Asian Fashion Fever: The Emerging New World For The Fashion Industry

Quick & Easy Illustrations by Mai Manaloto

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The current direction of fashion tail winds is blowing in the direction of Asia. It is predicted that the consumers of luxury fashion from the West will utterly deflate below 50 percent in the coming years. There will be fewer fashion forward consumers in the West demanding novel clothing designs compared to Asia. This transition ultimately marks the beginning of a new world for the fashion industry, wherein consumers from emerging markets in Asia, the Middle East, South America and Africa will dominate. Designers from outside the fashion capitals such as London, Paris, Milan and New York, will continue to inject fresh perspectives in clothing designs. However, this coming together between emerging markets and more developed fashion capitals will add increasing diversification to the fashion scene and global fashion trade. This can only bode well for business.

Clearly fashion is becoming an international language amongst the young and the technologically savvy, thereby making it a universal commodity.  But what is the lure of the fashion industry apart from the lifestyle and aesthetic it promotes? In terms of business, the fact that it is a trillion dollar business makes it very attractive. Fashion trade which includes retailing, textile and apparel manufacturing is big business, providing employment to thousands of people all over the world. Another thing worth noting is that a majority of the textile and apparel manufacturing sector is already found in Asia. The Asian fashion market in particular is rapidly growing at a rate faster than ever seen before. It’s growth rate is progressing faster than traditional fashion markets in France, Italy, UK and USA. It is already expected that the Asian fashion market will rule over the North American and European markets in the near future.

It is no secret that not too long ago, the Asian fashion market lagged behind the North American and European markets. But we can see significant changes taking place. Changing consumer tastes can be regarded as the main reason. Women’s taste in fashion is simply changing. After years of buying only status brands, more women are now into embracing a unique personal style. Fashion forward Asian women want to have distinct looks instead of turning to the same old luxury brands. Consumers are hungry for interesting designs, quality materials, and sensitive to issues such as corporate social responsibility. Many people are now demanding ethical fashion goods and services. In East Asia, Japan has been a major hub for lovers of fashion. On average, the Japanese spend 7 percent or more of their income on fashion goods. Japan popularized the idea of street fashion such as the Harajuku trend. On the other hand, the traditional fashion market of Hong Kong prides itself with a novel form of the fashion industry. It is mainly influenced by the Chinese fashion market. It has a well developed fashion manufacturing and retail industry, and frequently organizes internationally acclaimed fashion shows.

South Korea’s innovative take on the fashion retail landscape is also worth noting. Koreans have popularized the K-pop fashion phenomenon. This is a remarkable adaptation of a more nuanced luxury lifestyle in Seoul. Coming to the Philippines however, fashion styles have to be head turning to gain appraisal. Western dressing is still predominant and the Filipino market is more than ever open to global brands. Local retailers face challenges competing with international brands. But a solution to this apparent disconnect between local retailers and the deluxe Filipino fashion market is the simple need to revamp the brand image to one with a more Western appeal. In the Islamic state of Malaysia, modest-wear is taking the spotlight. Muslim consumers have sought clothing that are not only in tune with their religious beliefs, but also stylish within the context of the 21st century. Muslim consumers made up an estimated 11 percent of the global demand for fashion apparel. While Indonesia is the largest Muslim-majority nation in the world, its spending on Islamic fashion is dwarfed by wealthier markets in Turkey and the United Arab Emirates. This is the case despite the fact that 60 percent of the world’s Muslims live in the Asia-Pacific region alone. 

Focusing on India, here the sportswear market is seen to be growing rapidly. It witnessed a 22 percent increase from 2015 to 2016 alone and is expected to continue on its upward trajectory in the coming years. There are many factors that account for this increase in fashion consumption in the Indian Subcontinent. These include rising incomes and a new awareness of lifestyle choices which have allowed people to focus on health and wellness. These social, cultural and market shifts in the years to come is gearing India up for its biggest sporting boom to date, making the country’s sportswear sector increasingly attractive to local and international brands. The biggest driver for sportswear purchases is the fact that India is a very young country. In fact, it is set to become the world’s youngest country with 64 percent of its population in the working age group by the year 2020.

