Organizing a line (Tate, Ch.5) Fabricating a line (Tate, Ch.6)

Transcription

1 Topics Organizing a line (Tate, Ch.5) Developing a line Costing a garment Fabricating a line (Tate, Ch.6) Organizing a Line Developing a Group (Line) Category Price Theme Season Color story Fabric boards Work boards (Style boards) Organizing the groups to form a line. 1

2 Designer Organizing a Line Organizing a line is one of the designer s jobs. Designers style a group based on Theme. Designer s organizing of groups is similar to the buyer s selecting merchandise for the store. Buyers consider their customers preferences Offering a range of Colors, Sizes, and Styles. This range or selection is called an Assortment. Designer plans a line using the group method, and offers more selections than the buyer will buy. In case some pieces will fall out (not be sold enough quantity to be cut). Example: Developing women s sportswear group 2

3 Example: Research (Step 1) Fall color predictions: women s wear (see Tate, CI-1) Example: Building the color story (Step 2) A fall coordinated sportswear group (see Tate, CI-2) Group 1 Group 2 Group 3 Group 4 3

4 Example: Fabricating (Step 3) A fall coordinated sportswear group (see Tate, CI-3) Ways of Organizing a Line: 1. Item lines 2. Group lines 4

5 Item Lines Item lines (The simplest to define) Item house sells each item alone. Try to sell a large volume so that enough fabric can be ordered to get a good price and delivery date. Several styles in one fabric group. Or, one hot style. This eliminates the costly logistics of: Matching different fabrications Scheduling delivery of a variety of piece goods and Coordinating production schedules. Item Lines Item manufactures (= Knockoff houses) Offer a less expensive garment Overhead is lower (eliminating a designer and the costly product development process) For store buyers, the advantages: Lower prices and Rapid delivery For store buyers, the disadvantages: Lack of originality and a limited scope of merchandise. 5

6 Item manufactures (=Knockoff houses) An item house produces knockoffs quickly. Speed is essential to beat the competition when knocking off a hot item because the style will be abandoned as soon as it stops selling at retail. Item and private label manufactures sell in large volume. Usually to discount stores, catalog mail order, and large chain retailers. Some item houses sell expensive garments. Specialize in 1 or 2 Categories. Example: hand knit sweater, employing Cottage workers. Group lines Group lines are organized around fabric groups. Groups of styles constructed from one fabric or from the same combination of fabrics. Example: A fall coordinated sportswear group (see Tate, CI-2) Group 1 Group 2 Group 3 Group 4 6

7 Developing a Group: Coordinated Sportswear Category: Junior Contemporary Price range: moderate Theme: menswear fabric and styling in gray and black flannel combined with a gray pinstripe. Season: early fall Delivery to stores-july 30. Developing a Group: Coordinated Sportswear Coordinated units can be worn as matched outfits. The number of items in a group depends on the size of the line and the importance of the fabric as predicted. Trends, hot items, and fashion changes constantly vary the type, size, and price range of a line. 7

8 Developing a Group: Dresses Category: Junior Price range: Moderate Theme: Club dance dresses Season: Fall Developing a Group: Dresses A dress group dose not require the coordination that a sports wear group does. Often, a selection of print bodies (styles simple enough to be made in a variety of prints) are grouped together (Tate, p.200). 8

9 Group lines A designer/a team select colors, fabrics, and themes. All styles have a consistent visual image. Well-organized line is easy to sell. Colors should be seasonal and fashion-right. Styling should have variety within each group, yet each piece should develop the same Theme. A theme is a styling detail, trim, or color story that is used consistently throughout the group. The group may have a Price leader ( a garment slightly less expensive than the others). Group lines (Advantages) Advantages Most seasonable fabric groups can be cut first and shipped to the stores. If several styles in a group do not sell, other styles will have changes to sell. Several garments can be offered to buyers for multiitem advertisements and window and floor displays (using group line method). 9

10 Group lines (Advantages) Advantages When a line is unique, a buyer buys enough garments from different groups to fill an area of the store. Because several items in each group will be good seller, the manufacturer can order fabric in quantity. Group lines (Advantages) Advantages Manufactures often have a successful history with a specific fabric and offer it every year. Past history provides information on how much yardage to order. Buyers reserve open-to buy dollars (seasonal budget) with expectation. By varying the themes and price structure of groups, greater variety can be incorporated in the line. 10

11 Group lines (Advantages) Advantages A story (=Styling Theme) is best developed by designing similar items in ONE fabric. A strong style story is easier to sell & advertise. A good body with a strong sales record can be offered in several different fabrications at various prices to cover a range of shipping dates. Well-developed groups, consistent in color story and styling: They will have an image and a strong brand identity. Developing Color Story Select colors for a line should include: Fashion colors Staple colors (variations on past colors that have sold well) Neutrals and darks (navy, brown, khaki, and black) Warm or Cool colors 11

