in Britain as well, in Nottingham you have lace and Scotland you have tweed but generally most fabric would come from over seas. In order for designers to say it is completely Made in Britain. Many have chosen the route of digital print as it can be related to that specific collection, in a sense the digital print is the new heritage age of Britain. 

As a new designer as well many people will have the problem of intellectual property (IP) as designs have to have a distinction in 3 separate ways: silhouette, print and shape. As you cant copyright an idea many designer will send the pattern to themselves and don't open it so it is postage dated and proof that they had the idea first. 

Is it feasible to revive British clothing manufacturing and will demand for ‘Made in Britain’ last? 

In answer to this question, I hope so. I certainly think it is on the rise, many designers are trying to push for the made in Britain stamp, Mulberry for example is moving 30% of there manufacturing back to the UK and creating an apprenticeship scheme. Mary Portas of course is trying to use that branding stamp on the high street. And you of course have the favourites like the Barbour wax jackets which is still also made the UK in South Shields. 

I myself want to enter the world of british manufacturing and when i asked the Questions to the panel:

Do you think there is room for people like me a new graduate trained in pattern-cutting to get a job in the industry, As when a employer is looking to fill a position they will want experience. How can I compete with someone for example who has 30 years experience?

Zahra replied: Yes I do think there is room in the industry for new faces, my business partner for example is a pattern cutter and on an individual bases she has been very successful fo far, with lot of different kinds of pattern cutting jobs but she is very good. She has had some wierd request for dog clothes and weird and wonderful clothing but she manages to do it all the time. And when you are good word spreads and you find you will have many jobs coming your way, sometimes she has too much on your plate. But i do think there is room for new faces in the industry as soon we will need them anyway. As many women in that job will be retiring etc. 

I could go on and on about this topic of conversation. However I will end it there for now, I hope this has made you think about the brand "Made in Britain", and where you are going to buy your next item of clothing.

Ashley J

Ashley Isham SS13

This Saturday past the 15th of September, I was privileged enough to attend the Ashley Isham SS13 show, which was held at the gorgeous location of Goldsmith Hall on Foster Lane. 

The show was fantastic showcasing all what Ashley does best exquisite drapery juxtaposed with sharp tailoring and not forgetting his signature embellishments. He used a variety of vibrant summer colours including shimmering oranges, cool blues and beautiful geometric prints. Including some unusual fabrics such as neoprene and his usual flowing jerseys and satins.  

The show was inspired by the Orphism art movement, which was co-founded by Sonia Delaunay. Delaunay was renowned for her use of strong vibrant colours and geometric shapes. All of which you can see has been translated into his collection. 

The music was done by Jodie Harsh and the Models were styled beautifully like hollywood glamour by charlie le mindu. Including super model Alyona Subbotina one of Ashley's Favourite models, whom has been the opener for the past 3-4 shows. 

The show had a great atmosphere especially when the puppy came out with the first look, i think the dog almost stole the show. However Ashley redeemed himself with the pure amount of looks. With 53 looks the show had something for everyone, even when you thought it was over a mini collection of colourful jersey dresses finished of a wonderful Vibrant collection. Ashley even dyed his hair blue to carry on the theme of Orphism.

Ashley J

LONDON...

Ok so here is a quick run through that has been happening the past few weeks. 

First of all i did my very first commission for a real client. creating a very simple a line dress made from a vintage checked fabric. My client was a 53 year old women, who wanted to be comfortable while still being able to breathe in her clothes as cycles to work. 

It was a fantastic opportunity to make a dress for some one and to get paid for it. This also helped fund me to get to london....

Heres a wee sneak peek.. 

I have just moved down to London to study a Post graduate Diploma in pattern design and garment technology at London College of Fashion. I am vey excited to start i just picked up my student card yesterday so i now officially a student a LCF. But it is all very daunting having to MOVE to london and not have a date to go back home. Starting up a new life down here new friends etc. 

So so far it has been going pretty well even though i have only been down for a day or two. But i have stuck gold and found a fantastic little flat sharing with 3 other people. Its on the 7th floor so it is quite high but fantastic views and beautifully decorated i love it. 

Next step find a job.....on the list of things to do 

Weekend....Managed to snag myself some fashion Show tickets for Designer Ashley Isham held at the stunning venue Goldsmith Hall. Pictures will follow.... so keep your eyes peeled the next few days. 

And today, Yes i also managed to get tickets for the 02 Arena in London to See Florence and the Machine!!!!! OMG i cannot WAIT! So excited to see her in December. However the tickets have sold out so fast she has had to add another date to her tour so she will now be playing on the 5th and the 6th of December at the 02.

So So many things happening right now just hope it keeps going this way!

Ashley J

Treatment of Horses vs. Women

The 19^th century was a very strict time, when women had to abide by society’s conventions and wear corsets, bustles and crinolines. They all accepted this as the norm, along with the fact that a horse and carriage provided their transport, however controversial; horses had to be harnessed with a curb-bit and a bearing rein [1.6]. The bearing-rein held the horses’ head up high, forcing the animals into contrived and painful postures for the purpose of appearance alone[1]. Essentially this is what women did to themselves by tight-lacing and wearing bustles, it has been said that a harnessed horse is like a corseted and bustled woman [1.7], creating a posture, movement and silhouette that is conspicuously horse like[2]. By women wearing bustles it was implied that to be beautiful tails had to be worn. Males, who were said to be the dominant character, were also said to be superior to women and horses; so essentially men saw them both as sexualised objects and as their property. Men would often describe women and horses in the same manner, using similar vocabulary to describe their breed or carriage etc.,[3] completely demoralizing to a woman and reducing her to the level of a mere animal, an object to be looked at, similar to the idea of a trophy wife.

