Here’s why:

I recently worked with an accessory company who had grown quickly and organically over the past 2 years to a stage where they successfully managed an online, and retail business. Their product was very strong, and they had a polished leathery future ahead of them, but as they’d grown they’d failed to document their timelines and processes resulting in a vulnerable position without an internally shared knowledge base and virtually no formal planning. The knowledge was in the heads of the management with no consistent planning tool in place for the team below them to follow and implement. What this meant was that the leadership team, instead of the team of assistants, were driving the day-to-day workings instead of being the face of the growing business and tending to the business development side. They were creating the bottleneck for their own company.

This is not a unique position. It happens a lot with companies as they grow from one person into a team, heck, I’ve done it myself, often finding it easier to manage the process myself instead of delegating it down to my team. But believe me, it is a false economy and it will come back to bite you. There are, of course, simple processes that you can implement which can alleviate this problem. I’m sharing some below:

Assumptions:

Make a list of assumptions for each departmental process which can be shared as the companies grows. These assumptions should include timelines for trim, fabric, washing, manufacture and shipping by location. It should also list the timelines relating to company process: proto reviews, concept building, range plan creation etc.  With this list anyone can make a simple plan to determine a time and action. Without it and no one know how long each process could or should take. These assumptions will be used in the next point:

Matrix/Linelist:

This matrix/linelist is a document that should contain all the styles you are developing, (by style name, fabric, colour, factory and by product group). At the beginning of each season, build the clear and simple document that lists the details of your whole collection and treat it as a one stop shop for all collection information. Add in the financials (cost price, retail price and margin), the delivery drops planned, and also the production planning with milestone dates for fabric and trim buying and you have a complete and very detailed document.

By adding in the product planning section and the delivery drops, and by using the assumption sheet in point 1, you can build out a data driven set of reminders and milestones to enable more strategic bulk raw material procurement and seamless manufacturing order placement (with buffer time included). The pain of spending 2 hours of data entry can save you days of confusion, late deliveries and cancelled orders. Yes, it is time-consuming to build this out half way through a season, but so is having to find a second source for trims or materials when you have missed a deadline to order and your production is jeopardized.

Shared ownership:

Ever heard of the phrase, “A problem shared is a problem halved”? Have at least 2 people in the company that can manage or at least articulate these processes so there is a sharable system. If you are a team of 3 people, at least 2 of you should know how long every process takes in the company. If 1 person is travelling, the other can manage the ordering. Keeping the information in your head and not shared will damage the growth of your business.

So, whether you are starting out, or at the next level growth stage, look at your development, procurement and production processes and ask yourself:

• Are your timelines documented?
• Is there a document in place that lists the collection details with milestone reminders to help you plan?
• Is it in a shared drive and available?

If it’s a no to all to 1 or more, you may be causing a bottleneck.

For more information of product development, planning and production, check out my book Blue is The New Black.
My consultancy Co-lab54 specialises in strategic product development for fashion companies.

What is a concept?

A concept is the design direction for the colour, shape, mood and fabric for any fashion collection, and is created at the beginning of the season. It creates the mood of the collection and is always open to different interpretations. The initial idea first needs to be analysed carefully and translated into something that people can actually look at, and that can set out the direction of the collection.

Tips:

• Understanding how elements of a concept influence a range is very important for the developer. Watch how the designer works  and ask questions to get a clear understanding.
• Not every colour in the colourcard is used for a fabric, some are just used for trims, but they are still important to the range.
• Having a personal interest in fashion and trends will help you with design and style references, which will be used throughout the creative process.
• Don’t be afraid to offer up ideas for colour and fabric sourcing. Developing a range is a collaborative process.
• Try to keep a copy of the concept with you throughout the development process so that you have a constant reference point and reminder.

For more information of the concept or other aspects of building a fashion collection, check out Blue is The New Black

Susie / Co-lab54.com

Blue is the New Black: The 10 Step Guide to Developing and Producing a Fashion Collection

Looking back, I seem to have spent most of my career applying for jobs that were just a little out of my league, and in some cases, I got them. How did I feel? Terrified!

Terrified that I would get discovered as a fraud and then thrown out on my ear. But it never happened because I spent a many hours learning the job on the spot so that I wouldn’t get discovered and thrown into fashion exile.

