fashion oriented.

lf the catalog is a lhshion catal()g,the Iashion director will be involvecl in its planning ancl the thshion advertisng stylist in its execution. The lhshion clirector will want to include all the {as}rion trends that must be representeclat the tirne o1'thc catalog's istribution.'l'he inclusionof' key d trend items with the potential fi-rr {ashion 'I'he volume is very intportant. fashion catalog, when properly erxecuted, can be a powerful sellins tool. A sale catalog nrust also be visrrally stimulatins and reflect the fashi<lntrends. -l'he As stated befbre: consumer \\,.ants to spencl less money while still getting a krt o1' {ashion. Oonrpetition has increased 'I'o clranraticallyamons catalog sales. keep a competitive edge, the retailer must merchandise produce catalogsccintaininp; of high quality and demand. Attention rnust be given to rnodels, locations. and accessories. H e r e , t h e f a s h i o n s t y l i s t ' s . j o bs n r a u n i f i e d i due to the number of'fashion iterns zrnd outfits beitrg photographed fbr a sinsle use. T h e m a i n d u t y o f t h e l h s h i o n s t y l i s ti s r o sather the Iarse number of'santples neecled 'l'he ancl their appropriate accessories. accessorizinsis a challenge since it must be done ahead of the actual seasonin lvhich the merchanclisewill be stocked. Whether the catalog is shot in a photo stuclio or on locaticln,the stylist must rnake sure that c v e r v a ( ( e s s o r y p i e c e i s p r e s e l t t .( ) n location, especially,there will probably be no opportunity to obtain the missing pieces. Missing accessories <:andelay the shooting, causing a waste of the photographer's and m o d e l s ' t i m e . ' f h e c a t a l o g ,w h e n d i s t r i b u t e c l , will be subjected to ckrse scruriny and uenerally will be kept in the home or olTir:e for an extended period <lf time. Therefore, every ef fort shoulcl be rnade tcl see that the copy uses the latest terms. -fhe Direct Mail. {ashion director is involved with clirect mail advertisements. Direct mail is trsecl rnost.eff'ectively to reach a small and exclr-rsivr atrclier-rce. The specialty store rltav rrsc clirect mail extensively to rc:ich arr alr-e:rcly established c u s t o m e r l i s t . I - h e n : n n e so r r t l r e l i s t m a y b e '[-lris pastOr preselltcu-\t()nlc'r\. lbrm of'

Figure 1l -4 l-he fash.ion office und the adttertising ofJtceu'rtrk tostlher to deuehf a direcl. mailing, suth o,sthi.sone tnnutuncing a f ashion eaent.

advertising is efl'ective for announcing new merchandise arrivals or new fashion r e s o u r ( ' e so r f i r r i n v i t i n g c u s t ( ) m e r s o a . t fashion event (Figure I l-4). Working wirh the advertising department of an asency, the fashion director should review the selection o{'paper stock, its color and textur-e,the typeface planned for use, any artwork, and the fashion copy. Each shoulcl be selected to reflect the fashion attitude of'the merchandise or, in the case of a fashion shclw,the event. As in all materials meant for the public, direct mail pieces require c:rreful attention to detail. Radio Advertising. As a fashion advertisins lilrce, radio is not as widely used as other types of advertising. Its use is still limited somewhat in that fashion is such a visual commodity, and radio lacks the ability to shoat;it can only tell. ln radio advertising, the words alone must set the fashion messageacross.Words can, however, conjure up images by emotionally evr)kine rr mood. .fingles are a good example sinr e t h e y c r e a t e a s o u n d e n v i r o n m e n t f i r r -r h t . a d v e r t i s i n gm e s s a g e S o m e . j i n e l e rr l c l r ,.. . .

t ll,mur:m

{c{':r*6irr{
l i l

the garnrent. White, for instance, can be very glaring. Red, which is ereat fbr television, photouraphs a dark eray in black and white reproduct.ions.Fashion detailing is another consideration; fbr ex:rmple. t ( ) p s t i tl( i n c i s r l i f l i < r l r l o s l r o r ri'r r r r photography unless a close-up inset is used, but the tclevision canlera may {ro clclseup 'fhese Iirr the details. are some of thc problems ttre fashion stylist faces every dar'. -I'he f'ashion stylist should be at e','ery photography or television commercial scssion.The stylist will see that the nroclel has the right hair style and the right 'I'he makeup. model must als<lbe tolrl ther attitude of the rnerchandise,that is, r,r'hythe customer u'ill want to purchase it. G,ood television and photography models are also part :rctor and able tr>change moocls in kccping with the {ashion attitucle of the 'I'he rnerchandise. fashion stylist rnust know the efT'ects ol'backsrounds, liehtinp;, ancl I)r'ops.All of these must intensify the l,rshicln essage nd nol overpower it or. m a rlistract Irom it. Befbre the camera clicks, l ' " r o l l s , " i n t h e c a s eo f ' t . e l e v i s i o n - t h e itvlist must check to ntake sure tlrat the {al-ment is drapecl risht and l>uttonecland :relteclas the l)shion trend dictatcs. "I'he told of'material as the moclel ber-rcls arnr an nrav lrxrk mess)'when stclppeclby the I alnera eve. (lonstant attention to cletail is a n r r r s t( F i u u r e I l - 5 ) .

Fashion advertising's need for models cliff'ers Irrtrn those of fashion shows. The fhshion director and fashion stvlist are responsible for findins or developing f'ashion moclels to meet these needs. Models that nray be excellent on the mnway may f reeze in front of a camera. Conversely, a m o < l t ' lw h o m a y b c a w k w a r c lb e f o r . ca i i v e audience may work well wirh an audience of one-the photographer. Models rhat are known lor their stunning beauty are not alrvayspl.rotogenic,u'hile a simple beauty rnay be striking fbr phorography or television.

Aclvertising is expensive and is planned -I'he on a strir;t budset. competition within the store fbr advertising dollars is tough. livery buyer wants t() advertise as many of his or her fashion looks as possible. (i.enerally,the advertisins director will have a total budget which is then allocated on a percentage system to the vari()us divisions Of the store. A department stclreadvertisins budset will be divided inro money frrr the sofi lines, u'hich include clothins and accessories, ancl fbr the hard lines. which include books, furniture, and housewares, -fhe to narne a Iew. merchandise manager o f c a c l ro l r h e s <a r e a sw i l l t h e n l r r r th e r ' break clown the budset allocation giving each ot'the division heads a budeet. -fhen, the divisionals will ask their buver-sto sulimittht,irarIr'ertisinrcqucsls. ronr u F these requests the divisional will compile an advertisins br"rdget. fhis is an oversimplification of the process.yer adequate fbr our purpose of seeins horv the fashion clirector contributes to the a<lvertisinsplan through the clevelr)l)lr)cnr ol' a fashion advert.isinscalenclar.

Figure 11-5
T h e f i t s h . i o nu d . t n t i t r r t g ' l t l t ' t n n k r t t u r t t l m t t h e garm(nls and model.t lrr,h lh' tr ltt'|.

f a s h i o n d i r e c t o r n r i r r s L r i r r r r at i s e p a r a t ea d v e r t i s i n gp l a r r r o t h c m e r c h a n d i s em a n a g c l ' .: r r t r ir t r l r s e r l r r e n t lty o t h e a r l v e r t i s i n sc l i r e c r o r I h i r p l a n i s b a s e d u p < > n h e f h s h i < l n a l t . r r r l ; u n e e c li o r . t c

-fhe

Fashlon Advertlslng

155

Every store wants t() be knou'n tor quality, rvhatever the price level o{'the merchandise. Display is one avenue tor cloing this. The merchandise and the -urtr-r.. in which the merchandise is Stores presented are central to clisplay.' money trl spend a considerable amount ot o..1". to buy qualitv clisplay ProPS' rather t < t h a n u s i n g d i t n e s l o r e a r ' < l b o a r c tl l t ( ) u t s ' The best merchandise ancl the best pr()ps i{'the displav will lose their ef{'ectiveness area is clirty. The cleanlinessof the clisplay areas reflects a store's concern with qualitv in all its presentations. A store's prestigc is increaseciby building goodwill and a loya' customer followins within the communlty' Displays will often address themselveslo the t.<r community through visual szrlutes For example' community organizations' photographs of the communitv zoo animals miqht back a seriesof chilclrenswear ouindo*s with the fashion copy reacline' "Animal Prints . . ' Playfullv Practical'" A subheading might encourage cllst()mersto support their local zoo, reminding them*hai a delightful adventure it can be' The o p e n i n g o { ' t h e o p e r a s e a s o nm a y . b e occasionto salute the opera assoclatlonwltn blowups of music scoresused as the background fbr a seriesof evenins wear windirws. These kinds o{'displays sell merchandise and show that the storc has a g e n u i n e( o n c e r n f o r t h e c o m m u n i l v '

thing," is especiallytrue in fhshion' A small blaci ancl u'hite photograph in the PaPer "Racy mav tnake a fashiorl statenlent {or a tunic ancl pant n'hile Silks" showins the clescribinp4 soft silky texlure and lrright yei, th" ptrotoulaph is not the "real <:ol<lrs; o t h i n g . " ' f h a t s a r n em c r c h a n c l i s e n t l i s p l a l ' r s and the viewer can see the col<lrs' lifc-iize. the f'abric'stextllre. ancl all tlte itttportant l a s l t i o r c l e t a i l sl.) i s p l a r sl l r ( ) \ el h ( ' t merch:rndise {rtlrn ttre }ranging r:rcks trtt<.r the shopper's visr'ral Path' Bv sholving.the is lvhat mcrch:rrtclisc available' custclmei help the ctlst()mcr make a sclec:tiott' clisplays

ready-to-wear industry ls very 's (arrv o r o l i f i t , a n < lt o < l a 1 l a s l r i o ns l o r e s ' i o r o . n r r . r . , * e t l l s o l i t e m sa r l d s t y l e s T h i s varietv is to the customer's advantage' wiie but it can also be overwhelrning' especially to shoppers who are on a lirnited time styles ,cnea.,tl. Displays separate selectecl the f'rom the ,nas.,of merchandise f<lund on tor store's racks ancl provide a place ('rtst()mers fbcus their attention' While to aclvertisinguses this type of individual tu'rle\I)osure also, the exp()sure is frozen -I'he c[nretrsionallyand is not tangible' clichc. "-I'here is nothins like the real

-I'he

in If the fashion clisplaysare srtccessf'ttl n-rakingclear f:rshiorl st:ltclrellts' Pl'()lectlng a cpralitv imirgc, :urd bl'ingine the 6erfirrethe prublice,ve,thev u'ill r',',erchairclise 'l'here is a saying that also builcl tra{'fic. clisplavsshould "Prclvent passersbyfl-on.t ancl thc parsirlg by." T-he fhshion <lir-e<:tor t<l department rvork t.osether- . clispla,v J'o bring u,,lii"ni. cliiplays that will do this' llc traf'fic into the storc, thcl rvinclowsshoulcl over as tlrarnztticas possible without powerinu thc nlerchanclisemcssage' Humol' A i-relps. large rvindow display o{'rvhite. sunlmer sPOrlswearseparatcsrvith brightlt' tllight use a httmorous colored accessories approach. The copv t:clulclreacl: "Aclcl Sonrr-' Cirltr. t,, Your Sttnltner Whites," while the irt lvitrclow shows rttannccluinsclrcssecl wtriter Itt 211-c6'55'11rig5' surnmer c:lt)tlrinqrvith lrl'iqllt dressed as a the backgrt)ttncla trt:ltttlctlttitt p:rirtter is scetr {allirre fl'otlt a ladcler ancl t s p i l l i n g r e d p a i r l t ( ) r r r ( ) h c n ' a l l a n c l { l o o r' ( ) n e o l t h e t t r i t t t t l c ' t 1 , t ; 1 1 1 i g h r o l c la p a l n t 5 ll 'I.his relklrr'paint' brush dripllins nith t d i s p l a f i s a t r - r r l l i- : t ( ) l ) l ) e rl i r r t h e r i g h t t i r s t o t ' el v h o s r '( t t s t ( ) l l l e r s v i l l c n - tl l' v eh e h t t n t o r h inlpirttot a n c lq e t t l r t ' l l r s l r r r ) l l l c s s A l l e ' l l e n c f i t st h e n ' l t o l c a d i s r r l l r r. t t t l t , t s t h i s
slort'. tt,rt jrt.r tlrt tltll:ttltn('lll \\ll()s(' tncrt lt:tttrli.t' t: shttrvtr.