Asia’s emerging fashion market is a result of population growth, particularly its emerging fashion youth demographic. About 58 percent of global millennials reside in Asia who are finally reaching the median age of 23 and demanding more stylish apparel. The age of the flaming youth will always influence the fashion industry. Fashion world prominence will always involve designers turning to the youth culture trend. Especially due to the internet’s democratizing effect, the youth now have the tools to access information, and create and promote their own fashion culture.

Fashion X-tasy And Therapy: Breaking-Up In Style

 Quick and Easy Illustrations by Mai Manaloto

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For a precious, fleeting period in my early 20s, I had a remarkable love affair with a guy and fashion. This discourse isn’t about the fantasy of romance, but is about starting fresh and keeping the love that stayed, hence fashion. Breaking up is a difficult undertaking especially if you still care about your partner and it’s no ones fault really. Just life taking its course. But whatever the reason, it’s always a somber occasion when you make a decision to split up with your significant other.

If funerals have a proper all black dress code, so does breaking-up. According to Vogue, after a break-up it's best to dress simple and casual with a sliver of sex appeal. Pairing comfort with low-key yet flattering pieces is the way to go – it’s important to look chic without being desperate. As a sign of being thoughtful to the ex, try not to look too good and memorable that he will be knocked over his head with all the loveliness he’ll be missing out from now on. But let’s get serious now. Sartorially speaking, a heartbreak can be the making of someone.

According to Coco Chanel, “If you are sad, if you are heartbroken, make yourself up, dress up, add more lipstick and attack.” This lovely woman who revolutionized the fashion industry knows a thing or two about women and heartaches. I want to introduce fashion therapy to all women out there sulking with their heartaches. Fashion therapy is a concept created to express the fact that clothing can be related to well being if used in an intelligent way.

However, it is arguable that fashion therapy may still be regarded as an excuse for extravagance. Nonetheless, in the world of medicine, fashion therapy is making small strides in healing individuals through its psychological effects. Clothes can be used to express who we are and how we want to feel. Also, finding the right style contributes to one’s well-being and that is always essential. Fashion can become medicine, metaphorically speaking. It can be an individual’s only way out of a very restricted, dull, restless or mediocre life.

Getting back out there does not mean you have to go through sartorial slip-ups just because a love has gone awry. Your wardrobe isn’t always a priority when you are going through a break-up but it should be to avoid having any regrets in the future. The first date or first night out in town is a key moment for the recently single. In this stage, it is tempting to dress sexy to attract attention and regain the confidence you lost, however this is not always the best solution. You have to be careful because you are still pretty new out of a long relationship and whether you realize it or not, you are vulnerable to getting hurt.

For some, they become experimental with fashion styles while others change their hair style or  hair color. These sartorial changes in yourself can be a symbolic gesture such as the chopping of hair means lifting off the weight of the past. Or changing of hair color to redefine yourself to a much confident person. The perpetual transformative power of clothing symbolizes liberation and spiritual awareness for most people. But truthfully, the best break-up style transcends the superficial nature of separation. Breaking up in the most stylish and fabulous manner is about keeping your emotions in check and remaining amicable during the break-up. Keep in mind that everyone deserves to be stylishly happy, even when single.

Fashion and Vita Sexualis: Nakedness And Modesty

Quick and Easy Illustrations by Mai Manaloto

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Vita sexualis is Latin for sex power or more profoundly, the power of sex in life. This discourse revolves around sex and the role it plays in fashion. Clothing alongside vita sexualis produces an avenue for self-liberation, modesty and a means for attraction by ornamentation. Beautification by means of fashion was intended chiefly for attraction. Tattoos were the first form of adornment applied on the body. It was conceived for the purpose of attracting a mate. In ancient times, a tattooed canvas was perceived as more attractive and desirable than a plain naked body. Soon after, more forms of bodily adornments were developed aside from inking the epidermis. Ornaments covered the naked body such as necklaces, bracelets and piercings made from sea shells, plants, stones, bronze, silver or gold.

