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76 THE FASHION DESIGN REFERENCE + SPECIFICATION BOOK
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Chapter 7: Specialization
With so many choices available, fashion designers must de ne their area
of specialization and the niche subcategories within them. Designers might
decide to design women’s wear. The next step is to get much more speci c
about the category. If they were to settle on eveningwear, say, they must also
determine the age group, size range, (including full gure, petite, and tall) and
the price point to which it will be marketed. This all seems pretty straightfor-
ward, but even within eveningwear designers have to identify and understand a
multitude of subdivisions.
CATEGORIES AND SUBCATEGORIES
SUBCATEGORIES OF WOMEN’S WEAR
Daywear Eveningwear Outerwear Intimate Apparel
Casual Separates
Dresses
Suiting
Activewear
Athletic Sportswear
Knits
Dance, Club
Date
Special Occasion
Dinner
Cocktail
Black Tie, Red Carpet
Stage
Fantasy, Costume
Casual
Work
Dress
Weather
Athletic
Formal
Foundation Garments
Practical Lingerie
Show Lingerie
Sleepwear
Loungewear
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Within each subcategory, designers must address the particular social activity and community
that the garments serve to engage. Social activities might include work, meetings, and inter-
views; school; exercise or sports; sports or cultural events (as viewers); eating and/or drink-
ing; socializing or entertaining; dancing; dating; rituals (weddings, bar mitzvahs, proms, funer-
als); formal events; performance or theater; intimate entertaining and sleep. Communities
might be made up of peers, strangers, family, friends, employers, coworkers, team members,
dates, intimate partners, the press, or an audience.
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7 7
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Categories of Menswear and Children’s Wear
For men: Business attire, rel axed suits and sports jackets, casual separates, activew ear,
athl etic sportsw ear, f ormal w ear, outerw ear, sl eepw ear, and undergarments.
For children: Pl ayw ear, dress, sl eepw ear, outerw ear, and costume pl ay.
Women’s w ear, mensw ear, and chil dren’s w ear can be f urther subdivided as f ar as the imagi-
nation can go and the market w il l bear. The process has to be comprehensive because today
designers must devel op not onl y their product, but al so the service buil t around del ivering it,
and ul timatel y, the experience they w ish their cl ient to have f or the l if e of the garment.
SCOPE
Another route f or cl assif ying a special ization deal s w ith market pl acement based on price
point and the vol ume of distribution. These channel s can be f urther described as intensive,
encompassing the majority of resel l ers; sel ective, directed to suitabl e outl ets; and excl usive,
l imited to sel ect or authorized deal ers.
At the high end, a system that used to adhere to a strict order of social cl ass now crosses the
boundaries of cul ture and caste and answ ers onl y to the hierarchy of l egal tender. This new
democratic arrangement brings together the representatives of pow er and status f rom every
corner of society. The best of cl ient l ists are apt to incl ude those w ho are f amous f or having
money, entertainment val ue, pol itical in uence, revered bl oodl ines, and at times, no more
than inf amy— so l ong as they can pay the price.
Consumer shopping habits now re ect a f reedom to tap into the market at dif f erent l evel s.
The stigma once associated w ith discount shopping has transf ormed into a badge of honor
that de nes the customer as educated and savvy. Designers w ho reach into dif f erent markets
must be sure to make cl ear distinctions betw een w hat they do f or a l uxury retail er and the
w ork they produce f or a discount store.
Collector
The true connoisseur of f ashion is in search of rare, one-of -a-kind items. Pricel ess is of ten
a descriptor in this very el ite real m. Haute couture, art pieces, and historical l y important
garments and accessories are treated w ith reverence as much f or their unparal l el ed excel -
l ence as f or their scarcity. As of the Fal l /Winter 2009/2010 Haute Couture show s in Paris, the
Chambre Syndical e de l a Haute Couture w as represented by onl y f teen of cial members. The
importance of this smal l group stems f rom how the products of their w orl d-cl ass artistry and
w orkmanship become the seeds of f uture trends.
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78 THE FASHION DESIG N REFERENCE + SPECIFICATION BOOK
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Luxury
Luxury is such a popul ar concept that, in some instances, the w ord is cl earl y being overused
or misappl ied and as a resul t deval ued. Sumptuous af f l uent l iving, w here abundance and
indul gence go hand in hand, is the picture that comes to mind. Designers of l uxury cl othing
appl y an al most hedonistic approach to the l uxe l if estyl e f or w hich they are creating garments.
Few peopl e real l y l ive this l if e, but many aspire to it, so these f ashions must speak f irst to the
f antasy and second to the real ity. Top-of -the-l ine ready-to-w ear col l ections are devel oped f or
f reestanding designer-brand stores, excl usive boutiques, and upscal e department stores l ike
Barney’s New York, Bergdorf Goodman, Harvey Nichol s, Harrod’s, Neiman Marcus, Nordstrom,
and Saks Fif th Avenue.
Mainstream
Mass production requires l arge runs, produced at a cost that al l ow s f or moderate price points
in the store. The styl es represented by these col l ections re ect the dominant trends and enjoy
a broader appeal . Chain stores asuch as Banana Republ ic, Anne Tayl or, Express, Next, and
Uniql o and department stores such as Dil l ard’s, Kohl ’s, JCPenney, Macy’s, and Debenhams
are successf ul because they can establ ish a consistent presence in each city w here they open
a store. Many companies that f al l into this bracket reinterpret trends, in essence distil l ing
them f or savvy customers w ho appreciate f ashion but al so w ant to strike a bal ance w ith their
w al l et. The w idespread in uence of these brands al so l engthens the l if e of trends through
f ashion’s ow n trickl e-dow n economics.