Here’s the story of when I oversold a little too far:

Around 16 years ago, I applied for a job in apparel production based in Amsterdam. I had never done apparel production before, I had no clue where to start and I had never visited Amsterdam. With my previous experience being mainly in buying and retail where I had worked with garments but never measured or constructed them, I felt it necessary to embellish my experience a ‘little’ in order to stand a chance of getting the job offer. In my naivety it didn’t even cross my mind that when I was offered the position, I would find myself a little out of my depth in some or, in reality, most areas of the role.

On the first day in the job, after having landed in a new country two hours earlier with my life in three suitcases I, along with the other sourcing assistants had to measure the collection to start the production process. It was only at that point that I started to panic. I was in a new country and in a new job that I had no clue about.

With tape measure in hand, the reality of my overselling kicked in. I had never measured a garment before. Feeling the blood rush to my head in panic, I casually observed my colleague starting to measure. Leaning across I asked:

“ So, you measure the chest like that… right, yes – I do the same”

“ And the shoulders, yes, ok, same as well”

And so it went, stage after stage she measured, I copied and memorised.

The nervous panic slowly subsided; I quickly studied the measuring technique and slowly worked my way through the collection. As the weeks and months progressed, I took notes, I learnt quickly, I used my initiative and I asked questions, lots of questions. But they didn’t find out until I left the company of my initial inexperience.  I did confessed all but after my two years there, they laughed (some more nervously than others). It was a bold move, but luckily it paid off.

From then on, when applying for a job, I made a point to always understand the role before I applied for it. I may not have been able to do everything, but at least I had an understanding of, or basic level skill at, most of the tasks.

My overselling of myself in that role was irresponsible of me,  and could have been a financial disaster for the collection and the company, but I followed through on the job, worked above and beyond to make up for any knowledge shortfall and had a great experience.

So with that experience in mind, here are my tips:

• Overselling your capabilities can have financial implications so never stray too far from your skill set.
• Think on your feet, watch and learn from the experts.
• Don’t be afraid to ask questions.
• Take notes and learn from them.
• Never make the same mistake twice.

For more information on the industry and about measuring read my book: Blue is the New Black

Without factories the world would have no ‘stuff’, it really is a simple as that; we would have no clothes, no toys, no cars and no books. Referring to themselves as factories, manufacturers, vendors or sources, they are all technically the same entity: they all produce items that are sold in stores.

If you are starting a brand from scratch, the first time the factory gets involved in the process is when they agree to work with you. After that, the next stage is usually the handing over of the initial technical pack to make the prototype.  However, the more the factory understands about who you are as a brand and what the concept direction of the new collection is, the more they can help you to realize the designer’s vision. I would always recommend sharing some aspects of the concept with them, so that from the outset they can be aware of the types of shapes and styles they will be called upon to make.

Tips: 

• Without factories you have no garments so a good portion of your time in development and production should be spent finding new factories and trialing styles with them.
• Always be clear and honest with a factory in your working practice. The industry is small, and an unprofessional approach will be remembered.
• Whenever you can, always visit a factory to understand their capabilities and specialties first hand rather than rely on an email introduction, as this will strengthen the relationship between both parties.
• Making a style allocation needs flexibility and patience. It will change many, many times, with added styles and changes to fabrics. Don’t get frustrated; see it as a giant jigsaw puzzle with more than one solution.
• Spend time understanding how a cost price is built up. Once you know this, it is much easier to negotiate with the factory and the designer to get the best end product.

For more tips and tricks from the industry check out my book, Blue is the New Black 

Co-lab54 is my consultancy.

The creation, design, development and production of a collection involve the generation, sharing and distribution of a huge amount of information. The information flow from the start of the development process to the end of production is a crucial element for the successful internal workings of the brand and for the external relationships with the factories, trim suppliers and customers.

Tips:

• In development and production you need to manage the flow of information. If you don’t consider yourself organized or able to multi task, choose a different area of the business.
• Writing up technical information needs to be clear and precise. Never make assumptions that the factory understands; check and double-check everything until they are clear.
• As the development matrix is the hub for the style information, keep it updated and without error, as it will reduce problems at a later stage. This is your responsibility.
• If you are using more than one factory, be careful when sending the matrix to them. Filter the sheet so that only the information relevant to that factory goes out.
• If more than one person uses the planning sheets and you are concerned about other people changing details without your knowledge, password protect it so only you can change details.