Eventually, ornamentation progressed to weaving of fibers, leading to the eventual production of textile. In time, loin cloths wrapped around the waist were intended to cover the genitals. However, doing so only drew more attention to that particular body part simply because of the act of covering it. Evidently, clothing’s purpose is not solely to adorn the naked body but to cover it as well. The act of adorning oneself is a form of beautification for the purpose of attracting a mate. Clothing did not exist to gain a sense of modesty but rather, modesty is used as a tool for the purpose of igniting excitement towards the naked body. It has come to be understood that a naked body has less appeal than a veiled one.

Modesty plays an important role in vita sexualis. Most people, when they think of sex, think of bare bodies but don’t realize that the longing and excitement for a naked body is brought about by the covering of it, and thus modesty. With modesty comes a sense of shame, and in the realms of fashion the idea of shame is contextual. For example in a tribe, a naked person is not ashamed baring it all as it is part of their customs. On the other hand, a woman who is part of the decolletees ladies of the ball might feel embarrassed if she is under-dressed or has insufficient sartorial exposure during the event.

Fashion introduces two sexually exciting factors when it comes to dressing up. First it makes specific parts of the body more conspicuous by drawing special attention to them through the application of ornaments or by the cut and shape of the garment. Accentuating a specific body part by means of clothing comes with a belief that the dress or ornaments are an extension of one’s self, as if the additions are part of who we are. For example the wearing of heels, a continuation of the lower limbs, adds height and dignity to the wearer. Seemingly, with fashion other parts of the body can be specially emphasized. Second is the selection of which body part to expose (completely or partially). The idea of partial exposure of the body produces an erotic effect and sexual thrill. The erotic feelings brought about by partial exposure is perhaps the result of contrast as complete nudity is not nearly as provocative.

In a deeper discourse on modesty, one cannot forget its biblical reference.  According to Dr. C.H. Stratz, in the Bible Moses utilized the psycho-sexual effect of clothing by promoting the veiling of the female body. Apparently Moses wanted to increase the population of his small tribe in Israel through procreation. The covering of the female body created a sense of excitement for his masculine followers. Here you can see the purpose of clothing which is for modesty, whereas nakedness did not serve any purpose in the Christian doctrine and therefore is considered “immoral”. Fashion is utilized in Christendom for the purpose of arousing feelings of sexual desires with the veiling of the body. With this discourse, it is clear that the power of vita sexualis in fashion transcends the concepts of beautification and modesty but has an active role in supreme worship.

Source: From H. Ellis (2010), “Studies in the Psychology of Sex, Vol. 1 – The Evolution of Modesty; The Phenomena of Sexual Periodicity; Auto-Erotism,” Qontro Classic Books. 

Fashion Revolution: Sustainable Design In The Age Of Fast Fashion

Quick and Easy Illustrations by Mai Manaloto
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Fashion design is recognized as the art of giving shape to clothing commodities. It is the artificial conception and planning of the fabric, silhouette, cut, color, texture, emphasis, rhythm amongst other design elements. The purpose of design was to improve the appearance of a product according to Henry Cole, a key figure in design reforms. However, given the growing culture of sustainability, it begs the question - is design’s purpose only to improve the artificial? Fashion design is often viewed as a form of entertainment, and for indulgence while the world grapples with serious problems. Fashion’s growing influence however makes it capable of redefining its purpose to reorder its place in the world rather than simply shaping the artificial. 