CHAMBRE SYNDICALE DE LA HAUTE COUTURE AS OF SPRING/SUMMER 2012
Official Members Adel ine André, Atel ier Gustavol ins, Chanel , Christian Dior,
Christophe Josse, Franck Sorbier, Givenchy, Jean Paul
Gaul tier, Maurizio Gal ante, and Stéphane Rol l and
Correspondent (Foreign)
Members
El ie Saab, Giorgio Armani, Giambattista Val l i, Val entino,
Versace
Guest Members Al exandre Vauthier, Bouchra Jarrar, Iris Van Herpen,
Jul ien Fournié, Maxime Simoens, Yiqing Yin
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Specialization 7 9
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Discount
Discounters such as Kmart, Walmart, and Primark bring fashion down to the bare bones of
utilitarianism. But even at this price point, consumers want to feel that they are getting fash-
ion, not just clothes. Target has helped to raise the pro le of the discount store by partnering
with designers to stock affordable designer goods. Off-price companies such as Marshalls,
and TJ Maxx embrace this philosophy, attempting to level the playing eld. Even mainstream
brands have recognized the importance of this strategy by opening outlet stores where a
bargain hunter can nd a higher caliber of merchandise at an often deep discount. Fashion
brands such as H&M and Topshop appeal to this mindset, producing what has been termed
disposable fashion—it’s fun and even if it doesn’t survive the season, it’s worth the price.
High-Low
Smart and stylish women have long been blending the best of each of these fashion worlds
to achieve truly unique styles for themselves. Editing wardrobes in this way has become the
norm for the modern consumer, so a designer must have an appreciation for how their work
will t into this picture. Style icon Iris Apfel, known for her adept skill at mixing haute couture,
vintage, ethnic jewelry, ea market nds, and even jeans, personi es high-low fashion. This ap-
proach to building a wardrobe is not merely a matter of being budget conscious. This customer
has prioritized what to invest in for the long term and what is just temporary. It’s not about a
season, but rather, a way of life: measuring value and maximizing the power of fashion.
Category Price Description
Haute Couture
$10,000 or more (£6207) Made to measure, hand-crafted apparel only a select few
can afford (Chanel, Christian Dior)
Designer
$1,000 (£620) or more Superior fabrics, details, trims, and cuts added to ready-
to-wear (Marc Jacobs, Prada)
Bridge/Exchange
Less than $1,000 (£620) Fine fabrics, career separates, and dresses (D&G)
Better
Less than $500 (£310) Better fabric and styling than lower-priced clothing (Jones
New York, Anne Klein)
Secondary Lines
Less than $300 (£186) Designers offer a line at a much lower price than their
designer line (DKNY, Armani)
Private Label
Less than $300 (£186) Brand designed specifically for a store or retailer, costing
less than name brands (Top Shop, H&M)
Moderate
Less than $100 (£62) Nationally advertised, inexpensive
(Gap, Abercrombie & Fitch)
Discount/Off-price
Less than $50 (£31) Outlets selling clothes at discount prices
(Marshall’s, T.J. Maxx)
Budget or Mass
Less than $50 (£31) Low end of apparel pricing and quality; often casual
sportswear (Old Navy, Mossimo)
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8 0 THE FASHION DESIGN REFERENCE + SPECIFICATION BOOK
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SPEED
Fast
New manufacturing methods have made ready-to-wear almost immediate. Fashion can move
from the catwalk to the sidewalk at lightening speeds. Although this accelerated process de-
mands trading down from chic to cheap, many designers see its value because of the visibility
it affords. Leaders in luxury wear do not always translate into household names, and fast
fashion can be a way into almost anyone’s closet. The question becomes one of whether the
designer has a suf ciently solid foundation to remain rst and foremost a high-end brand.
Moderate
Taking the time to “do it yourself” is another route for fashion consumers. When customers place
their distinctive mark on an item, infusing it with meaning and memories, the perceived value
grows. These fashions can draw on sophisticated skills such as quilting, knitting, or other needle-
crafts, or incorporate decorative ornamentation using beads, rhinestones, trims, or even hand
painting. It should be no surprise that workshops in millinery, handbag, and jewelry design are
among the most popular classes for creative teens and adults. Many big companies have identi-
ed the value of inviting customers to have a hand in the design process by letting them create
unique, personalized versions of their products. Several of the most prominent sneaker compa-
nies, for instance, allow for detailed customization both in-store and on dedicated websites.
Slow
In the spirit of the nest fashion houses, a return to bespoke design serves as an alterna-
tive to generic off-the-rack clothing. The customer for slow fashion is willing to wait for quality
workmanship and a custom t. A suit of clothes that is made to order provides the wearer with
an authentic sense that these clothes are uniquely theirs. Although the idea is usually applied
to ne tailored garments, the ubiquitous pair of denim jeans is now a wardrobe staple that can
be special ordered to t like a glove.
SIZE
Sample Size
The size of designers’ samples speaks to both their vision and their priorities. Model dimen-
sions make sense if designers are relying on high-fashion vehicles like runway shows and edi-
torials to promote their collections. Designers must also weigh the importance of prospective
customers wanting to visualize themselves in the clothes, literally and guratively. Can a size
12 woman picture herself in a garment when she sees a size 4 on the model, the mannequin,
or the hanger? Does the designer’s method of grading t standards consider the placement
of design details on the larger size so the design translates well across the size range? Has it
been tested and re ned to the upper end of the size range?
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