For more information on the Information flow or other aspects of building a fashion collection, check out Blue is The New Black

Susie / Co-lab54.com

Without fabric there would be no garment. You could have the best design in the world, but without fabric it can’t be realized. Making a judgment call on which fabrics to use and for which garment is a skill, and it is one that can be learnt through experience in the workplace. For example, look at the clothes in your wardrobe. Take a cotton shirt and imagine what it would be like in a heavy wool fabric. Take a silk dress and imagine it in denim. Both the dress and shirt would still be wearable, but would probably be suitable for different occasions. Understanding which fabric is used for what style and why, is part of the skill of the developer.

Tips:

• The subject of fabrics is huge. There is always something new to learn. Read the industry press to keep up-to-date on fabric price concerns or new developments.
• Learn the basics on fabric types and construction, as this will give you a good grounding.
• Fabric mills and agents love to talk about fabrics. For them it is their passion and for you this is a free education. Listen and learn, as their knowledge comes from years of experience.
• When I meet with a fabric supplier the first things I ask are; what is the fabric weight, weave and composition? How much is it? What are the minimums? What is the lead time? This is a good starting point for any fabric appointment.
• Understand how colour works with fabric. Not every colour will work with every fabric type.

For more information of the concept or other aspects of building a fashion collection, check out Blue is The New Black

Susie / Co-lab54.com

Rubber Gucci

I want to like them, I really do…..it’s a loafer, great, its simple and not overly branded, excellent, its a shiny, almost metallic colour, oh mercy me enough already..

but wait,  it’s – in –  rubber? Seriously?

A rubber loafer? does it come with a G emblazoned Elastoplast for those special Gucci blisters?

It could have been the perfect start to my week but alas my search for a simple, stylish loafer continues..

Apolis Philanthropist tote

Apolis mens clothing and accessories….

“Apolis, which translates as “global citizen,” is a living and breathing social enterprise  that equips and empowers people through opportunity instead of charity.  Apolis co-creates products with manufacturers and directly allows the market to determine the future of each item we produce. It is a hands-on model to provide people access to opportunity. We call it “advocacy through industry.” “

and why I like it….

It works with NGO’s in Uganda, Bangladesh and Nepal and supports local industry creating  self-sufficient communities.

Products include outerwear, shirts, pants, accessories and bags… e.g.    Philanthropist tote

I’m not a designer, never have been, and truth be told, have no ambition to be, but what I love about my job is the challenge of getting some developed and produced – the A to Z of the process, which has led to me write a book about the very same.

So, yesterday I was in the position of finishing one project and starting another – with a simple crossover of 3 hours to be exact. For this new project I do have a vague appreciation on the what, when and how but as the brand is technically a start-up ( albeit one with a ton of investment behind it) there are many aspects still to be confirmed, which should trouble me, but actually doesn’t (I think age is slowly removing the control freak in me) and I have to say that last night when I received the draft merchandise plan I actually felt quite calm about the task ahead.

I saw the range size, I saw the product groups and I saw the quantities, all that was missing were the sketches to match against the reference numbers on the sheet.

So – with a glass of wine to my left and a bowl of potato chips to my right, I clicked on the download button to open the sketch files. And then it happened…

My palms became moist, a knot formed in my stomach, my fingers twitched on the keypad and my heart raced, for there in front of me were the illustrated sketches from one of the worlds most famous designers. The enormity of the project hit me and in an instant I remembered why I love my job and why I love this industry. I work with insanely creative people and I help to realise their vision. I had an instant flashback to being 13 years old, tearing magazine pages of fashion shoots, longing to work in fashion in whatever guise that took.. And now, nearly 30 years later, I am privileged to work on a project which essentially takes ink on paper and turns it into a garment.

Holy shit I’m lucky!

…to be continued…..

A much-needed brush up on production procedures and methods was essential for chapter 8 of the book, so with a specific vendor in mind, the flights were booked and hotels reserved.

Now, I’m not going to go on about how hard the job is, or how stressful travel is in order to gain some kind of sympathy, but what I will say is that, these trips ARE tiring, and NOT glamorous. I think the only person who has the glamour job in Fashion is Mme Wintour, and for the rest of us mere mortals we do the late nights and early starts, the plane delays, the long walks from terminal to terminal, the strange taxi drivers and frisky security men.

