After 20+ years in the fashion industry I felt it my duty (oh, how noble of me) to take my knowledge and experience and pass it on to the crowd of makers, crafters, designers, and all round creatives who themselves had a vision of creating.

All too often I have seen companies who do not appreciate the complexity of a development process, the concept of planning, the need to identify a market, and most importantly, the need to treat their suppliers with common curtesy (being polite, gets you places, being a bitch doesn’t): things I believe are essential to the longevity of a collection and of a brand.

So I’ve made it my mission to educate and preach these aspects to anyone who is interested in listening.  To pass on these nuggets that will fundamentally change your business and make a random selection of products into a cohesive line.

My goal is simple: I want people’s businesses to succeed. I want to enable a beautiful product to be made and appreciated. Whether it’s for a huge international brand, or a maker with a spare room and a vision. I want to be part of it.

So join me on the 12th and 13th May in person in San Francisco, or on the live stream at:

https://www.creativelive.com/courses/diversifying-your-product-line-susie-breuer

My consultancy is co-lab54.com

I’m based in San Francisco

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.

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

I think it’s fair to say that to be good at fashion development or production you need to be organized. Some people use paper, some use apps like Trello and Evernote but whatever the method, using some form of ‘list’ or organizational tool is essential practice with the number of aspects that need to be juggled within a project. But list making is not just about being organized; it’s also about helping to maintain a focused and motivated outlook in the task ahead so that you see progress as it happens.  For me, these points are key and these are what I’ll be giving you tips on in this post.

Now, I think it’s also fair to say that being organized doesn’t always come naturally to people and for me it was the same. It’s something that has taken me years to manage and I have learnt the hard way by forgetting things or by just feeling overwhelmed by workloads.

Here is how I learned to love a list:

Around 20 years ago, I went to a time management course paid for by my then employer. It was one of those two day set ups in a beige, characterless conference room of a London Hotel filled with eager folk, pens and papers to the ready, waiting to soak up those all essential words of wisdom by some guy called Frits. I remember his name, randomly enough because usually Fritz is with a ‘z’ but he announced himself as ‘Frits–with-an-s’. This course was 20 years ago, strange what you remember: ‘Frits-with-an-s’.

Without going into a minute by minute run down of the course, what he taught us was to break things down stage by stage into bite size pieces, a piece of advise which I give to teams even now. His route was starting with a monthly schedule and dividing it first weekly, then daily,then hourly. What this does is make tasks or events more manageable which is crucial when faced with something big like planning a wedding or a product launch.

For me, the first time that this method of planning really kicked in, I was working at a new brand, which was setting up from scratch in its development and production department. What this meant was that I needed to hire a team, build a sourcing strategy (find factories), create internal processes, and build the information flow documentation (decide who did what). Quite a complex set of tasks and not something I had actually done before. So how did I start? Being old school and preferring to use a pen and paper (don’t judge) I took each section and divided it so that it was broken down into the smallest of detail:

Sourcing Strategy:

Product groups / Countries of manufacture / buying office / agent / factories /Contact person / email address

Team:

Departments / Positions / / Salary / Job Specs / Recruitment agents / Adverts

Internal Process:

Key Documents / Format / Templates

Once I had listed all these in a ‘waterfall list’ (items trickling down in size) I found it easier and less daunting to  attack each point and I was able to cross things off the list giving me a sense of accomplishment and  progression. If my list had been simply: ’ Set up the whole development and production structure for a large  international fashion brand’ I would have probably quit after 3 hours and taken up basket weaving instead. As  it was, I worked through the detailed list striking things off it, reviewing and updating the list daily and weekly.  I’m not saying that this set up was easy or things went according to plan, but by having a detailed plan of  action and by reviewing and updating it on a regular basis, I was able to make progress and slowly build the  department.

This takes me to another point: Reviewing and updating your list on a regular basis is a good thing and is essential for progression.

While working through a project, large or small, work or personal, you will notice that tasks and deadlines will change on a regular basis. This is not because you are not managing the list efficiently, it’s the just the nature of the beast. You are working with external forces (in development: factories and fabric mills, for a wedding, cake makers and florists) that also have their own lists and priorities, which may not match yours. Because of this, be prepared to update and review your list on a regular basis, changing priorities and adding new tasks. This process is a positive thing as there is nothing more satisfying that starting a new list and seeing how much has been crossed off the old one, or at least I think so.

Overtime, maybe your list will get smaller as you strike things through, or maybe it will stay the same length but will have different tasks on it because of a different project. But what should stay consistent is the way you approach it.

Here are my key tips on learning to love a list.

–       Break the task down into bite size pieces, from large to small (don’t be afraid of adding detail to make it easier)

–       Literally strike things through when they are done so that you see the progress.

–       Accept that things will change and that you can’t control everything.

–       Review and update on a regular basis.

Susie Breuer runs the consultancy Co-Lab54.

For more Industry related tips check out the book Blue is The New Black.

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…..

Through posting a discussion on LinkedIn.com to gain insider perspectives on a fashion industry conundrum, I discovered not 1 but 2 design initiatives.

Origami necklace

Peonyrice is an accessory brand sourced and produced responsibly in Asia through local communities. The project, an initiative of Pauline Cheung founder of Industria Collective (boutique design agency based in Hong Kong and Shanghai), is a brand of delicate head and neckwear aiming to benefit local artisans and in turn their communities.

Headwear - Peonyrice

With large-scale manufacturing units playing the lead in fashion production, its somewhat refreshing to hear that local si thriving amongst the giants of the East. Embracing traditional techniques and dying methods, this collection of headpieces, origami silk neck wear , and soft folded belts is updated weekly and shipped internationally.

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.

It seems that an increase in China’s middle class has forced a higher demand of leather goods pushing up the prices of the raw materials in the US, China and also Brazil.

Couple this with the adverse weather in Australia hitting wool production and the increase of the price of cotton and you get serious implications on every level of the garment industry from high street to high-end.

Interesting times when you consider who is going to take the price increase – the customer or the company. It has to go somewhere..

However, rather than celebrating and glorifying their brand names in bigger and bolder print there has been a deliberate step back to their artisan roots to celebrate the craftsmanship and to show, by presentation, why the brand is an investment purchase.

According to the Toronto Globe and Mail, brands like Chanel, Gucci and Tods have begun presenting in key store locations around the world to demonstrate on a small-scale, exactly why their goods are luxury pieces and not mass-produced.

Chanel, for instance has around 10 female artisans in their company who add a wax seal to the Chanel no, 5 bottles of perfume. Once trained they can seal around 100 bottles an hour and to watch it being done in the slow, precise, methodical way is exactly why it’s marketed as a luxury product. In short, it’s done by hand, not a machine.

Gucci has demonstrations showing the formation of the strap of one of its newest bags and Tods, famous for its loafers, have craftsmen showing the make and construction of their moccasin shoe in London and Paris, with US and Asia to follow next year.

I like the concept. It’s old school artisan and teaches the customer to look at the smaller details, rather than the big tacky label, a concept, which has far-reaching implications not only for the bigger brands, but also smaller.

Example; take www.Etsy.com a website set up to push creativity and entrepreneurship is also about artisans and crafts. Established in the US, this company has millions of users, all creating and developing from their own home and all because they want to build a crafts or locally sustained business.

Personally, I think it’s the smaller business that challenges the bigger one on the ideas front, so the very fact that the large monsters are stepping back to an age where the label should be on the inside and discrete rather than large and vulgar should be welcomed.