Sustainability has shifted from idealism to a necessity in the realm of fashion as the clothing industry has become the second largest pollutant in the world, next to oil. Designs are crucial in fashion as it drives sales, but the fashion industry must disengage itself from setting consumer desires as their primary identity shaper and find a ground where they can rethink their role in the global order. Demand for fashion goods and services will change as its practitioners develop a new consciousness. This means designers and retailers becoming more informed and responsible about the impact of their actions. Recognizing that whatever piece of clothing they make has an impact on the environment. And truth be told, the ecological impact of clothing is not positive.  

Fashion is a complex business composed of various supply chains including garment design. It is made of various design elements elegantly put together to create a cohesive output. A cut pertains to the overall look of a garment including an A-line, H-line, I-line, T-line, V-line, X-line, and Y-line. Silhouettes, on the other hand, involve darts, bias cuts, seams and such. For example, Trapeze line, Tent line, Bell line, Balloon line, Empire line, Charleston line, Princess line, Symmetrical and Asymmetrical sectioning. Decorations are accessories added on the garment such as stitching, embroidery, pleats, tucks, piping, binding, trimming, braid edging, appliques, incrustations, frills and flounces. Design elements can ignite physical and psychological effects. The right shape, color, pattern, texture, and line can make a person appear thinner, fuller, modern and younger. Patterns are powerful illusions, bringing emphasis to the body while space provides rest. 

Color harmonies enhance the appearance of clothing such as monochromatic (singular color with various intensities), natural and a color (complements by toning down the other) and contrast complementary, the combination of opposing colors in the color wheel (effect are vibrant and active). Lines can complement the aura of the wearer as well. For instance, vertical lines (strong and formal appearance), horizontal lines (casual and relaxed), thick lines (aggressive), diagonal lines (mobility ), and curved lines (softness and gentleness). Other design elements include texture/fabrication - firm (formal) vs soft (casual), emphasis - concentrism (sequence of consecutively larger shapes), balance (evenly distributed weight of equilibrium), contrast (opposition of things to show the difference), asymmetrical (equal visual weight but not necessarily identical) and symmetrical (mirror image), and rhythm - gradation (change in consecutive step), repetition (an object used more than once), parallelism (equidistant at all point), radiation (steady outward motion, bursting from the center), sequence (following one thing after the other in a particular order), alternation (changing back and forth) and transition (even and continuous change in composition, without any break points). 

Apart from the design, supply chains include materials, textile manufacturers, construction, shipping, retail, use and ultimately disposal. This side of fashion is often not highlighted and produces serious consequences on the environment especially with fast fashion. Fast fashion is leading the way to actual garment disposal because of its negative side effect of over-consumption. It is common for fast fashion consumers to wear an item once or twice before throwing it away. These cheap and low quality garments deteriorate easily with many ending up in landfills. Another culprit is globalization as it has enabled manufacturing to take place in other parts of the world for cheaper costs. After manufacturing, the apparel goes into shipping containers sent by rail, ships, and/or trucks. Container carriers are often fueled by the dirtiest of fossil fuels with one single ship capable of emitting cancer and asthma-causing pollutants. 

Several retail brands and designer labels are finding ways to become sustainable and green by using organic raw materials, particularly cotton. Cotton is a good fabric, it's natural, soft and it can withstand high temperatures (iron away). However, cotton is a very needy plant when it comes to resources. The truth about cotton is the difficulty associated with harvesting it as it consumes a lot of water (about 5,000 gallons of water is used up just to manufacture a shirt and a pair of jeans). It is also prone to pests; therefore, cultivation includes the use of insecticides. While synthetic, man-made fibres seem like a good alternative to cotton (less water intensive), it often causes pollution due to chemical dyes which have deadly effects on aquatic life. Several dyes even contain PFCs (per-and poly-fluorinated chemicals) to make clothes stain-resistant and waterproof. PFCs are not capable of breaking down. Synthetic fabrics such as polyester and nylon are unsustainable by their very nature because they are non-biodegradable. Not to mention the production of synthetic fabrics which use up a large amount of energy. Nylon particularly emits a large amount of nitrous oxide, a greenhouse gas. Technological advances such as the waterless dye machine however may hold the answers to solving such issues in the garments manufacturing sector.  