So, with this in mind, Here is a brief recap of my trip to Portugal this week, all in the name of research.

In order to save money on flights (it’s me buying them now and not an employer) I headed for a German airline which for a bargain fee asked me nicely to change in Frankfurt and then head on to Porto later in the evening.

Knowing that Frankfurt airport is huge and a devil to navigate, I allowed enough time (ok, I hate being late – so, loads of time between my flights) which meant that for Tuesday, dinner was either a hot dog and some fizzy pop at a takeaway stand or a cocktail and bar snacks at the airport branch of the Sheraton.

Cocktail and snacks went down a treat, although I did have to battle with business guests recanting tales of their management meetings, and Swedish football fans glued to the big screen in the corner of the Lemons and Limes Bar. Still – it was enough to send me on my way to the front row of economy where I had a perfect view of how the business travel flies.

With it being 10.30pm, I was awake for precisely 20 minutes of the flight before I drooled and headflopped over my neighbour in the attempt to get some sleep.

On arrival at Porto, the driver, thankfully, was there to whisk me to the hotel 40 minutes further into the Portuguese countryside.

The cosy room was a vision of comfort and seclusion once I arrived and whilst I could have slept standing, clothed and with overnight bag in hand, I did the necessary and spent a further 20 minutes turning all the lights out. Note to Hotel; One light switch can do the job people…. no need for twenty.

Next day – bright and early, I was whisked to the factory where I spent the day working though production procedures, techniques, planning and trims. Now, as much as I would like to describe the details, infrastructure and layout of the above factory, I shan’t, It’s for the book, I need to formulate and turn the prose, and this, my friends takes time.

Relax – it will come, and hopefully you will like..

By the end of the Wednesday I was production’d out, let me tell you. However a glass of wine, excellent food and great company served a proper way to finish the day.

Note for those who are interested, If you travel to Porto and head outside of the town, into the hills of neighbourhood villages, there are no sign posts, no street names, and the most amazing restaurants are hidden in the middle of nowhere.

The one in question where I dined was next to a fabric mill, down an industrial estate, but nevertheless, had a view of a vineyard and amazing food! surprise!

1 hour after leaving the restaurant I was back at a different hotel about to check in. Now bearing in mind it was now 11pm and my flight was at 6am, my stay there was to be brief:

Here’s how check in went..

Me: checking in, the name’s Breuer

Hotel:  yes – staying for 2 nights?

Me: No, just the 1

Hotel: Really?

Me: Yes, really!

Hotel: Can I have your credit card

Me: Sure!, Can I have a wake up call tomorrow morning please?

Hotel: Yes, for what time?

Me: 4am!

Hotel: Of course!

Hotel: Ms Breuer, next time you stay, the breakfast will start at 7am until 10am,

Me: Thanks – good to know!

Hotel: Ms Breuer, would you like to use the gym?

Me: Does it look like I want to use the Gym, It’s now, 11.20 pm and I have to be up in 10 minutes, so it seems.

Hotel: I guess the gym is a no, ah so here is your card and the room is 233.

Hotel: Enjoy your stay!

And with that I headed to a beautiful room which unfortunately would only be required for sleeping and a super quick shower in around 8 minutes.

Thursday morning – with wake up call success, taxi’d and securitied, found me in an empty airport at around 04.30. ggrrrr

With no coffee, no food and no free wifi, I paced up and down the terminal walking like a runway model and finishing each strut with a Paris Hilton pose. Well, where else can one practice? Eventually the coffeehouse opened and an espresso was inhaled.

On the plane additional headflopping and dribbling was managed, and with the arrival at Frankfurt I tried to find some snack to nibble on..

Note to Airport – please make available non chocolate snacks at the magazine counters. Not everyone wants chocolate, some people like muesli bars and furthermore, SOME people are allergic to chocolate and beef jerky is not a true alternative. !

After further plane delays and more pacing  from me) the flight took off, landed and disembarked. I was on home turf.

In a dream world I would be chauffeured back home, lunch would be ready and a stack of magazines and mug of tea would be resting on the sofa. Alas Rather than heading back to my nest, to shower freshen up and relax, I headed straight into my consultancy job to be buried amongst fabric cards, spreadsheets and 106 emails. T’was a long day.

So there we have it, my research trip to Portugal in a nutshell. Busy, tiring but productive.

If you can find one glamorous aspect to that, please do let me know.