n t I ) i . p l l r r s c a n b e a r l c f ' I ' c < ' t i v c o o l i' 1 ' h i s is r'.'ini,lr, irtq thc strlre'sa<lvcrtisirrg'

Fashlon

Dlrection

and Coordlnatlon

t62

especiallytrue when a new idea is beine i n t r o d u t ' e d . u p p o s er h a t a l a s h i o n a < l S campaign were beins planned to introduce :l new silhouette, "The Shape of Clothes to (lome," a trend that I'eatured an inverted triangle proportion of extended shoulder lines ancl a narro\,v pant ()r skirt. Displays r ' o u l d s u p p o r l t h i s d i r e < . l i o ns i n r . e n a n y . r legistrations would be necessarybefirre the public's eye grew usecl to the new silhouette. Aclvertisine can introduce an idea, but c l i s p l a yp r o v i d e s a n o p p ( ) r r u n i t y t o e x a m i n e first-hand how the look is lr'orn. Fashion displays can be used to supplement fashion advertising. If the store has planned a "fall preview" sale for -\usust, the fashion director will have been involved in the planning stagesto make sure that the major fashion volume items fbr the upcoming seasonare part of the fall preview assortment. A small group of u'indows featuring this special-value u'rerchandise will enhance the advertising campaign. Displays can ser\/e to announce fashion events. lf the store's back-to-schoolplan is centered around a magazine promotion, the x'indows can incorporate this information. .\ giant blowup of the masazine c()ver can serve as the backsround with the rnannequins "n'alkins out of'the pages" to show the fashion looks for the returning s t u d e n l . l ' h e n ' i n d o r t< o p y w o u l r l i n r l u d e infirrmation about the fashion events planned in conjunction with rhe masazine promotion.

All of'the preceding goals build to one e n d : t h e s a l e o f ' n t e r c h a n d i s e .D i s p l a y , l i k e : r d v e r t i s i n c n d l a s h i o n p r o n t ( ) r i o l l i.s a a sales-supp<-rrt area, a designation that defines the ultinrate function of'all display. As we discussthe types of'fhshion clisplays, we will learn that sclmesell fashion in general, while other displays are geared ro the sale ol'specific merchandise.

background, and the copy. The first element in the retailer's mind is always the merchandise. The merchandise requiring display covers the range of the store's fashions. In a fashion department store, the display staff will have rhe challenge of reflectins fashion and value through the displa,vof' both a $ 1500 designer evening gown and a $35 formal gown from the store's budset area. Whatever the origin of the merchanclise,any key fashion display demancls a total fashion treatment using the l a t e s la r r i r a l s .( ) r h e r k i n d s o f d i s p l a y s feature a sinsle classification,such as sweaters.An accessorydisplay may feature only handbass or.jer.velry. '['he seconclelernent of a display is the 'I-hese functional props. include the stands, the fixtures.rhc n'irins, the lighting, and l h e m a n t t e r l t r i r r ls r c r r r ; r n n e q u i n s e l. ar especiallf irnporraltr becnusethey help to m a k e t h e f : r s l r i o r r t a t e n l e n t .N f a n n e q u i n s s are verv expensive. r'anging in cost from s e v e r a lh u n d r e c l r l o l l a r s t o o v e r a t h o u s a n d -l-his dollars each. n r e a n st h a t t h e v m u s t b e c o n s i d e r e d l , r s l r i o rirl l \ ( . \ l n r e l l ti , r r t h e a -fhe store. clisplar <lirector neeclsto know t h e t r e n d o f { i r t t r r e { a s h r o ni r t r i r c l e r t o p l a n m a n n e < 1 u i n u r c h a s e s .[ ] e r e i s r l l i e r e t h e p fashion clirector r:an gir e' r alLurtrle grriclance 'l-hc about the fashion trencl. laihion tr.e cl n affects the brldy proporriolls oi rht. r n a n n e q u i n s n d t h e i r l a s h i r r ni r . r n L e , i s . a w e l l a s t h e k i n d o f n t a k e r r pl i n c l h e i r s n . l e t h a t a r e n c c e s s a r l ( ) [ ) ( , rr ] . , rt ] , . t . r . l r i o n v l p i c t u r e . M a n y a s t ( ) r eh a \ l r e c n L r n a l t l e o t p r e s e n t a n a c c u r a t ei : r s l t i o n \ t . l t r n l e n t b e c a u s ei t s m a n n e < t t r i r r:s l t . , r r r r r l a t c c l . r A 1 9 8 0 sd r e s sj u s t c l r x - s n r r ' o l . k , n a l t l t r ( ) s t mannequin. 'fhe t h i r d e l e m e n ro f r l i i i r i . i r . i . t h c decorative props and background. I Jrcsc a r e t h e p r o p s t h a t v i s L r l r l ltr r r ,i r . i t t I r L r l t l r: r . e y e a n d e n h a n e t h e f . r . l r r , . :n . -: : . . r r r r l r : r . r : 'I'he s e l e c t i o no { c l e c o r - . r t i r1 ' , I . r . . n r o 1 c t h e m o s lc r e a l i \ ( t r ( . 1 \ , r l ' r ,. : . ; , l . r . f . r t f - s r i. j o b . T ' h e f a s h i o n c l i r e . t r , , r i r ,, . , 1 t l r ,, ) u r - a g e . t h e d i s p l a y c l e p a r t n r e r rr , . . r . r r h t . i l .
i m a g i n a t i v c p ( ) \ \ ( . 1 ' \t r , 1 1 . . , ' i r . r , , l t . ' \

Displays contprise f<rur different elements: the merchanclise,the firnctional props, the decrtrative pnrps and

d i s p l a y s h e m o s r i n r e r l r r r J i n r ( ) \ \ ' nA t t h e t . s a m e t i m e , t h c i u s h i o n r i t : t . ir , , r - r u s t? c t ? s n t h e m e r c h a n c l i s i n ( ( ) n ( (r ( . n r . i t i s e a s yt o g ( get carried uu:rr urtrl lc. rhr. ltrolts become r, t h e l o c u si l ) s t ( . . 1 ( l' ,i , 1 : , . l , r , , r r l o r s.

Fashlon Dlsplay

165

example, for the theme "Circus Brights" in evening wear, it would undoubtedly stop traffic L, .ou", the mannequins' thces with clown masks and add llalloons and confetti to the fashion displays. ThouEh this display would certainly be entertaining, the customer's eye might never reach the merchandise. After walking away, the customer would probably renlember the collection of' 'fhere masks but not the merchandise' is a fine line here, and the fashion director and the display director must work to5;ether to decide where that line should be' A great deal depends on the nature of the store' Periodically, sophisticated fhshion stores use "fhshion drama" as a display tool' "Slip into a Fur" saysthe fashion window copy, and there is a mannequin in nothing but a fur ancl a lace-edged slip. On the other sicleof the window three mannequins in -fhis is furs point to the darine "exposure"' York used t<r the iclea that Bendel's in New achieve a dramatic and eff'ective exposure of its {ashion furs. Another store in rural America would {ind this approach inappropriate as it might clff'end some m()re ionservative customers. For most stores, it is best to keep decorative props and the background strong but simple' Displays are glanceclat quickly in passing, and subtle D o i n t sw i l l n o t b e c o r l v e Y e d . ' Pr,,p, and background are one of the best -"urti of carrving a fashion theme throughout a series of wincltxvsor interior displays. Suppose "Egyptian Inspirations" 'fhe decorative weie the lashion messaqe' uPon a tile motif seen pr<lps might draw int.r.,gtl.-t the store. The motif could work 'w'ell in the windows and central displays, as -fhis unifying as in the accessorvshowcases' help the customer quickll' rnotif would identify different classifications of merchan dise as part of the same fashion trend' The iburth and linal element of display is the copy. Just as fashion ads utilize written cltl copy t; get the messalieacK)ss,,s() many The store's display po]icy lay clisplays. cliciate that only a f'ashion headine be usecl in exterior windows. Other st()resmay int:lude the price o{'each garment as part ol the copy. In all but the smallest of specialtl stores, the copy should also identify the krcation of the merchandise within the st()r(].

Fashion copy should be clever and shoulcl refer in some way to the display's fashion message,perhaps playine upon the decorative props and background' The examples "Add pr.ui.,,-,riy given, "Slip into a Fur" and u t,ittte Color to Youi Summer Whites," both do this. Fashion display copy must also be brief: a word, a phrase, a sentence' It rnust be even more concise than advertising copy since it is read by people as they walk by'

are two types o{'fashion displays: window displays and interior displays' l'he type of'-fashion display will dictate the prioriiy given to the various clisplay goals, *.r.h ui th. r-,t. of functional and decorative elements. Winclolv and central interior displays are primarilv concerned with creating a faihiot-t mood and making trend 'fhev visually inform the .statenrents. trends in the hope ot shopper ol'new selling speci{ic ttems in,directll'Direct sa.les are tlie priority of "point-of-sale" displays' These displays, shown in Fisule l2-2, are imnrediately acljacentto the selling area o{' the item.

-I'here

Althoush the shopping rnall has resulted in the decreased use o{'willdorvs, many downtorvn sttlres ancl specialty stores still lincl fashion rl'intlttrvs ven' ef{ective' These winclows shoulcl be :rs clr:rnlatic as possible in content ancl in pl'csetrtation, while still remaining cottsistetlt ivith the store's image' Winclolvs tttost of te tl sell itrdirectly by i b r i n s i n c c t l s t ( ) l r r c l . sr r t ( ) t l l e s t o r e , a l t h o u g h r;,rrrrij.li,'.,t srrle. rrill be realized. It is the ultinr:ttc totttplitrtetrt t() the fashion stylist rvherr a ( Ll\l()lllcl' ellters the store and says " l ' r l l i k e t ( ) ( l t i t t . q et h e e n t i r e o u t f i t i n t .tlie at:cessories tlo, please.'' r v i r r r l r r r ,# 1 . It rlor'- lr.rPPcrtl 'llrt' t n , r r r t ' 1 f e c t i v ew i n d o w d i s p l a y i s o n e t l r l r t P r ( ' . r . r r t sl r s i n g l e i d e a . I t r n u s t b e , - , ' r r , , i n t l , . t ' c ctl h a t . t h e c u s t o m e r i s u s u a l l y is able to absorb only a I)il\\lng ltr arrd -inqlt' t,,tttelPt. Presenting several ideas at ( )n( i' ( lrrtteri the winclolv and conf uses the
( Ll\t()ltlef .