Change may begin when fashion designers and retailers find ways to sell sustainable clothing. Couture garments, although frivolous and excessive, promote longevity in clothing and thus support sustainability. Consumers can help by changing what they buy, where they shop and find ways to resist impulse buying because it promotes over-consumption. As for designers, we have a huge role in finding ways to incorporate sustainable materials in apparel design. Few examples of sustainable fabrics include bamboo fibre, banana fibre (abaca), cashmere, chitin fibre, coir (coconut fibre), ingeo (corn fibre), fish skin leather, hemp, jute, leather, linen (flax fibre), qmilch (milk fabric), pina (pineapple silk), PLA fabric (polylactic acid fibre), ramie, recycled polyester, soy fabric, silk and wool. Given the array of environment-friendly textile choices, there is no excuse for us not to continuously strive to become more sustainable. Apart from upcycling, recycling and being aware, practicing sustainability is about making a thorough selection, purchasing fewer items and then finding ways to make them last a lifetime.

Source: The Politics of the Artificial: Design for a Sustainable World (2002). The University of Chicago Press, Ltd., London, pp. 92-120

Style And Self-Identity: An Instrument That Builds Symbolic Capital

Quick and Easy Illustrations by Mai Manaloto

www.instagram.com/MaryAnnClothing

A sense of personal identity is developed through the use of fashion. Whenever we dress-up and put things together, we build our personal style. Upon embarking on the path of defining one's personal identity through the use of clothing, it is worth noting that there is a contrast between your perceived fashion orientation and of how others perceive it. For example, a female from an entrepreneurial background may stay away from tailored and crisp clothing that resonates with "dressing for success". Instead, her personal taste in apparel are those that make use of jersey fabrication and has a loose silhouette for comfort. In the eyes of the anti-conformist she is practicing autonomy and a sense of rebellion against mainstream norms of what constitute as "success”. However, other people might perceive it as untidy and just plain sloppy. The way we dress does not always translate to how we want to be perceived by others, this is why fashion put together key looks or styles to reflect a clearer direction on how we want to be viewed.

Various styles have been identified to suit one's unique personality such as classic, edgy, feminine, boho, glam and indie to name a few. Classic styles are clothing that are crisp, chic and timeless which create a polished and sophisticated look. The silhouettes have clean cuts with structured details and usually make use of neutral color schemes. Basics with a twist and timeless pieces instead of the current trend are classic essentials. On the other hand, edgy styles are experimental and have a hint of a punk rockish attitude. You'll know it's edgy when studs, chains, zippers, dark hues match with unexpected color combinations, graphic tees, ripped details and DIYed clothing pieces. The feminine style is the opposite of edgy fashion with its sweet and fresh look and just the right amount of daintiness. Soft pastel colors are common for this style and so are ruffles and lace. Silhouettes are often flouncy and floral prints are simply a must have for the girly-girls. Boho or bohemian style is one that is colorful and a mix of all sorts of prints.

Boho styles reflect the down-to-earth and free spirited nature of individuals who categorize their style as such. Loose, flowy silhouettes matched with tribal or floral prints are the way to go. Environmentally conscious clothing is one unique value bohemians share. Colors that grabs their attention are warm, earthy tones. Glam or glamorous styles, on the other hand, are flirty and bold altogether. Glam fashion is not for the faint-hearted as pieces from this look are often attention grabbing with their bold and bright colors, big statement accessories, animal prints and whole lot of sparkles. Lastly, we have the indie style or also coined as the "hipster" look with their own unique spin on fashion perceived as quirky, fun, unexpected and effortlessly cool. Vintage and retro fashion are a big inspiration for this shabby chic style. Other essentials include offbeat details, costume jewelry and love for mixing high-end with low-end pieces.