[1.6] Bearing rein

[1.7] Corseted and bustled women

The popularization of the side saddle in the 19^th century was unhealthy for the horse as it caused them to tighten up, giving them muscular spasms because all the weight was distributed on one side. The side saddle was seen as convenient, practical and a graceful way for women to ride. However, it had many side effects on the horse as it deformed the spine, unjustifiably tired the horse and was impractical for long journeys[4]. The treatment of animals reflects the state of society, through class and social problems among humans.  Stated by Charles Darwin, “Humans were now animals; the theological line that had separated humanity from animals as a distinct creation was no longer tenable”.[5] Humans were so overwhelmed by fashion, popularity and class that they did not even think about what they were doing to themselves or the animals surrounding them. Our so called brainpower, which is meant to differentiate us from other animals, was non-existent. It is we humans who have shaped what horses are today, as we have made them obey us. In effect this does have pros and cons, humans and horses can have very strong partnerships and can become “one” enjoying each other’s company. However horses have their own needs such as rest, they should have freedom in the company of other horses, they are herd animals and they do not always end up with a kind owner. It all whittles down to the problem of fashion versus common sense.[6] 

Ashley J

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[1] Dorre G M. Horses and Corsets: Black Beauty, Dress Reform, and the Fashioning of the Victorian Woman. Victorian Literature and Culture. 2002; 1060-1503 (02): 157-178. p. 157

[2] Ibid p. 158

[3] Ibid p. 161

[4] David A.,M., Elegant Amazons: Victorian riding habits and the fashionable horsewoman. Victorian Literature and Culture. 2002; 1060-1503 (02): 179-210. p.200

[5] Miele K., Horse-Sense: Understanding the Working Horse in Victorian London. Victorian Literature and Culture. 2009; 37-1060-1503 (09): 129-140. p.129

[6] Ibid p.137

Riding Wear and Riding in the 19th Century

Ever since the 15^th century horse riding has been a popular sport for both women and men. Side-saddle riding [1.2] was introduced by Queen Anne of Bohemia and Luxemburg in 1382[1] and was the only acceptable way for women to ride up until the mid 20^th century. Around the time railroads were invented riding became more of a leisure sport. The Victorian riding habit was unusual from the rest of the dress that was worn at that time; it was very simple with little decoration and in demure colours [1.3]. It was a fashionable anti-fashion statement, masculine and feminine, practical yet alluring. It is the modern horsewoman who represents a turning point in the history of female dress, as the riding habit is one of the first sports costumes to be designed specifically for women and this opened the way for a generation of other athletic garments.[2] Although the riding habit was unique to a specific sport it still followed society rules. The jacket often followed the fashion of that time and the skirts had metres and metres of fabric, especially at the back, which emulated a bustle look. The skirt or apron did improve in time becoming more minimal though it was one of the most difficult garments to make, as it had to fit the female body while sitting side-saddle on a horse [1.4]. Women’s riding habits are one of a kind, it was the only costume at this time which was cut and fashioned from the same selection of fabrics as the men’s suits. Because the habits were so complicated they were made by tailors rather than dressmakers.[3]  

 

[1.2] Woman riding side saddle

  

[1.3] Riding Habit

[1.4] Side saddle apron

During the 18^th century women wore brightly coloured riding habits, such as ruby red and emerald green with elaborate braiding. However, by the mid 19^th century when Queen Victoria came to power, the colour quickly faded and women adopted the palette of men’s dress. It was then only appropriate to wear black, navy, grey and brown, though blondes might wear a dark rifle green[4]. Riding wear turned everything on its head; it was unusual that the colour scheme changed in riding as it was a time when there were more sophisticated dyes and women were wearing mauve, magenta and cerise. In the riding world the colour coding roles were reversed, as normally the dark and demure colours were associated with men and laborious work, however the simplest habits were seen as “the most ladylike and becoming of all; besides looking thoroughly womanlike”[5]. The riding habit was a one-off to all other costumes because it was different, however it is still in accordance with the sport, as the suiting fabrics acted as a sort of camouflage, it protected women from all weathers and was warm [1.5]. People were becoming more sensible and making clothes because they were practical, though they still had a long way to go. Women still had to wear corsets, however if they did not wear a corset, their riding coat would still be boned and fit tightly, there was certainly not a release for these middle class women, having so many dress code rules to abide by.

[1.5] Women riding side saddle in the hunting field

“Sport was perplexingly ambiguous because it stood on the threshold between male and female and between the past and the future. It was a repressive and constraining mechanism that deliberately idealised maleness and kept women separate from and inferior to men.”[6] Sport was confusingly ambiguous as sports were considered a more male activity in the 19^th century, but females have slowly managed to become more accepted in the sporting world. As such they broke the taboo and changed things from what they had been in the past. It also meant that sports then were a way for men to flaunt their masculinity and competitive nature. It kept women in a state of inferiority without any chance of proving themselves, as they were never given the chance to take part in competitive sporting activities. Women were allowed to join in with sporting activities such as fox hunts; however they were never given any responsibility, just consent to follow along while obliged to riding side saddle.

Ashley J

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[1] David A.,M., Elegant Amazons: Victorian riding habits and the fashionable horsewoman. Victorian Literature and Culture. 2002; 1060-1503 (02): 179-210. p.180

[2] Ibid p.179

[3] Ibid p.182

[4] Ibid p.182

[5] David A.,M., Elegant Amazons: Victorian riding habits and the fashionable horsewoman. Victorian Literature and Culture. 2002; 1060-1503 (02): 179-210. p.182

[6] Ibid p. 180