Fashlon

Directlon

and Coordlnatlon

1.i4

store has twenty to forty opportunities a year to make statements srnce windows are eenerally changed every one to two weeks. A large clepartment store ln a metropolitan comrnunity cannot afford r h e d i s p l a yi n v e s t m e n r e e c l e d o c h a n s e n t r v i n d o w s n a w e e k l yb a s i s . o r i s t h i s o n necessary.A large st()re may have as many as twenty or more windows which will hold the street traffic's attention for a long p e r i o d o l r i m e . l l t h e s r o r ei s a s m a l l specialty store, with only a single window, it is crucial that the window be changed often. A change in the window will prohibly be considered by the viewers as indicative of new arrivals in the shop. All fashion stores should chanse their w i n d o w s a s o { i e n a s p o s s i b l ew h i l e remaining within their budgets for props and display labor. Frequent changes have the advantase of using the most current merchandise. Another advantase is that the p u h l i c i s c x p o s e r lt o a g 1 . n , " , v i r i e r y o l merchandise. Frequent change is alscl important since merchandise that is left on display in the windows or under strons d i s p l a yl i g h r s I i r r a l o n s r i m e c a n h e c o m e faded. Windows promote the sale of fashion soods; therefbre, the store's buyers u,ill want their nrerchanCisedisplayed. Stores have differing policies regarding the allocation of'window space. Stores with a larse number of windclws may designate certain winclows fbr particular areas of the store. Let us say that a big department store occupies an entire city block with windows on three sides and two separate corner -fhis exposures. means that there are five -fhe display areas. store may designate orie b a n k o l w i n d o r . ' ' si r r d e s i s n e r a n d b e r t e r f priced women's apparel, ind another bank to rotate usinu junior clothing, chilclrens wear, and linserie. The store's third bank of windows mieht be reserved for menswear, One ol'the larse corner impact windows might be clevoted to the hard lines, with tne size of the u'inclow accommodating a -fhe c o m p l e t er ( x ) l l l \ ( ' l t i r r t 1 . ( ) t h e rc o l . n e r w i n d o w m i s h t b e a c l e s i s n e r" s h o n c a s e "a n d might chanse necklr t() presentthe latest arrivals fiorn the st()re's<lesignerareas. D u r i n g h o l i d a r s o l n r : r j o rs a l e s , n e o r a l l o f ' o t h e w i n d o w a r c a s l : r i g l r r b e u s e c lt o s e t t h e

'fhe

Figure 12-2 Point-of-purchase displays located are netdto the selling areaof the items

tclne for a seasonor to advertise a maior sale. Whether a fashion store has one or many windows, the window space will be given to the departments that represent tlre 6est the store has to offer and have clothins in k e e p i n gw i r h r h e c u r r e n t f ) s h i o n r h e m e . The fashion director distributes a calendar of fashion winclow themes to rhe buying stall'in advance of the season.This allows the buyers to buy wirh these trends in mincl and have merchanclisethat will be considered for display becauseof its timeliness and adequate st<tcklevel.

Exterior display windows bring customers into the store. Inrerior displays help customers to locate the different merchandise areas of the store. Interior displays also help to sell specific irems. Vignettes such as the one in Figure l2-3 are placed at the front of the maior reaclr,_ to-wear area. They set the tone ftr the area and f urther inform shoppers of tlrc nerr. f a s h i o n l o o k s . F r o n t a l d e p a r t m e n t a l c l i s l r l . r.r announce the area in which the m e r c h a n d i s ec a n b e I b u n d a n r l s l t , r r ri r . , t h e l o o k i s a c c e s s o r i z e c le x . t . l r , r J r. r : , . . N. ; s u c h a s g e o m e t r i c a l l ys h a p e r l n t L r t ' :. . r a c k s ,a l l o w a n a s s ( ) r t n l e n r ) l . . : t m e r c h a n d i s eo b e r l i s p l . r r t , i I . t

r mmr:m

ln*Fr+

r65

i'f;:;r:::r,

('reo'ted' ca.iuu,l. vt solthisticated home setttng t's CourPsiif Meii, U L-rank.

0 a In this exampre, Rurphr'ouren sh,op, on of intlud( theu.se propsto suggesr enxironment.

stands may display one style of blouse in four different iolors, showing customers the different colors available. Many resources offer display aids to . stores which can be used to present their oroduct. These are effective at the point-ofp.rrchus.. In the fashion area' this Practice is most comon in the accessory departments' Although these otlerings can save the. display-department time and money, the display diiector must review all such fixi-,res to make sure they fit the store's overall visual plan and fashion mood' Like exterior displays, interior displays benefit from change. Visnettes and other major displays are usually changed every tw6 weeki. For a month-long theme' the clecorative props may remain while the rnerchandise changes. When this is done' the fashion director is wise to direct that the color emphasis be changed verY, clranraticallyso that the casual observer will be arvare oi the change. Departmental point-of-purchase displays need to be

changed more often. lf' point-of'-purchase displiys are effective, the merchandise inviilvecl may be sold quite quickly, thus depleting the stock and requiring of the display with something ,.plu..-.ttt 'fhe. a larger stock representation' having fashion director ancl display director need to establisha svstem of clepartmental responsibility {br rcplenishing or changing these merchartclise<lisplavsin keeping with the fashion trend. stock supplies, and the store's displar stalrclllrtls'

After the first "video generation" grew uo. it nrovecl {'rom in front of the television set to behincl the cameras' An entire vide<l c t r l t r t r cu a s b o r n . " M u s i c t e l e v i s i o n " brcathed new life and profits into the recrtrcl inclustry, and cable television and brought an infinite amount video cassettes of pr.r>{ramming intcl American homes'

Fasblon

Dtrectton

and Coordlnatlon

see Fashion merchandising was quick t<-r the potential of this communication form. Retailers and many manufhcturers scrambled to use video to sell fashion. European and American designer fashion shows were brought into the local stores. Manufacturer's offered consumer education and enjoyed increased sales,as their videos demonstrated how to use their procluct. Display departments now had a new creative tool-and challenge. Since the most common use of video was for point-clfpurchase support, displays integratine a television monitor needed to be developed' 'fhese had to be visually appealing, ancl they had to use minimal floor or counter space. Norma Kamali, a leading fashion innovator, replaced the traclitional lvindow mannequins with a stack of three televisitln monitors in her New York store fr()nt. Using reQular, rapid-movement and sl()\\'motion video techniques, models wear the latest Kamali creations. Video close-ups allow the designer to draw attention to a pocket detail, a snap closins, and other fashion details. Store window mannequins have strons visual impact; however, in the case of video, m()vement and sclund are als<r available to enhance the fashion message' An e{fective fashion video requires the collaboration of a f ashion coordinator and

stylist. Model selection is extremely critical. Not only must the model have the right look and wear the clothes well, but he or she must be able to work "on camera." Video work requires smooth movementsand a face, hands, and legs that work in close-up. The coordinator must know how colors and details will react under video. For example, whites tend to "sizzle," so a whiteshirt under a suit may appearlo dominate the outfit. In this case,a pale blue shirt may be a better selection. Accessories are selected that will "read" quickly-that is, make a memorable impact even though they are visible on the screen for only a few seconds.The stylist must be familiar with video lighting and take special care with makeup. It takes a fashion specialist combining his or her knowledge and skills with that of excellent video lighting technicians,camera people, and editors to procluce excitins fashion videos. Video, plus the abilitv to make it work, is one example of horv thc latest technoloey is used to sel..

The visual display calendar (Figure l2-4) is planned far in advance of the season, usually three to six months ahead of time

Visual

Calendar

Month: AUGUST DISPLAY AREAS

Fifth Avenue (Designer Merchandise)

August l-15
"(ientle Classics" Fall premiere of collections desigr-rer "(lentle (llassics" General back-to-scltooI merchandise "Gentle Classics" (lertcralnten It:utrlirt "(lentle (llassics" Focus on tlvcccl an<l herringbonc merchandise

August 16-31
"Skirting Softly" Subtheme silhouette focus of "G.entle Classics" "Shaggy Shetlands" Subtheme knitwear focus of "(ientle Classics " "The Shetland Sweater Revisited" Subtheme knitwear focus "Gentle Classics" Color emphasis on heathered neutrals

Sixth Avenue (unior Merchandise)

Men's Windows

Internal

Displays

Figure 12-4 rir'ltrtt'ltn(ttt a guide in us Tie uisuol dispkn cultndnr i.sdet'cloqed the fashittn oJlicearul u.srdh tlt, rit,.tt;tt', $ dispLatchange:. mahins
Fashlon Dlsplay

167

and reviewed as the seasonaPproaches' In Chapter 3 the visual display calendar was discussedas part of the fhshion trend calendar package. Another look at this calendar is appropriate here. flre task of selecting and ztccess()rizins merchandise is somewhat easier firr displav 'I'he displa,vstal'{ than it is {br advertising. works with in-stock rnerchandise rather than the sample merchanrlise used bv advertising. The actual merchandise s e l e c t i o na n d < l i s p l a l p r o c e s st n a v b e handle<l in several ways clependinq on the

size <ll'the store ancl its stafl'organizat.ion. In a large store there will be a {as}rion a clire<:tor, clisplav dire<:tor,a clisplay {hshiorr stylist, atrcl tlther clisplay staff -l'he rnemllels. iob o{'displav fashion stvlist parallels that o{'advertising f ashion stylist irr its relationship to the lashion ofTiceancl fashion clirector. Usins the visual displa,vcalendar that has been devel<lped,the {ashion clirector rneets with the lashion clisplay stvlist two weeks befirre the u'inclow chanse is scheduled. At this tirne the fashion rlirector will present s e v e r z re x a m p l e so f ' t h e t y p e o f m e r c h a n d i s t : l t() that coulcl be r.rsecl convey thc firshion theme accuratclv. The f'ashion dircctor rnust also brie{'the displav stylist on the accessory details associatedwith this trend. "'fhis seasonthe shirt is on the outside and sashed with a sofi leather belt." "Instead of sheer hosiery, thc fashion look requires a texture(l leg." l'ages torlr {iom fbrrvard-fashion magazinesancl trencl reports are valuable -fhis is the fbr this creative "iant session'" fas}rion stylist type of in{ormation that the must have ir-rorcler to Present the tashion statement prclperly. A week berfirrclhe window chanse, the display stylist has all the rnerchanclisepieces 'l-he plan firr prullecl. and some accessories irny de<:orativcprops ancl llackgrouncl is set' and windorv copv is suggestc(I.At this time the f'ashion clircctor an<l clisplavsn'list -I'he shoulcl ger together' lirr a brief review' fhshion clircctor-shotrlrl ttlltke sttrc that h t h e m e r < : h a t t r l i sltr't ' s t I ( ' 1 ) l ' e s e l l lts e oi tlle Iashion thenre' t t s t . ( ) r - cit 'rs et ' 1 t t - t ' ti:otl l A r c l h e i t (( r ' \ \ o t i t ' . L t . t ' r l( ( ) fr e c t l v ? l ) o e s t h e l p r o l t y r l a r t t l (( 1 \ \ r t l r t l l t ' l l r s h i < l n o r r l i l e c t o r ' ' .. r l ) ] ) ( ' \ . r l : l ) o t s t h c r ' v[i'n d s wc o p v ' hi review Iltessage? t ' t ' i t to l t t t i i t ' i , r ' l t i o r r f
l)lr)(r'\\ . , . 1 . 1 r ) . i r t '; l x ' e e k a h e a r l r l { ' t h e \ \ l l r ( 1 ( , \ 1 , l ) ( . l l l 1 l {r , , l t l l t l r v t i m e f b r t h e r 1, ll' r,. : . 'tll). t,r be c<ltnpletecl by the ,ir.:,:.,,. '.r.iu1)n strlist and other staff

l;i

: t'it
ttt

r.*diis'
.t;ir'
;:i

ri, r

'li'

'fl
r,*

tit
Figure 12-5 |-ie fashittn rtispktl s\tist tutrks to present clolltirt!'ttrt'l maximum uisu,alimPacl..
Oourtesl of lVr:ier U I;ranh

'l Signs. he sip;ncopy must give the r l r c r n ea n d t e l l t h e f l o < l rw h e r e t h e ( r.lstolllercan fincl the rnerchandise. I'hc sign coPv should be orderecl a rr'cek in adv:rnce. :. Background and props. The fashion statement can be intensifieclby the and use of appropriate ba<:kgrouncl .