12 Developing Color Story The colors should reflect: The season The market they are designed for. Example: California vs. New York The type of merchandise Example: Sports wear or bridal wedding dresses A sufficient variety of choice To offer the buyer a range of appropriate colors. Developing Color Story The important rules for the Master Color Story: Usually 8-12 colors for the season. Each color is not used in each group line. The color is used at least once in the line. Including fabric colors: Example: Staple fabrics are offered in 3 or more colors. Novelty fabrics and prints are offered in 2 colors. Be consistent. Offer enough variety. And, develop the color theme in all groups. 12

13 Example: Color Stories Fall menswear color stories (see Tate, CI-5) Example: Color Stories Fall color range for item lines (see Tate, CI-5) Selecting colors for an item line involves considering the coordinates that will be worn with the item. 13

14 Example: Color Stories Spring children s wear color story (see Tate, CI-13) Example: Color Stories Spring/Summer menswear color stories (see Tate, CI-14) 14

15 Example: Color Stories Typical spring/summer color range: Item lines, all categories (see Tate, CI-15) Developing Fabric Boards The designer organize all fabrics chosen for each group on a fabric board. Should record all the necessary information beside each swatch. Use white illustration board. Tape the fabric swatches to it as they are selected. Fabric board size: A sportswear fabric board ( 20x30 inches)/ A dress board (10x 15 inches). Fabrications (Textiles selected for each component of the group) will be approved by the management. Then, purchase the stock fabric. 15

16 Fabric boards (see Tate, p.203) The name of the group line. The season and year. The name of the mill and contact number. The style and quality number; pattern and color name and number; Width of the fabric Fiber content; fiber mill; and price. The trims, sources, and prices. Croquis (The painted swatch of a print) and the finished swatch of the print. Lab dips (small patches of colored fabric submitted to the designer to establish a match other fabrics in the group) and their color numbers. Swatch boards Design room swatch boards A design team have a bulletin board in the design room. Swatches of fabrics, trims, yarns, and sketches are pinned to the board. Colors and fabrications are matched to the base goods. 16

17 Designer work boards (= Style boards) Style Boards The style work board will be reference sources for all information needed to write up the cost sheets on each item in the line. And, reference for pattern, cut, and sewn. Design garments for each group (see Tate, p. 205). Designer work boards (= Style boards) To create a Style Board: Use white illustration board. Board size: coordinated sportswear (a large size) and a smaller size for item lines. Divide the board into small boxes by categories. Sketch all the items for the merchandising meeting. Cross out rejected items. 17

18 Organizing the Groups to Form a Line The number of groups in a line Depends on the size of the manufacturer The season and other considerations. Organizing the Groups to Form a Line The fabric groups should vary in weight and type as well as in price. The fabrics should vary in price so that the manufacturer can produce a variety of garments in a general price range. Staple fabrics (=Base goods, solid colors or classic patterns), are usually offered in a large range of colors and styling, unlike novelty fabrics. 18

19 Organizing the Groups to Form a Line Many considerations alter the conventional organization a line, so flexibility in planning is important. Very small lines may offer only 2-3 fabric groups and more styles within the groups. Small manufacturers may offer 1-2 kinds of fabric.1 or 2 fabric groups. The Evolution of a Group Based on buyer reactions: good, excellent, or poor Weeded out (=dropped) or added. Depends on week styles or best sellers. This process usually takes several months. 19

20 Costing a Garment Costing a Garment A designer provides a cost sheet for the basic information: the garment details (such as fabric, interfacing, trims, etc.) on the sample to production person. The production person will rework complete the cost sheet to determine labor costs, the amount of fabric, and the final cost of the garment. When a group is finalized, manufacturers do documenting each style information: Style number and fabrication, trims, etc. (Into Computer) 20

21 Cost sheet Sketch (Float) The first cost sheet by designer: Information area Material cost Trimming cost Sketch (Floats of garments) Filled by production person: Labor cost The amount of fabric The final cost of garment Swatch Cost sheet: Information area Cost sheet basic information filled by a designer Date Description Size range Colors Style numbers Manufactures develop A numbering code that represents the season, fabric, and pattern. Example: 8000= basic fabric group, 8074= # of the pattern 21

22 Cost sheet: Information area Season: The selling season of the garment. Selling price: (It s NOT the total cost in the cost sheet!) Marker: Specifies the width of the marker. Example: 58/60 Marker yardage and allowance = Total marker length. Add 5 % allowance to the marker yardage (Damage fabric and the end cut Fallout). Cost sheet: Material Cost Base goods cost An additional amount must be added to the base price of the fabric cover yardage shipping fees. The Base price= Base price of fabric + yardage shipping fees + (fabric inspection cost) Shipping fee: Up to10 cents/a yard (by ship) cents/a yard (by air) Example: Base price $3.90 = $ $.05 shipping + $.10 inspection 22