Given the various styles, it is clear that fashion may associate the world of everyday wear to a nexus of beliefs, likes, place in society and social pressures to conform to a certain lifestyle mold. Georg Simmel who is a sociologist, philosopher, and critic mentioned: "The underlying motivation for fashion consciousness is a desire to sustain a sense of personal uniqueness in the relatively depersonalizing milieu of modern social life (Simmel [1904] [1971])". The irony is that consumers dive into the realm of fashion to fulfill their desire to be self-directed individuals, only to be categorized and dictated by the governing laws of fashion styles, trends, and must haves. Otherwise, fall prey to being outdated, unfashionable, "baduy", or passé. Clothing oneself now becomes a form of social means rather than being authentic. It may then be argued that a person's fashion identity is dependent on his/her social setting. Fashion is a powerful tool, capable of becoming a "singularly expedient social form" (Simmel [1986][1971]).

The idea of fashion is to use clothing as an instrument to become unique individuals while simultaneously finding a style that conforms with people you associate yourself with. Personal identity does not always project a person's value but is often negotiated in a dynamic field of social relations. This contrasting image of fashion, a tool for self-identity and conformity, reinforce fashion consumer's desires to be "unique" and more importantly, to stand-out and not become one of the masses. This is very telling of how fashion consumers' self-worth and sense of "symbolic capital" (Bourdieu 1984; Featherstone 1991) go hand-in-hand with their desires  to stand-out by dressing unlike others, "others" pertaining to the masses. The idea of not standing out through the use of clothing invokes disliked associations such as not being in control of one's destiny, leaving no mark on society, and finally becoming a follower rather than a leader. Whereas being fashionable expresses concepts such as climbing the socioeconomic ladder and attaining power, prestige, and wealth.

Clothing styles are viewed as a strategic tool for social competition. To stay ahead in the realm of fashion is to symbolically gain an advantage in the more significant contest for career opportunities. The importance of fashion is that it has the capacity to render clothing as a potent symbol for individuation and a vehicle to perpetual identity transformation. The perceived  uniqueness and transformative power of clothing ultimately exist because of a belief that others will notice and care about one's appearance and that one's fashion choice has an influence on others behavior. Perhaps individuals who are dressed well are treated better and have a higher competitive advantage, but then again, this is contingent upon the assumption that people around us are concerned about fashion and its' discourses. 

Source: Journal of Consumer Research: Consumers' Interpretive Uses of Fashion Discourses, Vol. 24, No. 1 (June 1997), pp. 21-23

Under Her Belt: Relationship Bliss And Sartorial Compromise

Quick and Easy Illustrations by Mai Manaloto

www.instagram.com/MaryAnnClothing

Fashion in a relationship does not have to be a difficult undertaking. It should be something fun that couples get to enjoy. Sulking into so-called  feminine activities such as dressing up, shopping, looking sexy and undressing can all be part of the joys of being in a relationship. According to Carol Bruess who has a Ph.D. in Interpersonal Communication, and the co-author of "What Happy Couples Do", a man who is secure enough to get girlie with his woman shows that he is willing to make small sacrifices to make her happy since that is a priority. This means spending time with her like shopping without sending any signal of a morose expression and pouting the entire time.

Fashion is capable of igniting attraction. Many scientific studies have been done in order to identify what physical attributes make men feel attracted towards women such as dressing in the color red or just simply slipping into some matching lingerie in silky, delicate lace. Most men are unaware of the role of silhouette and color in their attraction towards the opposite sex, and women are smart - and we know how to use it for whatever holds our fancy. The question is, when it comes to relationships, is fashion even a big deal? For some women, it probably is a big deal especially if she is into fashion. Fashion is not something you leave behind once your 8-hour shift ends or you get to compartmentalize in your life. It is a lifestyle and is, therefore, part of your everyday life. A lady would really appreciate it if her man steps up his game in the fashion department.