Fashlon

Dlrectlon

and

Coordlnatlon

164

-I'he pr()ps. clisplaydep:rr.tmentu,ill u s e t h i s t i r n e t o c ( ) t n p l e l et h e p r o p s baseclon the actrral rncrchandise ancl the fhshi<lnrlireclor's irpproval. -l'hc 3. Accessorizing. stvlisr will notc suugestecl ac<:essories the r.evierv at trv() weeks ahead o{'the rvir-rdon, -I-lre openine. s t , v l i stth e n p u l l s appropriate access<iries the firr Iashion thenre. Acc:essories must be pa<:kedcarelully in totes rvhich arc labeleclbl' wirrrlow nrrmber irnrl garlnent. 4. Pressing. A per{ectlv coorclinatecl rn'indorv can be ruinecl bv :r u,rirrkled garmcnt. -fhcrefirre, prof'essional p r e s s i n eb v t h e a l t c r a t i o n sd e p a r t n r e n t is a must. -I-he 5. Dressing. lashion rlisplav st,vlisr ancl :rnother stafl rnernbcr rvill clress t h e n r a n n e r l u i n sa n < l p u t t b e l backsrouncls and props in place. day tlrat the windows are to open, t l t e l a s l t i o t r l i r t ' r ' l o rs l r o r r l crle v i e u t l r e 'fhe

wirrdows r,r'iththe stylist as a final check. 1'his is the time firr any necessary adjustments. It is also an excellent time to sive Iashion suiclance to the stylist frrr fulurc use. It is essentialthat the display {ashion stvlist lcarn to think like rhe fashion dire<:tor (I.'isure I 2-5). M o s t o { t h e s a m e s t e p sa p p l y t o rncrr:h:rrr<lise selectedfilr internal p r e s c n t a t i o n .( ) e t r e r a l l y ,t h e m e r c h a n d i s e {irr deltartrnental displays is selectedcloser t o t h c t i r n c t h e r n a n n e q u i n sa n d f i x t u r e s a r e a t : t u a l l _rvr e s s e d .l t i s i m p o r t a n t t ( ) k e e p l stock of'l thersellins floor for as little time as 'l'he samc :rmount ol advance time lxrssillle. is not rreetrIe<l this situafi<tnbecauseprops in arrrl sisnrvolk ar-ernu<'hrrrore limitecl in t h e i r r r s e .( ) n c e r h e c l i s p l a vs t v l i s th a s r v , r k c < r ri t l r t l r c l r r s liro i r . i i . . . t , , , i n t h e l s e l c c t i o no f r v i n < l o ws t l l e s , t h e s t l l i s t w i l l h a v c a c l e a r i c l e ao f ' t l r e f a s l r i o n t l r e r n ea n d nrav then work directly with Ihe truver or d t ' l r a r t m c r r lt n a n a g e ri n t h e s e l e t r i o no l ' merchandise firr internal clisplaysthat carr.y the sarne thenre.

Displavhas a neu' n:rmc: visual m e r c h a n d i s i n s .- l - h i sn a r n e i s u s c < ll o < l e r n < l n s t r : rtl h a t c l i s p l a vi s a n i n t r e s a l p a r t e o l t h e r n e r < : h a n d i s i ne f f o r t o { ' a n y { h s h i o n s ( ) p e r a il () lt . -l'he soals o1'{ershion clisplav:rre t() rn:lkc f;rshion stzrtcmcnts, profilc'the clrarac:ter of t h e s t o r e , e n h a n c e t h e s t o r c ' si r t r a g co f q u a l i t v a n d i t s p r e s t i u c ,s e t m e r c h a n c l i s c u t o rvhere it can bc secn. build traffic, reinfirr.r.e :rnd suppleme'nt ;rdvertising an(l ofher p r o l n o t i ( ) n a la < : t i v i t i c .a n d s e l l m e r c h a n c l i s c . s, -I'herse gouls :rrc'acconrplishecl with lirrrr e l e m e n t s - t h e r l e r . r : h r r n r l i s eh e f i r n r : t i o r r a l t, p r o p s , t h e r l e t ' o r - l r l i vle n ) l ) s a n d b a c k ) groun<I, nrl tht,to1tr. a Winclor,r' ( anrl intcr.irtr- cntr-:rlrlisplays are u s e c lp r i r n a r i l v t o r r r ; r k c r c n c l s t a l . e m e n t s t a n d c r e a t e a n r o o r l . I ' l r e ' rs e l l r n e r c h a n c l i s c i n d i r e c t l y . P o i n t - o l - . ' l i l c 'l i s P l : n sh c l l l r c u s t ( ) n t e r so c a { c r n c r . rl r r r r l r s ea r r r l s e l l l l specific itenrs.

f a s h i o n r l i r - e c t o rs i n v o l v e d i n b o t h i t h e p l a n n i n g t r r r f lc x e t : p t i o np h a s e so f v i s u a l m c r c h a n t l i s i n s . l ' h c v i s u a l c l i s p l a yo r nrer<:lranrlisinrl r.lrlenclar develotreclbv the is f a s h i o n c l i r e c r o r:.r n c lr n u s t b e c o n i p a t i b i e w i t h t h e p l l r r r n t . r lf : r s l r i o na d v e r t i s i n s a n d e v c n t c a l c n ( l : r r s .I | 1 1f' a s l r i o n d i r e c t o r w o r k s w i t h t h e r l i s p l l r r r l i r . c t . r o u.. c l l i n a r l v a n c eo f r t h e s e a s < l n( ) c n \ u r . ( ,l h l r r : r r r t r n a n r t e q u i n s t anri props prrn lr;rrt,rrrill rrrrclersc()re e l th t a s h i o nt r c n c l s l l r t c r n t . n l : . .l lr c r l i s p l a y
s l r l i s t sl e t t . i rt , i 1 1 1 r , 1 1 i.(1 lrt , t \ l o l r o r r t l t e 11 ) m a n n e c l u i r r s" l l r i r " r l t , r L t l r lb e s n . l c d a n c l w l t l t l : t t<c s s o l i t. . r r t l . l r r . l ( . . t 1 l l l . c \(\li t l t w h i c h t r c r r r l s . I . ' i n . r l l r .r l r t , l r r s h i o n t l i r . e c . t o r r e v i c r v s: t l l r i s u : r l p i ' t r t - n l , r t i o n \ - t l l e w i n d o u ' s , r l c p a l t r n , . r r r . ri r r r p : i r r i g r r e t t e s , a n c l t h < l s ea t P o i n t - ,i i - ] ) i n - ( r , r . ( . . l D i s p l a v i s l i k r ' , r r l r r t . r . - r l i r n t . r r s i o arca l r l. I ) i s p l a r . i s r r l s ol i k t . , r r i r n \ \ , t \ s h o n . , f i o z e n i n tinre. I)ispl;rr .t,ll. i.r.];, )p lp thc ptost ( t r c a f i v c , r r r rrl i . r r , r l , t - r r . , .

'l'he

Fashion Displa!'

169

job' it is a Although fashion direction may be a unique job with multiple roles. To the roles of research artalyst' promoter, showperson, and advertising and display adviser, add the role of public relations specialist' The fashion director's job calls for a flair in public relations onmanylevels.Itisataskwell-suitedfora..chameleon,, who must be all business one minute in an executive board meeting prepared to flatter the ego of an artist a the next, and always ready to speak on fashion to public that ranges from young to old, conservative to trendsetter, and economy-minded to affluent'

must be a good company ambassador-lirst' to win the retailers' support in order to increase the amount of merchanclisethat will be sold lo the stores; and second, to the sain the public's support to ensure that store' goods are sold from the

In earlier chapters' the need for creating an awareness and accePtance of new fashion trends was discussedunder the heading of "fashion promotion." However, fashion "public promotion might also be labeled is the business ielations." Public relations of creating goodwill and understanding on the part of the public toward the store or rnu.rl.rfa.t.r.... Fo. the fashion director' this m e a n s s e v e r a lt h i n g s . I t m e a n s c r e a t i n g a fashion image that the public respects and responds to, and it also means acttng as a g,r.ra*ltt ambassador and fashion auth<tritv i,', ,",rrki.g with the customer' For a retail fzrshion director this means good relations rtith the public. The fashion director r.orking with a manufacturer, however'

fashion director is responsible fbr the store's fashion image within the -fhis image is created through community. fashion shows, advertising' and window and interior clisplays.lt is also shaped by the publicity received bY the store or manu{hcturer regardins its fhshion events o s l and seasonashiorr latemellts r items' Each of these represents a dif{'erent avenue fbr presenting thc store's interpretation of' -I'he fhshion director fashlon to the ptrblic. in fashion must be the "u'atchclog" interpretatiott. tllakins sure that fashion is interpretecl itt a ttllrtttler that will invite a custotlter itttet-estatrcl cr-eate receptlve looks' tlre nerv attitucle torr'al.cl 'fhe tr 1teof iirrll that the fashion director rvrirks lirl rs lrtt iltlportant consideration in o t h e r l c rg l r r p t r t e l l t f a n a p p r o p r i a t e p u b l i c . a p l ) r - ( ) : 1 r h\. c l e p a r t m e n ts t o r e w h o s e it appeal ,rr,lr'..hu,rcli-.c ltrxition requires that of the community's l t o . r l r t ' , ) a (s p e c t r u m tl\tc\. lt'otn tnoderate to designer fashions' :rpproachs its fashion projection somewhat ,rtl, than a specialty store u'ith an cllt^lcle crtlrrsire but limited clientele'

-fhe

Fashlon

Itlrction

and Coordlnatlon

L7()

In general, the fashion direcror leatls the itore's customers without leauingthem. It is :he responsibility ofrhe srore to introduce ren fashion ideas to the community. Being 'tirst" is part of the competitive edge. At 'he same t i m e , a s t o r ed o e s n o t w a n l t o present such a forward and extremist iashion image that it frightens customers. f fre average income of the community and ']reattitude o I r h e c o r n m u n i r yt o w a r d : . r s h i o nm u s t b e r a k e n i n t t . rc o n s i d e r a t i o n . I'he merchandising philosophy of nlanagement is also a consideration. Fashion crists at all levels; it is simply a matter of :nterpretation. Part of interpretation rnvolveseducation. In a period of rapidly .hanging trends and new ideas, the fashion clirector has to use a creative and educational approach toward Iashion rvents. This approach is essentialto .rcquiring customer acceptance. Suppose there is a fashion trend for cvening apparel that draws on oriental rnspiration in fabrics, colors, silhouettes, .rnd accessories. series of window displays A illustrating this trend might be approached in several ways. An exciting approach would be to use all traditional oriental hair designs ancl makeup on the mannequins u.d prri ,rriental lacquered parasols and brightly colored paper kites in rhe backsrouncl. -l'he r h e m em i g h r b e " O r i e n r a l N i s h i s . " I n f o r l u n a t e l y .r h i s d i s p l a ym i g h r s e e m a total Far East f'antasyto rhe public, and though exciting visually, any'personal fashion messagewould be lost. Consider the same trend and the same merchandise, but Llsemannequins having I'ashion'scurrent l r a i r a n d m a k e u p s t y l e s n d r e f l e c t i n ca a r r ' ( s s - s e c l i o n f t h e p c l p u l a ito n . U s e r h e ' o same background props for drama ancl visual impact, but have the title read, .,your Touch of the Orient." This interpretation, *'hile more conservative,would be more effective. Sometimes just a word can influence the public's acceptanceof a fashion trend. During a fashion trend away fiom harshly tailored pants and jar kets l-orwomen and toward fuller silhoueftes, many of the lashion magazines clescribedthis trend as "Fall's Big Look." Son.re{ashion customers accepted this look ancl the terminology easily. Others equatecl the "bis krok,' with

being overweight. The wise fashion clirector, faced with public resistance to this look, tried a new title: "Free and Easy Fall." This title still carried the fashion messageof fuller silhouettes,bur without the negative connotation.