23 Cost sheet: Material Cost Accessory fabrics: Linings and interlinings The price= Base price of fabric (usually no freight cost, if local stock). Trimming cost: Fabric treatments, pleating, top stitching, zippers, snaps, embroidery, etc. Cost sheet: Material Cost Total material cost: Base price of fabric + yardage shipping fees + fabric inspection cost + Accessory fabrics (Linings, interlinings) + Trimming cost = Total material cost 23

24 Cost sheet: Labor Cost Labor cost (filled by production person) Sewing cost: Based on SAMs (Standard Allowed Minutes) for each operation Cutting: set minimum cut figure. The lower the garment s cost, the higher the minimum cut A volume cutter of budget blouses (300 units) Expensive evening garments (50-60 units) Price of cutting/ units cut = price per unit $75/100=.75 Cost sheet: Labor Cost Production pattern In-house (overhead) Or, Contract-out (direct cost) Labor: Direct labor on the garment Sewing costs Bundling, pressing, hemming, trimming, and sewing on buttons, snaps, and loops (Besides the sewing). Marking & Grading Trucking and ware housing 24

25 Cost sheet Computerized cost sheets When a group is finalized, manufacturers do documenting individual style information including style number, fabrication, trims, etc. (Into Computer) Final garment price Total Cost + Mark on desired= Wholesale price Total Cost / Reciprocal percentage = Wholesale cost 25

26 Wholesale price =Total Cost + Mark on desired Mark on desired = 45~60 % (moderate garments) Mark on: the amount to cover the company s Overhead Overhead =Sales commission (7~10 % )+ Terms + rent+ machinery repair+ salaries of personnel+ more. Apparel Terms 8/10 EOM Term: 8% of the selling price is refunded to the purchasing store if the goods are received in a given month and the invoice is paid within 10 days. Net-30 or Net-60 (Large company) Net-30 means the manufacturer is paid 30 days after the end of month in which the goods were received. Wholesale cost =Total Cost / Reciprocal percentage Reciprocal % = mark on % -100 If 55% mark on for $18.56 item, =45 Then, 0.45 is reciprocal% / 0.45= Wholesale cost will be $

27 Merchandising the cost of Garment A manufacturer costs a garment before establishing the wholesale price based on: Does it look worth its price? Good seller? Lower or higher mark-on Contract & Negotiate Retailer In-house brand Full package the manufacturer is responsible for all product development once the retailer provided the sample. Foreign labor markets Consider sourcing Duty fee Quota the type and number of garments that are allowed to be imported into US from foreign country each year NAFTA (North American Free Trade Agreement) 27

28 Specification sheet (see Tate, p. 217) Flats 28

29 Fabricating a Line Fabrication Fabrication is the process of selecting or creating a style for a fabric. It depends on the characteristics of the fabric: Surface interest- color, aesthetics, pattern, texture. Weight- bottom weights or blouse weights. Fabric hand Fiber- the season 29

30 Fabricating a Line A designer selects appropriate fabrics for a line It depends on the manufacturers. A designer works on after management decision for the season goods A designer selects and purchases both sample and stock yardage (designer s decision). A designer reviews lines. A designer should organize information on textile and trim resources. (Textile information sheet, See Tate, p. 231) Timing of Fabric Purchases The timing is important. Purchase amounts of yardage to commit (buy a specific amount or particular fabric) Example: Early in the season to ensure delivery at the promised time. Terms of sale COD (Collect On Delivery) from a textile manufacturer or jobber. A jobber is a middleman who purchases from a manufacturer and sell in smaller lots at higher price. 60 net : do not have to pay until 60 days after the shipping date. 30

31 Fabric selection Designer selects samples on: the basis of Price Aesthetics Fashion And the fabric for the line. After accepted the fabric for the line, Dupes (Duplicates) are extra sample garments. Designer should check the delivery date and price of the stock yardage. The delivery date is determined by the Turn-Time (=the time it takes to knit or weave, dye, and finish it). Textile Firms Textile Firms (2 types) Vertical textile firm: Company owns the mill that produces the gray goods (= unfinished base fabric). Converter Textile sales person To show designers the line at the beginning of each season and whenever a new fabric or print is added. Textile sales person should not edit the line or prejudge a designer s selection. 31

32 Information on Fabrics Sources Fabric libraries Wool Bureau, Cotton, Inc. DuPont, Monsanto Textile Directories DNR, WWD Davidson s Textile Blue book Textile Association of L.A. (TALA) Textile Trade Shows Premier Vision is held twice annually in Paris. Ideacomo and Indigo, Italian fabric shows. Intersoff is textile show held twice annually in Frankfurt, Germany. The New York textile associations 32