There are absurd reasons why women would like their man to dress up at times, it's no rocket science really. One reason is that it is a form of effort and dressing up for each other can be a great way to keep things steamy. It's really the smallest things that matter in a relationship and besides, there is something about men who have a succinct style that makes them look so dignified and sexy. Another trifling reason is that women like to parade their man when they put on a nice attire. It makes a woman think how good they look together and how Facebook worthy he looks (this is for real). Women think about these trivial things in the hopes of impressing people from their social circle. Regardless of all the silliness, the point is, if a man expects his woman to maintain herself, then it is only fair for him to not let go of himself as well.

Over time, as the relationship grows stronger and you feel more confident in your love affair, there will be a tendency for a lady to sartorially sculpt her man. The easiest way to turn him into a man of style is by buying him clothes for his birthday, Valentine's day, Christmas and any other holiday you could think off - he would probably not even notice the motives behind those sartorial gifts since the exchange is done during gift giving seasons. In no time, you will see your mate taking up the clothing style you believe is fitting for him. Although there will be instances where your man will hold onto his conservative values no matter how hard you insist. For instance, two of the latest trends in men's wear (note that men's fashion develops at a snail’s pace) includes the deep V-neck that reveals their chiseled, patchy chest hair, as well as the European mankini which is a one-piece sling swimwear or also called a "suspender thong" or "sling shot bikini". However, some men simply resist joining the bandwagon. And that is fine, in a loving relationship, compromise has to be done.

That's exactly what relationship comes down to, meeting in the middle even when the discourse is about fashion and taste. There is this Latin maxim that pertains to the differences in preferences. It is "de gustibus non est disputandum" which translates to "in matters of taste, there can be no disputes". It basically means that things such as taste are not a matter of argument because each person has their own preference. It implies that each individual's inclination for, let's say, clothing are merely subjective opinions and therefore cannot be judged as right or wrong. Consider yourself lucky if you happened to snag a partner who is exactly like you, unless that's the case then perhaps it is best to ease your partner to trying new things in fashion especially if they have an actual stance on what they like to wear.

Clothing matters in a relationship can be tricky at times. Some women like wearing trendy pieces that have a salient image of being sexy. Even though a female intends to wear a certain dress to look enticing just for him, he might not want you to look so darn good for others. Men are envious creatures so they may have a tendency to be jealous and may allude that they wouldn't want people staring towards a particular body part that is being displayed, which most of the time pertains to the breast, buttocks or legs. It can be exasperating at times because regardless of whether a lady is in a relationship or not, she should dress however she fancies. It may be a form of body shaming a woman when her partner dictates what she can and cannot wear simply because of a premise that someone else will stare. But how is it different when a woman asks her man to change his fashion style? Us women are also guilty of body shaming our partner when we insist they dress a certain way or hide pieces of clothing that we despise. At the end of the day, what's important is respecting your partner's individuality as well as making an effort to make them happy - it's called sartorial compromise. As the saying goes, it's always better to bend a little than to break a loving relationship.

A Shrewd Fashion Tactician: The Long-Term Ball Game For A Fashion Designer

Quick & Easy Illustrations by Mai Manaloto 
http://instagram.com/MaryAnnClothing

As the saying goes, talent knows no boundaries. The fashion industry's main asset is creativity, therefore having a designer with an innate appreciation of artistic oeuvres is crucial. However, fashion is not an art but rather "creation applied to garments and accessories which must be sold successfully" as elucidated by J. Andrews (2004). In short, fashion is the commerce in creativity. To stay on top, it's not enough to just have a talented designer. An inspired management is necessary as well because while the creative process is disorganized, the production aspect must be rational. 