An opportunity to be a goodwill ambassador fbr the firm oicurs anytime the Iirm is working on a fashion presentation with a community organization. Whether it is a community benefit show, a country club event, or a show fbr a professional women,s group, this is an opportunity to win the respect of the group. you should be personable and professional in all dealings. It is importanr ro show patience in dealirig with organizations unfamiliar with the production of a fashion show. This show may be the hiehlight of their calendar year. 'I'hey may be willing to spend a great deal o I t i m e i n t h e p l a n n i n ga n d e x e c u r i o n I o the event (Fieure I3-l). At the same rime. the fashion event may be a very small part of the fhshion director's work load. something that is aln.rost considered routine. It is vital that the club be treated with the respect and cclnsicleration that it deserves. Each menrber is potentially the store's besr advertising source. (See Chapters g and l0 for further discussionon this topic.) The fashion director must remember that the store has been invited to do a fhshion show and is therefbre a "guest.', At the same time, the fashion director is the authoritv on fashion. It is a delicate ancl crucial balance.

The fashion director is called uDon to speak as a career counselor on the trtpic of f a s h i o n a t m a n y p u b l i c o r c a s i o r r s .f h i s i s a n excellent way to create sooclrrill Iirr the store and at the same tinte eclut.atethe p u b l i c . l ' a s h i o n s c h o o l s .u n i v c r s i t i e s . n d a h i g h s c h o o l sa r e a l l e a s e r l i r r r h e f a s h i o n director to sharecaree plannine and job r i n f b r m a t i o n u . i t h t h e i r .s r u c l e n r st.f h . r e speakine engagcnlents r-eclLrire candid a

Publlc Relatlons

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approach that reflects both the excltemel)t iob and an honcst evalualionof'the "i-in. workirig crtnditions ancl thc necessan .iob 'fhe fashion director shoulrl oualifiJtiorls. ul' i th t h e i n d r r srt y ' s h i r i l r q lrc acuuirinte< l p r a t l i i ' c s , a l a l i t ' sa r l < l l c n e l i t s 'a r r < b e s . to inquiries regarcline preparecl t() resP()n(l ..laie,l .jobs. I'anels sponsrlred b,v retail. organiz;ltions or the fasl-rioninclustry alstr require the attenticlrtof the {ashion cliret:ttlr in career guidance. As a faihion atrthority, the fashion clirector is asked to speak t<l clubs' to. businessancl educational groups' and at ottrer public gatherinus' Television.and t<r raclio itations request the fhshion dire<:tor {ashion infbrnlation f<lr the cornitrg inro:rrt 'l-o help demclnstrate the f'ashion .",,r,rt.. thc {ashiondirector may be ablc to trcncls. b r i n { a l o n g a m o d e l o r u s e v i s u a l a i c l s '' \ t

other tinres, verb:ll rlescr-iption is the Iashirlrt 'l'lie f:rshi<lrl director clireclor's onlv tool. i t t l l r l ' t i t ' t r l i r t ca r t c l p l e a s i n g must devel(lp a s r s t v l e . F . a c : h l l t h c s c p r r b l i t i r r v i t a t i-o'nr ei s l } lll(lllt lot the stort'' {'ree arlvttrtise fzrshion <lirt't trtl n ltrt is ;r prro{icient speaker will cet lltltll\ oppol trttlities ttl c:arrv the Like s t o l t , i s { l t s } t i o r rl l r ( ' \ s l l g c t o t h e p u b l i c ' prtlrlit itr. tht'se opportunities ar.e eclitorial h i e h l r t t ' q , t r - r l t ' r ll l v t h t ' f a s h i o n c ( ) m m u n l t y sint t' rltt'r ,tlt' itll irrvitccl.rather than a p a i r 1 .l r r l rt ' t ' t i s c t t l c t t l .

Il h()r kitrg u'ith the locirl press, the t l L . l r i o t t c l i r - e c t o rs h o u l c l s t r i v e t o d o t w < r tllng.; to rlcvclop a reputati()Ir as the and i 1,ilililullilv s fbrirnost fotllit-lrt authority r, , rlt'r'clo1l a publicitv strateg,v'

Fashlon

Directlon

and Coordlnation

172

Developing a Reputation as the CommuniQ/s Foremost Fashion Authority.'l'he press walrts news, and {hshion is news. fhis lact is the kev to the l a s h i o n c l i r e c t o r ' s o r k i n g r e l a t i o n s h i pw i t h w -fhe the lo<:alpress. fashion clirector must develop a reput.ati()nas the cornntunity's {ilremost Iashion :ruthor-itv.I)epenclirru on its size, the local newsp:rpersand magazines nray have lashion writers rrhose orrlv lirnction is to cover fhshion events; or in the caseof smaller puirlications, .w{)men'ssection writers, society 'writers, or ()ther stall members mav be given this responsibilirv. ln larse urban areas the lashion writerrs cnjoy the benefits clf'regular fashion nrarket coverage. Here the fashion clirector shoulcl work with the {'ashionwriters or eclitors as a -l-hev co-worker in a relatecl fielrl. shoukl s t r i v e f b r a n e x c - h a n q e l i n f o r r r r a t i o r r .l ' h e o fashion director u';rnts the Dress's i r r t c r p r e t a t i o n l t l r e t r t ' r r t l i: r n < l l r s l r i o r r o predictions for the local area. I n o t h e r c i t i e s ,t h e " f h s h i o n p r e s s " r e l i e s upon fashion ner\,sser-vices ancl press releasesfronr the tashion industry lirr their i n f b r m a t i o n . I n t h i s c a s e ,t h e l a s h i o n director is able to providc an important service to the paper bv uivirrg personal croverase l' the marke{s.'I'his r-rnrloubtedlv o leaclsto a close workinE arrangement which rnay incluclc seasonalpublished interviews r e g a r d i n s t h e l o c a l e v o l t r t i o r ro 1 ' f a s h i < l n '['tre trends. local press shoulcl welcorne story ideas wtren a new {zrshiontrel)(l ()r item is news. Since a good news st()rl (:reatesa thirst lbr more itrfornration. the paper will Jlrt>bably want to list local sollrces o f ' t h e n c w t r e n d , : r n d ( h e s es h o u l d r : e r t a i n l v include thc store llrrrn u'l'richthe fhshion news tip orisillate(l. 'l'he Developing a Publicity Strateg;r. l a s h i o n c l i r e c t o r l-l r s r n r r r r l r r r l r l i itt v n e e d s t h a t c a n b e { i r l f i l l e r l l r r r i r , - P l e s s .l ' i r s t . t h e , v ' can infirrm anclecltrcutc]rt' lrLrlrlir rlrotrt r : t h e n e w f h s h i o nt r e n r l : . i ' . r l r i t . r r t oo t l l r t ' rl p u b l i c i s c r u c i a li n g a i r r l n , ll r L r l r l i ., r r r i i r ( ' r ( , s s a n d a c c e p t a n c e { 'n c n ' f: r s } t) r ,t c ( ' , i . . I l t l o r, I h s h i o r rd i r e c t o r s h o r " r l c lr : r k c r r : . . ' l r . , r : l r , n p r e s sh a s c u r r e n t l : r s h i o nk l r , r r l.t . , i 1 r ' , ' i t . r ' i t c a n p r i n t a c c r l r a t e{ a s h i o n ; u ' t r ( r . . i r . . . r l e a d s t o t h e f u l f i l l r n e n t ( ) f ' a s e r r c r , r ,1 1 . 1 publicity need.

Seconcl,the press can support the openins of ncw shopping areas and the introduction o{ new merchandise within the s t o l e . I l : r s t ( ) r ci s o p e n i n u a n e w d e p l r r lr n t ' n t I i r r e x e r t ' i s eg e i r r o r a departnrcnt catering t<l custom-sizedclients, c()verasc bv the krcal press is one of the best u'avs t() set the rnessageto the public. 'fhe lushion rlirector should meet with local Jrrcssnrernltcrs to infirrm them of the st()l-c's luttrre plans ancl investigate the possibilitv of press coverase of a new r l e P l r rn l ( ' n l ( ) p e n i n g . l -l hircl, thc prcss can publicize the acldition of ncrv resources to the store. If lhe slore is acl<lins2rnerv resource who has receivecln:rtional press c()verageand exposul'e in thshion magazines,such as a new clesigner res()urce,the addition may be 'fhis Iashion news. is likely ro be the case onfi if the store is the first in the city t<r carry the line. The store fashion director should approach the local press with this 'fhis inlirrmatiotr. tacic is especially eflcctive if the lashion director has asked that the nranufacturer send a press release to the local media. Finally, the local press can publicize special f'ashion promotions and events. Here it is irnportant that the fashion director be aware of the rnedia's general policy resarding coverage of f'ashion promotions and events. Will the paper cover club shows or only l>enefits? Will the press cover inst()re pr()motions? What is its attitude toward visitins fhshion desisners and other fhshion personalities?Will the press want to do personal inf.erviewsor run advance 'I'he stories? store will undoubtedly have a continuing calendar of fhshi<lnevents, as will many ()ther st()resin torvn, scl it is unreasonable to assume that the press will wiint t() cover every fhshion event. l)iscussion of'policies with the edirors or program clirectors is a good idea. Armed with this information, the fhshion director r:an develop a publicitv strategy. Sc'lectivityis the key to publicitv srrategv. I'he fhshion director will waste time bv r r l r k i n g a n e x c e s s i v e u m b e r o f ' a p p e a l sf b r n 'I'wo l . r s l r i o np u b l i c i t y . q u e s t i o n ss h o u l c l rur(l(' llle iushion <lirector's election s ' : I i r . r . i . t l r t 'l r r o m o t i o n r e v e n l o : ' i , i : \ t . r o r r r l .i s l t r e s sp u b l i c i t y

Public Relations

173

'fhere are many important in this case? fashion promotions that have other avenues of support. A fashion show at a club.has the resources of the fashion show commtttee and perhaps a club newsletter. A storewide fashion promotion that is also a seasonal campaig;n will certainly be supported by a greal number of'store advertisements' Many of tn" advertisements may be prepared to ( i n c l u d e a n n o u n c e m e n t s) f u p t o m i n g fashion events. This, along with internal promotion through signs and displays, may the need for editorial publicity' "li-ittut" Publicity requests are handled in different ways depending on the store. In some cases' the fashion director will work directly with 'fhis is tinte-consuming, the fashion editor. b u t i t p r o v i d e s t h e b e s t c r p p o r t u n i t yf b r developing a strong rapport with the local press and for the accurate interpretation of iashion trends and events. In other stores' especially big department stores which have promotions and events happening in all areas, there will be a store public relations d i r e c t o r t h r o u g h w h i c h a l l r e q u e s t sf c r r publicity are routed. Again, selectivity is important. If the fashion director, the home furnishings director, the special events director, and the individual buyers ate alt' contacting the local press with ideas fbr promotion, it is a case of overkill' Therefore, in a large store all press releases may be handled by a single office whose responsibility it will be to edit the store's needs for publicitY further. If the faihion director personallv handles the fashion publicity, he or she should master the art of writing a press release' It is unfair to expect a fashion editor to absorb all the necessary infbrmation cluring a telephone call. It is much more prof'eisional to send a concise press release with all pertinent information included' -fhis can be followed by a phone call to the editor, which gives the fashion director the opportunity to present supplemental inf<rrmation. However the fashion PublicitY is approachecl, it is important that the fashion director endeavor to develop a close rapport with the local members of the press *ho .ou.. fashion stories. Developine such a relationship includes protecting any local press rivalries that may exist' A goal of any

news media is to be first with the news and, if possible,to be exclusive. If-the fashion diiector is working in a city with several papers or broadcast stations, it is essentialto 'fhey want to know to whom the be candid. story has been released. A certain story mieht be o{fered to only the big citywide paper, while other fashion in{brmation might be offered and carried in community papers. If a major f ashion story is in the making, it is important to offer it to all receptive media and not show favoritism' In doing so, the story should be approached differently for each press outlet. Certainly' the same photo of a fashion look should not be given to two papers in the same city' T h i s i s p a r t o I p r o f e s s i o n a lc o u r t e s y .A n honest approach will win the continued respect and cooperation of the media.

