cfi-The Look and The Law Aug 09:The Look, The Law & The Knowledge 2009 07/09/2009 13:55 Pag
PRODUCTION
After the trauma of the build-up to the collection, the excitement of the show and
almost inevitable over-reaction to its reception (either euphoria or despair); you have
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to put your clothes into production.
What does that mean? Usually a headache when you first begin. There are so few
manufacturers left in the United Kingdom and most of them are kept busy
OOK
producing for high street giants like Marks and Spencer or major international labels
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such as Burberry. If you look abroad – to Italy, say – you come across another
aspect of the problem. Most of the manufacturers, such as MaxMara, are just too
THE
big to wish to be involved in working in small numbers although AEFFE managed
to do so with Fashion Fringe winners, Basso & Brooke, and finalists, Sinha Stanic.
Italian manufacture is never cheap and you will need to find other places to make
your clothes: perhaps Turkey, India or China.
THE PRESS
There are probably quite a few designers who would agree with Giles Deacon’s
recent comment in The Sunday Times Style magazine that it is hard to respect the
views of many fashion journalists because they are so ignorant of their field. But
whether the individual knows a lot or a very little, he/she wields such considerable
power that it is no exaggeration to say that, up to a point, fashion journalists are
vital to your success. There are designers such as Maria Grachvogel who have
managed to build and sustain very strong businesses with a world reach without
relying too much on journalistic support but, in general, if you wish to become a
name that the public recognises you have to do it with the co-operation of the
fashion press.
Of course, it is the fashion journalist’s job to find and promote talent and, for that
reason, new names always attract them. As so very few attend graduate fashion
shows the real difficulty, especially if you are not from a London college, is getting
noticed. You are working in a ridiculously crowded field. Fashion colleges churn out
young designers in droves, and few of them stand much chance of being noticed,
let alone of achieving success. But it is rare for real talent to go unrecognised. The
press needs you, just as you need the press. Making yourself the best, and letting
people know who you are, is the starting point.
THE PR COMPANY
The vast majority of young designers can find only too many reasons to feel
unhappy with their PR company. They seem to feel that because they are not
paying a PR very much (and no designer just starting can) they are not getting
much in return. And there is some truth in it if we are looking at the question in the
short-term. But a good PR company should look to long-term goals, rather than
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