Just like a super model or a pop star, a fashion designer needs a good manager. The reality of the industry is that a designer alone won't be able to cope with all the pressures that come with the business of fashion. Based on countless fashion studies, there was hardly any example of a success story that is not based on a foundation of two individuals - one with a creative or design background and the other who has experience with business or management. The challenge is sustaining the relationship along the journey. 

Many individuals who pursue their artistic ambitions leave college with a dream of establishing their own label. So to work for an existing brand is a detour towards that dream. On the other hand, not working for a famous fashion brand might consign a designer to poverty and irrelevance. One solution to this type of dilemma is for a designer to be allowed to have their own label while still working for an established brand. For this type of set-up to work a designer must respect the brand's signature aesthetic and in turn, the brand must repose faith in the designer's interpretation of its DNA. If a designer rejuvenates a brand, s/he now becomes a figurehead, and if a brand wishes to secure the collaboration then this new designer must be granted a share of a company's profit. In other words, a designer's loyalty has to be bought by the brand. 

Reaching the top mount entails more than just having a talented designer and manager brimming with ideas. Control of the brand is always essential. This means selling products mostly through directly owned stores and limiting licensing of a brand name to others. Adding to the repertoire of the brand is necessary, ensure that your eggs are not all in one basket - mixing hard goods such as watches and jewelry with soft goods which include clothing, scarves, perfumes and such. This is guarantee that whatever vicissitudes may afflict the world of luxury, some parts of the empire are bound to be making money. 

Brand integrity is the indefinable aura that convinces an individual to pay a large sum for an item that can be purchased elsewhere for a lower price. This is another crucial aspect to consider in the luxury-goods market. Brand dilution, on the other hand, is the opposite of brand integrity - it is the negative side effect of popularity. If majority of the masses can afford a particular good, then it is no longer exclusive and is therefore no longer worth its lofty price tag. Luxury must avoid becoming too common for many high-fashion customers. 

A fashion house must also control its own distribution, meaning having its own exclusive store and limiting licensing. The rationale behind this is simple. "Instead of selling at wholesale prices to a department store, the fashion house can use its directly owned shop to sell at a retail price" as mentioned by Andrews (2004). It controls the markup or discount it gives. While also promoting the brand image through a chic and exclusive shopping experience, creating a personal and warm ambiance at exalted locations. This builds a concomitant experience that allows a brand to get to know it's customers better. The downside of this is the burden of fixed costs such as rent and employees. Having a footfall is a way to constantly make a profit. These are affordable and small fast moving items that easily lure customers to buy. This is the reason why department stores often place cosmetics, perfumes, and watches at the center opening of the ground floor. 

Licensing occurs when designers grant someone else the right to produce and sell products under their name and in return receive an up-front fee followed by a royalty of 3-8 percent of gross sales. This guarantees profit, however, the brand image may suffer when licensing goes awry.  The licensee bears the risk while the designer reaps a reward. The problem here is the long term effect on the designer’s name. If a licensee lowers its quality and often sells at a discount at the wrong place, then the brand integrity suffers. Nonetheless, licensing has its uses. Being a designer does not always entail that you know how to make shoes or perfumes, so why not hire your name to someone who does. 

As a takeaway, always keep in mind who you are designing for. There is no reason in creating clothing that is not practical with the exemption of runway pieces (these are made for the sake of the show, read more on Couture Trade: The Universal Benchmark Of Fashion). Be sure to be consistent with the brand image (the thread that links everything together) as you create diverse collections, even when diversifying from high end into more affordable diffusion ranges. Most of all, keep control of your brand. Licensing and franchising can help a business develop, however, keep in mind that no one will look after your name as much as you do. A vertically integrated supply chain where every aspect of the design, from manufacturing to distribution and retail is controlled, is ultimately the correct strategy for long-term brand prosperity. But first, you must establish the brand. 

Source: Extracted from J. Andrews (2004), "Rags and Riches: A Survey of Fashion," in The Economist (March 6): 6-8. The Economist Newspaper Ltd., London (March 6, 2004).