scope of the public relations duties of the fashion director would not be complete without mention of the role of' persbnal fashion consultant. The fashion dit..to. receives many phone calls and letters requestine personal wardrclbe consultations. In most cases,the fashion director's schedule does not allorv the luxury of time that such personal shopping consultations require. Sometimes, however, the store may feel strongly about this need and the salespotential of such a service' In this case,the fashion office may have a coordinator assigned to fulfill these requests. In other instances,the fashion director or one of the coordinators will try to answer the customer's questions in a brief' letter or with a phone call. By obtaining a bit more information about the customer (age, fashion attitude, and economtc liriitations), the fashion office ntav be able t o d i r e c t t h e c u s l o m e rt o a s p e ti fi t d e p a r t m e n t w i t h i n t h e s t ( ) r ct h a t c a t e r s t o the customer's lif'estyle.In aclclition,a special salespersonshorrlrI lrc t'ecommended t o a i d t h e c u s t ( ) m e r '\ \ ' l r e t h c r t h e I a s h i o n d i r e c t o ri s a b l e t o l i l l t h t ' t r ' l c o l p e r s o n a l f ' a s h i o nc o n s t t l t a t r l( ) r 'l l r r i i t t l c l e g a t et h i s i ' r e s p o n s i b i l i t r t h t ' t t r l l r ') rt ' l r l l i s s L l es t h a t t h e
CUStonler 1\'lll\\\, 11.'Ilj1' )llll)tl\ :rnd pOlitely'

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Fashlon

Dlrectlon

and C,oordlnation

174

It is a vital part of one-to-one public relations.

The value of close working relationships with the members of the fashion indusrv c a n n o l b e o v e r e m p h a s i z e dT h e l a s h i o n . director plays the role of public relations director representing the firm in the marketplace and is the potential recipient of many benefits for the store or manufacturer. 'fhis matter has been touched on in the chapters on trend research and fashion promotion, but it is appropriate here to recap rhe positive aspectsof' these associations.

First and fbremost, the fashion director,s magazine contacts are a vital "ear" in the ever-changing marketplace. The lhshion director should be able to telephone one o1 h i s o r h e r m a g a z i n e o n l a (l s t o g c t : u l c interpretation of a ne$' trencl's clevelopntent o r t o F n d o u t t h e s t a l t ( . eh a t r h e I a s l r r o n r magazine is planning to take on any new trend. Knowing if'a trend will be promorecl strongly and when the promotion will take place helps the fhshion director in fashion trend research and promotional work. Second, magazines are an excellent source of fashion promotion and show ideas. In addition, the magazineswill be offerins many ol their own promoli()ns nd rhe a store or manufacturer should have the first opportunity to review these offerines, a n a l y z i n gh o u r h e y m i g h r p a r r i c i p a i e . Third, the magazine's editorial listins of f a s h i o n m e r c h a n d i s ea n d o f ' t h e s t o r e s which carry the styles is an important source of free advertising to the store. An editorial credit is like a free national ad. The fashion director should work on advance fashion issuescln each market trip and try to obtain as many of these editoriil 'fhe listings as possible. magazines' policies on editorial creclit varr'. Some work directly with the stores. u'hile others u,ork with the manufacturers. In anv casc the fashion

office receives an editorial listing well in advance of each fashion issue (Flgures l3_2 and l3-3). It is the fashion director's responsibility to distribure this list to the buyers and determine what styles will be carried in the store. Depending upon the magazine'sprocedure, the fashion director either calls the magazine to request ..credits" fbr those items carried or asks that the buyer requesr a credir listing from the manufacturer. Many stores will be requesting editorial listings for the same merchandise. Which store will be credited is influenced by several fhctors. First, the magazine wants t ( ) r e ( o g n i z e a g o o d c u s t o m e r o i t h e i r s .l n other words, stores or manufacturers that advertise in their publication are the first ro be supported editorially. The magazine wants to use stores whose image is t o n s i s t e n tw i t h t h e i r m a g a z i n e n d t h e i r a readers' lifestyles.The fashion director should develop a strong rapport with national m:rgazinecontacts to make sure his or her store is gettins as many creditsas l r o r s i l ; 1 1\.l.r l r o r r g l rr t , t a i ls t o r e e x a m p l e s h a v e b e e n e r n p h a s i z e ci ln t h i s c h a p t e r , m o s t o f t h e g u i d e l i n e sp r e s e n t e c a p p l r n o t t . r n l y l to fashion direcrors working fbr the retaiier, but to those working for manufacturers or other fashion-related firms, as well. Subsequent chapters will touch on public relations in these other areas.

Althoush nragazinesare valuable inmarket soLlrces developing fashion of' trends, clcsignersand manufacturers are even morc irnportant. This is where fashion is createclancl manufactured. The fashion director nrust rlevelop in-market contacts in all areas of the industry. Continued contact with these s()rlrces gives the fashion director a decidecl cclse in scooping the competition as nerv looks surf :rr-e. also provides many It extra benefrts t() the store or manufacturer. Manufactur.ers rr.ork with retail fashion offices throushorrr rhe country. This gives t h e n t t h e o l t p o r t u n i t v t o s e em a n y s u c c e - s s f r r;l r . h i o n[ ) r o r ] t o t i o n s d i s p l a y s ,a o s , 1 , ']-he ancl fashion siroirs. manufacturer's m a r k e t r e l t r e s r . n t a t i v ea r e t h u s a g o o d s

Publlc Relatlons

L75

C O U N T R YE N G L I S H C L A S S I C S A U T U M N M I S T C O L O R S

AUGUST Ig_RESOURCE LIST_SEI/EN?EEN

MAGAZINE

Huk-A-Poo, #3164

l4O7 Broadway, S M-L

New York' Sweater:

New York Creen wool tweed, col.lar scarf, front shawl with button

$30

r+tached fringed

worn with: Stulf, 1407 Broadway, New York, Blouse New York Menswear green/ rust/white stripe, button down collar

#8351

$9

5-13

worn wlln: Moody's Goose, l4fl #4A5A $f2 Broadway, New York New York Pants: Green cordurov weslafn JAan yoke back, 5 pockets

5/6-15/16

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offersfor editorial credit to hey storesacrossthe rnagazt n es c o tt1ti /' 11''\ ti.tstribute Courles}of Seventeeinagazlne carries. ra,. the ttemsit request) .': i:: list lhe store

country' From this

Fashlon

Directlon

and Coordination

176

k"
Whisttestop, #9511 1411 Broadway, g-13 New york, Blazer: New yorr< Olive green $17.50 corduroy,2 parcn pockets, button worn with: #9010 $I4 Skirt: 0f ive full skirt, but tons worn wlth: Cof.legetown, 14ll Broadway, New york, New york V-neck, front, worn with: Touchd (by Orienia New York, New york #3303 $10 S-M-L se), 14OZ Broadway button open knit corduroy circle I'ront ffont
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Publlc Relatlons

L77

AUGUST

MAGAZINE SEVENTEEN

MERCHANDISE CREDIT SLIP

sheets j-s atI of 0n the following i n S E V E N T E E N ' sA u g u s t editoriatly

the nerchandise to be fea.tured Fashion Promotion for 19-' and style in credit number of the

in the form below wi-th the rnanufacturer Please fi,]] the nerchandise for which you would Iike to receive August f9- issue. please than this in the return Monday, May 22nd. attached self-addressed

envelope

no Iater

M i n i r n u mC o v e r a g e f o r

Credit:

p Six pieces of the C0VER lus 20 stvle nunbers from the August issue, of which half may be chosen from the advertlsed resource Ij.st (this list wiIl folfow shortlY ) .

for credit Iisting in the The following are our preferred resources final Promotion The resources 1i-sted are August 19- Fashion ' c confi,rnation of our mini-mum ommitment list are subject to N O T E :P r i c e s a n d n u n b e r s o n t h e r e s o u r c e manufacturer' s changes MANUFACTURER STYLE NUMBER

YOURNAME

I"t:;rll";i"
this one,

C o u r t e s \o t S e r e : i : : : ' . 1 e 1 : t 4 e

cretltt requestsuch as *ed.it offerings, the storefills out a merchand'ise the;ashto,r ntaqazine's

Fashlon

Dlrectlon

and

Coordlnation

L78

source of ideas fbr efl'ective fashion promotionzrl planning. 'I'he fashion director who has cleveloped a good businessrelationship in the marker will be the first ro know of special off'erings. If a company is putting togerher a training film, the fashion director will be offerecl this "plus" for the education of the store's s e l l i n g s t a ff . I l ' a d e s i g n e r l i n e i s s c h e d u l i n s trunk shows, the fashion director will be in a position to request a trunk show and suggest preferred dates. If a resource is putting tosether a packaue of fashirtn merchandise at a reduced savinss, the l a s h i o nd i r e c l o r w i l l b e a b l e r o a l e r r r h c buyer, who might not be in the market at this time, and look ar the ofl'ering to give the store buyer an opinion of'its potential value. Should samplc merchandise be needed to use in photoeraphs for the store,s catalog or for a national ad, the fhsl-rion director will get eager c()operation. If'a fashion promotion requires merchanclise prizes, the fashion director will know lr,ho to approach fttr a vendor's contribution of

m e r c h a n d i s e .I n p l a n n i n g f a s h i o n advertisins, the fashi<lndirector may be in the position to ask for co-t.'pmoney for the st()re. If the manufacturer has an exciting and informative fashion video, the fashion clirector will want to review how this vicleo <:ouldincrease the respective departments' traffic and sales. Although these benefirs can be discussed in many areas of lashion direction, they are r e a l l y a l l l l a s e <o n g o o c l b u s i n e s s e l a r i o n s . l r Before summarizing the key points of this <:hapter,it must be mentioned that the fashion director often has an important partner in public relations. Some stores ancl manufacturers have public relation departments who fulfill some of these functions. In the caseof major retail stores, some cover many of'these public relations responsibilitiesthrough their special evenrs ollices. It still takes the expertise of'the fashion director to review press releasesor appear on a television interview to make certain the public is receivins the best pr<tjectionpossible.

As a public relations specialist,the f'ashion director must create soodwill and understan<linfor his or her firm irnd irs g fashion imase. The fashion director must work to project a fashion image that leads t h e p u b l i r w i r h o u r o f f e n < l i n si l . All encounrers irh rhe publir must be w looked on as opportunities for creatins g o o d p u b l i c r e l a t i o n s ( l a r e e r c o u n s e l l i n si n . t h e l o r m o l t a l k so n f a s h i o nr e t a i l i n c t o s c h o o l s n d o r s a n i z a t i o n ss p a r r o I p u b l i c a i relations. As a fashion authority and interpreter, the lashion director is asked tcl give intervieu's to the press. The development o{'soocl rapport with the press

is important ancl will prove mutually beneFcial. 'fhe fashion-consciouscustomer wants accessto the fashion director. 'fhus, part of the fashion director's public relations duties includes handling fashion quesrions from the st<lre's clfentele. The public relations responsibilitiesof the retail fashion directclr extencl beyoncl the market area of the local store. Within the fashion industry, the fashion direcror musr work to establishuood rapport with magazine ancl industry contacts. 'fhis is more than just public relations; it is eood b u s in e s s .

