From ramp to rack
While international web portals such as Moda Operandi and the likes are quick to offer customers the service to pre-order looks not long after they are viewed on the runway, western designers and their retail counterparts (both brick-and-mortar and virtual) have figured out a profitable equation in order to help customers both at home and abroad, acquire the latest and the greatest that the runways have to offer. Granted they are working within a highly evolved fashion industry, but with fashion weeks on the rise in Pakistan, both prêt and bridal, one has to wonder what steps our nascent industry is taking in articulating runway looks into saleable garments. In other words, are fashion weeks just a lesson in public relations for the designer, or are they translating into valuable business for designers and retailers alike?
Watch Zahir Rahimtoola, CEO of the multi-brand store Labels speak about the Business of Fashion:
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Umair Tabani, CEO at Sania Maskatiya weighs in, “Both as a design house and retailer selling the collection is imperative. How else are we going to fund the business and create new designs if we don't sell? At the house of Sania Maskatiya our primary objective to do a show is to develop new products!”
“The dancing dolls collection will be in stores within two weeks. It is very important to have fashion week collections available in stores – we always make it a point to sell them as soon as possible.”
In terms of maintaining a balance then, the nexus lies in displaying the creative talent that is exemplary of the said designer, continuously pushing their own boundaries, remaining true to their design ethos, whilst producing wearable and saleable garments at the same time.
From a holistic perspective, “Fashion weeks and designers have worked very hard to change mindsets, the whole crux of a fashion week is to introduce a new line, a new look, you are educating your customers,” explains Shamaeel Ansari, veteran designer and previously a fashion council member. She reiterates the importance of designers being able to translate runway looks into saleable garments.
This translation or conversation is where most fall short. For where a novice designer is eager to showcase his/her creative aesthetic and believes in pushing those boundaries, very seldom do those looks translate into saleable clothes.
“In my time as chairperson of FPW for the last 3 years, not precluding myself from it, but I saw nobody go from ramp to rack, and even if they did it was never the same designs as the catwalk.”
Comparing a western model of ramp to retail production, “if you really study the models abroad, of fashion houses, of course ramp [style] is always tweaked, but its similar.” Pointing to a version she has on a model, “this is the runway version, I have a simpler version in the form of a long kameez for retail.”
Umair Tabani points to consumer trends leading the way. “Most of our clients prefer items that are easier to wear which is why in the store you will see a lesser variety of show samples and more wearable variations of the design.”
Nida Azwer, who is all set to exhibit her FPW collection “Arabesque” at Labels the coming week, stresses the importance of price points to be able to cater to a wide range of customers, citing a starting point of Rs 2500 for her collection.
One then has to ask then what kind of production mechanisms have to be set in order for fashion houses to cope with design and productions demands preceding and following fashion weeks.
Umair Tabani explains that it usually does end up taking about 6 weeks from their collection to make it to retail outlets with all customised components ready before they begin production – including digital prints, embroidered fabric, etc.
Shamaeel maintains that there is a 2-3 month rotation period, but stock is prepared well in advance of fashion week, in fact, she had already shipped out the collection to India before it exhibited in Karachi, as she explains the aspect of “rolling it out.”
Well-versed in the production aspect, she is sending her current collection to several other retail outlets within Pakistan, as well as, Singapore and Dubai. Nida Azwer along with supplying to nationwide stores, will be exporting her current collection to eight international locations.
“You have to keep a chain going, but one does need a healthy financial status to keep it this way” Shamaeel maintains.
Zahir Rahimtoola, CEO of the multi-brand store Labels, and one of the first retailers to offer looks for sale on his e-store Labels, straight off the runway, points out the most basic drawbacks even within this mechanism. Our fashion industry is not yet equipped to supply to international markets lacking industry-wide standardisation of sizes, quality control mechanisms, etc, he says.
Another factor cutting into retail margins is mass retail brands such as Bonanza, Nishat and Khaadi, stepping in where designers fall short to cover the retail gap, he continues.
This cycle then further dissuades designers from stepping into the retail arena as production on such a mass scale is hard to compete with, especially for those new to the industry.
Let’s not forget then, the relationship between the consumer and a design house, whether old or new, is facilitated and formed by the fashion council, who provide designers a platform to showcase their latest wares. To what extent then do fashion councils help facilitate the business process of showcasing fashion?
“The councils not only invite the press, but a lot of buyers as well, not just retailers but private customers as well.” Says Shamaeel. Umair Tabani agrees, “There is great exposure to media, buyers and potential business collaborations.”
Nida Azwer especially applauds the platform in encouraging young designers, and reminds us that whether able to create their own production lines or not, there is always the possibility of a young designer being recruited by a larger design house to freelance, etc.
It seems that everything may be agreeable in this formula, creative designs, a successful showcase at FPW and appreciative audience and buyers. But at the end of it all, if a designer him/herself does not take the initiative to sell his designs, there’s precious little the council can do to change this. Especially when the media cannot guarantee exposure, as only favorable collections are likely to be covered.
Shamaeel blames it more on a business sensibility that one must formulate.
“More than production capability, it has to do with ethos,” she explains. A business sensibility or model is imperative to create a niche. Zahir agrees, stressing how 70 per cent of a fashion week has to be focused on the business aspect of it, until which no real change will come about.
In fact, there is always a way to reach out to the consumer, even if your production processes are not up to mark.
“When we’ve had production problems, we’ve taken orders on them, but we’ve always made clothes that can sell. And that’s the mark of a mature designer,” she concludes.
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