Public Relatlons

L79

a To be successful in the business of fashion retailing store must offer the most current fashion merchandise' Knowing what is current means having daily market information. In fast-paced trend areas such as the designer, junior apparel, and accessory markets' learningaboutapotentia|..hotitem,,amonthafterits the development does not allow the store to be first in community, and may even cause the store to miss the opportunitY comPletelY. Keeping pace with the market is a demanding-yet attainable-goal for stores in close proximity to the fashionmarket.NewYorkstoressuchasMacy's'Saks of Fifth Avenue, and tsloomingdale's enjoy the advantage daily market communication. Stores located in other cities, however, find the challenge of maintaining day-today market communication more difficult' To meet the needs of such stores, buying offices have been established.

however, we are discussing a diff'erent type of'buying office. The buying offices under consideration here are orginizations that are fbund in the major fashion markets and whose function it ii to represent member stores' Unlike the store's own buying office, these offices do is not write orders. 1'h"i. primary lunction member stores daih to give their representation in the market' ^Buying oflices are organized similarly to local retiil stores, with merchandise manasers fbr each <livision and individual market representatives,who are the counterpaits of the store's buyers' Buy-ing offices ilso have a thshion director and a fashion office, whose fitnctions parallel many of those of the reltail sttlres' fashion o f f i c e s( F i g u r e l 4 - l ) .

a Four npe s of lntring of'fices re available t o p r o v i c l c \ t ( ) l - c \\ \ i t h n r a r k e t s e r v i c e s ' Corporate Buying Offfce.'f he corporate buving office i. ,,rt'ttedby an organization t h u t o \ \ 1 1 i' q r c r - l l lr e t a i l s t o r e s .I t i s a l s o 'fhe krr.rr n .ri .r \\ rtdicated buying offrce. . F c . i r ' r r r r( l c l e p a r t r n e n tg r o u P a n d M a y ' l ) t - . 1 , i. t ltrc t r l S t o r e sI n c o r p o r a t e d ( M ' D ' S ' I ' ) .r;r: c'r.rlttl)lcsof <:orporatelyowned offices' t l : : . r . r . i c r t 0 c l c l m p r e h e n dh e s c o p e o l a L , : l ) ,, r . r r eb u v i n g o f f i c e i f o n e l o o k s a t a i . , :l r . r l l i r t r l f s t o r e st h a t t h e F e d e r a t e d , I ir,)r.rtion'sbuying office services:

The term buying office can be somewhat misleading. We have discussedhow the fashion director interacts with his or her store's buyers. Each store has a group ol buvers whose offices are often headquartered in one of the firm's retail stores. In other cases,the store has of{ice space somewhere else, therebv estairlishrrlI siore buying office. In this chapter"

Fashlon Dtrectlon

and C'oordlnation

1ao

BUYING OFFICE

FASHION DIRECTOR
Women's Fashion (loordinator-

t v

( ; E N L , R A LM E R C H A N D I S EM A N A G E R

r f

Men's F:rshion coordinat<)r ------>N'Icn's

t i

+ r
t

I)MM & Market Representatrves

{ +

.funior cl..rdinat.r
V Sltoe Cooldinrl()r -----

l --->.f u'ior DMM & MarLet Representat.ives

"

FASHION MARKET MANUFACTURERS

Fashion Reporting Services F a s h i o nM a g a z i n e s Women's Manufacturer's Men's Manufacturers .funior Manufacturers

RETAIL STORE MEMBERS

S-I'ORF, A SI'ORE B

Shoe Manufacturers

sl-oRl..(l

C;N,IN,I

GMN{

C;MM

I.-ashion Dircctor lL* Wonrcn's

F'ashion -----r

Dilcctor Women's .*J DMlVIBuy'crs I

I'-ashion Director Wornen's .* DMM Buvers Men's DMNI + Iluyers .f unior DNIN,I + Buyers Shoe l)MNI + Buycrs

il

onrruIl'rers
N{cn's l)NI}1 + Buyers funior D\l\I + Buycrs

I I Men'sDN{M I --] Ruyers .frrniorl)MM I tluvcrs I Slrot'l)NfM I

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ShoeI)N{\{ Buvers

Figure 14-1 'fhis illustration cJtartxtlr, ,. ,i,, fdshion,buying po.sitiorr,

i,,,, 1,,,.,ctrttht btryingoJfice,retail store,an,d. manufacturers.OnIt

Fashlon

Dlrectlon

and Coordination

in a Burrng

Ofbcc

18r

Lazarus, Bloomingdale's, Sanger Harris, Burdine's, and Foley's. BuYing Office. A second Cooperative type of buying o{fice is known as the cooperative or associated office. As the name indicates, this is an office that is cooperatively maintained by its member stores. Since these stores are owned by various companies, the associated office must protect competitive rivalries by limiting membership to generally one store in a city. In addition, for maximum effectiveness,the member stores are usuallv somewhat similar in their fhshion goals. Associated Merchandisine C)orporation (A.M.C.) and Frederick Atkins, lnc., are two examples of cooperative buyinu offices. Buying Office. While there Independent are relatively few corporate and cooperative buying offices, there are numerous 'fhe independent buying offices. independent buying office is financed The independent through annual {'ees. office provides the same services as the frrst two types o{'buying offices but is independent of'any establishedgroup o{' stores. For this reason, independent buying oflices are very competitive in the quality of their services.They are always in the position of servicing current clients while solicitins new stores. Commission Buying Office. Finally, there are commission buying o{fices. The commission buying office is a broker service which is not paid by the stores, but rather by the manufacturers based on the percentage of orders placed fclr client stores.

pricing information, trade regulation information, foreign market coordination, private brand programs, host to out-ofltown buyers, and idea exchange. T'he fcrllowing sectionswill discusseach of'these separately' Trend Research, Dditing, and buying offi ce Communication.'fhe provides a valuable service to its stores by cloing long-range trend research. This research covers both the market area in which the buying office is located and the E u r o p e a n m a r k e t s ; E u r r t p e a nt r e n d research gives additional perspective to a r r a l i o r r atlr e n d i n d i < t i o n s . Every fashion designer hopes to originate a new fashion trend. One of the keY functions of the buying office is the 'fhis evaluation evaluation of these ideas. great deal of savesthe member stores a time. ()nce the buying office has thoroughly researched and edited all developing trends, it communicates this infbrmation in the form clf seasonal trend projections of' key lashion classiFtations. Daily ltlarket Coverage and The most obvious need Communication. which the buying of{ice ful{ills fbr its member stores is daily rnarket coverage. While the member stores' buyers may be able to make only seasonalor monthly market trips, the buYing office's representativescan visit the market daily to report on new ofl'erings {'rom resources. This market communication is then broadcast in the fbrm of market "flashes" sent to the member stores. and Relations. Kesource Development is a volatile business,with many Fashion new resources entering the marketplace each season.Keeping up with these new resources is almost impossible firr retail buyers. The retail buyer has srl ttrttch to do durins a market trip that it is not possible to review every new line alllllicable to his o r h e r b u y i n g a r e a .( ) n c : r r l r . i t l l , t g t ' o f ' a n b u y i n g o f f i c e i s t h a t i t t : a t rt ' h c c k ( ) L r t e w r e s o u r c e sa s p a r t o l i t s r l l r r l r t t t a r - k e t r c o v e r a g ea n c l c l e t e t t r i t l c t . l l r t l l t t e u ' l r e s o u r c e r r r i q l t lr, t . i ' 1 , , ' , ' . , 1 1r r r s p a r t i c u l a r l t t t ' t l l t r c t\ r ' i' ' ( . \

The buying office Provides manY important servicest<l its client stores and acts as an extension of the store's own staffs. f,ach store should acquaint its personnel with all the servicesof its buying 'fhese servicesinclude trend office. research, daily market coverage' resource development, communication and distribution of strong-sellins items, special

Fashlon

Dlrectlon

and Coordination

r82

-['he buying Special Pricing Information' pricing oi6.. i, often the source of special tosetner information. lf a resource has put a midseason package of off-price.sweaters' they may call the buying offite' I{'the lo be :t U . r v l n eo l t i c e b e l i e v e st l l e p a c k a g e "rcp" will callthc gotd'ualu.. the market ilemb., store buyers with this infirrmation' The buyers, after checking their open-tobuv doliar availability ancl their anticipated nature' neeclsfor sale merchandise of this to the buying rnay give a unit comrnitrnent officel The buYing ofTice will then other coordinate this in{brmation with orders to the stores'responsesancl give tor resource to cover the stores' r'equests this merchandise. -l'he Information' Trade Regulation tt' e buvineo1fi< can oller a vilal servict' nert tederal s t o r e sb y c l a r i l y i n g *"-n", regulations. The use of fire-retarclant fattics in clothing ancl other n-rerchandise situation classi{icationsis one example of a understanding of trerv requirine a thoroush regulations. and Foreign Market Coordination Retail stores can fincl n rytnl Services. iutni"n values in the international *-y buyers *ark.tpluc.. When retail stores send the buying oflice to inteinational markets, ancl hotel can coorclinate and arrange travel as well as market accommodations' itineraries. A buyine office market a representative rnay even accompany store buyers abroad' of mernber g-tp l Foreign travel is very exPenslven the amount of merchandise p.op,r.iio. to -l-herefbre, it is often impracti<:al frde.ed. area' for every store to send buyers ftlr each the buYing oflice maY ln this case, br'ryers coordinate a limited teant of-retail t r t t h e t i r r e i g nt n a r k e l l t r who will lravcl develop resources and return with samples orclers' f.o.n *hi.h all the stores lnay place buvins Private Brand Programs' Some offer a private brand Pro5iranr' offices Private brand merchandise is merchanrilst' tlr' exclusive to member stores and carnitrg rt'tlttrrt ' store's own label. Such a progranr i : the development ()f stylcs that cottllllt'ttlt

stores the national brands that the member the arrangement ot carry. It also requires o.ruii,u control in manufacturing and the seiting up of packins ancl distribution systems. -l'he buying Buyers' Ilost to Out'of-Town a htlst to merntrer stores' outof{ice acts as a o{-town buyers. lt provides office space' lbr the anclother necessities rneetins place, place tlnu"lli,ie professional' Furttrer, it is a retailers can where rtoncompetitive communicirte. 'fhe bu,ving oflice is a valuable source of merchanclising concepts' It is a place where icleascan be exchanged on both the b u y i n g a n c l t h e m a n a p e m - e nlte v e l - ' f h e buying o{fice is a place where problems be p.ittiut to a buyer's departme'nt can with counterparts from other researched stores. Other Senrices. Deperr<linguPon thc indiviclual buying office, other services be besidesthe onesilready nrentioned may ot off-ered. The buying office is a source infbrrnation lbr member stores personnel who are recrultlng executive personnel' at the Salesprontotion ideas are exchansed buying office. Displa,vantl fixturing, challengesare met. Aclvertisins ancl - The statement enclosttresarc coorclinated' buying oflice provicles a tte(n'tlrk thrtlugh ll w h i c h t h e i n c l e p e l l ( l e t s l ( ) r ec a n s n a r e r antl firlrl soltttiotts vith its direct problems counterpar.ts.

r I . r L r . i : r Lt ' i . r l i : t o t . c .t h e b u y i n g o f h c e i , ' r . ,[ () r. l r r a c l d i t i o n ,t h e b u y i n g I r t . r r l t t t, , ,
oilttt-.:i,

has

r i ,r i r . r rc r t s t a f f o f f a s h i o n 'r ', r.rch rrith the responsibility o{ ()ne : Lt-tt.titt tlarket area' i , . , r r r t i g h tb e i n c h a r g e o f w o m e n ' s :..r' lbr Ponsl 1ll l e I raY : I r . .r n , '))tth le lr' l ltr a y b e r e s ponsible iles nd s ...r .. . t r .. t t l t l t h e rr f b r a c c e s s o r e s .'a n o ! t i l l c . L ii. ll o he

.r(:

mav handle children's wear and

Fashlon Dlrectlon

and coordlnation

ta4

fashion director and coordinators work with the inclividual nrarket representativesin exchansins fhshion i n { o r m a t i o n a m ( ) n g t h e n r s e l v e sI.f a t r e n d has developed in the \r'()men'sapparel area f o r d e l i c a t et r i m d e t a i l s l i k e l a c e .t h e access()rv and lingerie f-ashior-t coordinators should seei{'a similar ronlantic trend is d e v e l o p i n u i n t h e i r m a r k e r s .W h e n a t r e n d is seen in several places, the buyine office fashion directclr goes t() the market represent2rtives alert them to the tO surfacing trend and asks that a rcsr>urcelisr be cornpiled that is representative of this t r e n c l . I f ' t h c t r e n c l i s l a r s e i n i t s s c o p e ,t h e member stores' fashion directnrs must be infbrmecl scl that thev c--an plan lirr the pr()motion of this trencl. In this manner', the buyinu office's fashion department works tntenmllylr.ith its divisionals and market representativesand exlcrnallywith the membcr stores' fashion offices and buvers.

-I'he

servicesto which the member stores n)a\ 'fhe not have access. fashion ofhce has tlrc responsibility of editing this infirrmation inlo its trcnd conrmunications. Seasonal Presentation and Distribution of Information. Like the member stclres'own fashion directors, the buying ollice fhshion direcror is responsible for seasonalpresenrations (Figure l4-3). 'l'hese presentations are made to management, market representatives,and memtrer stores. 'fhe presentation may be approached in several ways. 1'he buying oflice may go into the rnarket and photograph merchandise indicative of the fhshion trencls and encclmpassingthe ranse of resources carried by its member stores. A slide progranl can then be developed, alorrg with fabric and color boards. for presentation to the buyine office's internal organization and to ntember stores. A slide present.ationmay serve "double duty', if it is o{I'ered tcl the member stores' fhshion directors lor use in their local trend presentation to the buying ancl salesstaffs. For a major market openinu, the buying c l f l i < : ca s h i o n d i r e c t o r m a y h a v e t h e I c < l o r d i n a t o r s a t . h e rs a m p l e so i ' t h e b c s t t h a t s the market has to of}'er and present a l i s h i o n s l r o w .I n a r I d i t i o rlro t l r c p r e s e n t a t i ( ) nt,h e f a s h i o n o l l i r . e i s r e s p o n s i b l ef i r r t h e p u b l i c a l i o n o { c o l o r c a r c l s .f a b r i < : e p < t r t s a n d n e l l - i l l L r s r r . u t e r l r . t r c n d p r o j e c t i o n s .A k c l c . l a s si irf. l r t i o n l a s h i o ni t e m a n c lt i m i r r gt r r l t . r r , l .rr.ri l l l r t . d e v e h r p e d i s t n g s l l q t l e s t ( . r ( \ , , r u ,( . i l i (l Datty Market Coverage for Development of New Ttends and ltems. I irc f i r s h i o n c o < l r c l i n a t o ras - t , r r r l r r n r . r r - k e r -r i d a i l y , a l e r t l b r t h e c l e v e . J r i p r r c,nir n e\ \ . , 'l'ltt.r trcnds anclilenrs. . u ( . ( . \ t ) r , lt \ : l t p r o j e c t i n u h e I a s h i o nr r r l e , , l l r , r r l t r - e n c l s t -l-he a n c li t e r n s . a t t i l i t r t o r l i . r, , rt . r . t t r - e ( l n a n d t h e n t r a c k i t i s i n t p o r r , i n r l - l t cb L r r i r r g . o f f i c e r ' r ' o t r l ctl e 1 r ' , r 1 g r , 1 1-1 . . r l , r r g c l . p u r < h a s t r l : t r ri l n I ) 1 , , \ ( , ' r . : l l \ t . r , i t e m s e o l t e n n t o v el l ' o r nl l t t i r , , ri l r n l o o l l r e r m e r c h a n c l i sr l t , p : un r r . r t . I ' h e i r L r r . i n s c t o f l i c e I l r s l r ) ,r . l .r l l ! . . ' , , r l , l t . ,, t . h i r t l i t t . h e s er t ' r i r l s r r r r i r t . n . . . i . r i r c r c l e r . e l o p , t l p e a k . a n r l r l i n t n l . l t l l u . l t I ) ( . t a l t c eI .t i s l

lashion director workins alone, or assistedby :r staff o{' fhshion coordinators, is an intesral parr ()f'the buying office organization. Many of a f ashion direc-tor's Iunctions in a buying office parallel th<lseof a member store's fashion director. 'l'he buying office fashion director, however, has t h e a d v a n t a g eo l ' b e i n u i n t h e m a r k e t p l a c e . With this advantage come certain responsibilitieswhich the local f'ashion director does not have. E,achoI'the responsibilitiesancl lunctions of the buyinu of{rce'sfashion director and coorclinators will now be discussed. Seasonal Trend Research. l.ike anv o t h e r f a s h i o nd i r e < r o r .t h e h u y i n u o l l i r e fashion director is responsible foi seas,rnal trend research. Since the buying office is a primarv source of infrrrn.rationlirr member stores, this infbrmation must be trrmplete. It should inclucle detailecl infornrarion ior rhc immediate and upcomins seasonsand sive general trend inclicators fitr the fashion industry. 1'he buying office mav subscribe t<.r costly foreisn anrl clomesticreportine

'fhe

Fashion

Dlrectlon

and CoordlnaUon

In a Buylng

Office

185

Figure 14-) di,rcclor demon,.sltatc.t u'orki.n.g itith. models Durin,g n prcsentat,ion,th.e J'ashion. in preparati,onJbr a fa.shiut shtnr.
Photo lry Mtriam Se!!tr.

important to know when to buy and when not to. Surfacing and Distribution of Fashion Magazine Information. Many f ashion magazines have their o{Iices in the major market cities ol'New York and l,os Anseles. Since buying offices are also locared in the major market cities, the br-rvingolfice fashion director has the opportunity to make frequent visits ro the fhshion magazine. The tashion director should exchange opinions resarding trend clevelopment and should learn which trends the rnagazine will endorse. The f'ashion director should also try to obtain the {irst r r p t i o no n a n ) m a g a z i n e r o m o l i o r r p appropriate fbr the buvins office's menrber \t()res. lnfbrmaticln abotrt possible masazine proniotions will then be distributed by thc b i r r i r r q o l f i c e t o m e m b e r s t o r e sw i t h t h e t:rsirion clirecl-<l''s recontntendati()ns.

Communication of Merchandise Presentation and Advertising ldeas. Like the local fashi<-rn clircct<tr,the buying office fhshion clirector is concerned rvith the presentation of' trcncl f ashion statements. L<icatedin a mzrjor f:rshion city and with access icleasIl-orn nrerrrltef st()res to throughout the c:otrntrr'.the fashion c l i r e c t o rh a s t h e r e s l t , r n s i b i l i r y f c o m p i l i n g , o e d i t i n e , a n r l r l i s t r i b r r t i n gt h e b e s t o f t h e s e 'l'he concepts. Iashiondirector constantly shops thc rrarket area's f-ashionstores for n c w p r c s c n t a t i O ni c l e a s C o p i e s o f t h e . n e w e s tc l i r e t ' t i o n s r r s u c c e s s f ua d v e r t i s i n e i l are conullurrir:atedto member stores for 'fhe lrrlaptation. fashion office staf'f' Jrossible ancl rrnlket re presentativesof the buying o t l i t t ' r r h c r l u l e v i s i t st o t h e i r m e m b e r s l o r e s f r o n r r v h i c h a d d i t i o n a l i d e a sc a n b e g l e : r n e < 1n t h i s m a n n e r , t h e b u y i n e o f f i c e ' s I. t u s h i o n s t a i f a c t s a s a c r e a t i v ec o n s u l t i n q
telt1il

Fashlon

Dlrectlon

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146

As an extension of local buyers, a buyinu office represents memb.. ,t,r.., in the major market areas. l-his chapter has d i s c u s s e dh e f o u r r y p c so l l r u ri n g o f f i r . e s : t t h e c o r p o r a t eo r s y n < l i r . a t e < l y i r r uo f l i r . e . bu the cooperative or associatecl nuving officc, the indepenclent buvins office, ar.,.t'ih. c o m m i s s i ( ) nb u y i n g o f f r < . e llach type of buying office offers a rvicle range of'services. T'hese inclucle trend

resear<:h, daily market coverage, resource d e v e l o p m e n t a n d r e l a t i o n s ,i t e m identification, special pricinu infirrmation, and (rade resulation infbrmation. Some o{Iices off'er fbreign marker coordination and,buyin.q. and private brand programs. 'l'he fashion direcror in a buylng office has re.sponsibilities paralleling it oie of a store fashion director, with sfecific emphasis on fhshion research.

Fashlon

Dlrectlon

and Coordlnauon

In a Bu,vlng Omce

L87

Manufacturers are involved in second- and third-party selling. The "second party" to whom they must sell is the retailer who will stock their goods. The "third party" is the consumer, who will, in turn, purchase them from the retailer. In this case, the manufacturer is in the position of selling retail merchandise from a distance' Although removed from direct contact with the buying public, the manufacturer must know what customers want and what their reaction is to the manufacturer's garments. The manufacturer'looks for fashion staff members who can provide this communication link'

The manufacturer looks fbr a fhshion director and other fashion personnel who have a sound retail buchgrotmd'A person lvith retail work experience shoulcl be able t<r -l-hese cues pick up on subtle retail cues' point to new trend directions and buying patterns of which the mantrfhcturer ntust be AWare. 'l-he fashion director working ftrr a rnanufacturer is responsible fbr f ashion ' f h i s input into the developmentof the line' nleans that the fhshitln director nrust have strtng ahi,lit) in,lashion perception.An erte nsive knowledge of developing fashiorr -I-he f:rshior-r tle ttcls is also necessary. director rteeds kl tune into the fashiott tters

within the industry, for this is a competitive businesswhere each resource is competing with other ntanufacturers lbr the same in-clepth Iastrion customer. Followinp4 research. the fashion dire<:tor must edit this in{brmation fbr the particular custtlmer the resource is aiming at. The manufhcturer's fashiorr director rnust and, throueh trainins be natural\ crea,litte ancl work experience, be able trl <:h:rnnel this creativitl' toward fulfilling the manufacturer's rteeds lirr lnshion clesisn p , i n p u t , s i r l e s r e s e n t a t i o r ta r l d s a l e s oromoti<ln. A big part ol the lirshion tlirector's job is public relations, bt:lth rvithin the inclustrY 'I-he ancl with the general ptrlllic. nranular:turer's {ishi<lrr clirec:torsl'rould have an aptitud(lor piltlic rtlrtlttttr;.-l'he lashion c l i r e c t o rl v i l l b c c l r l l t ' r lt r p ' r t l t t t t l e c o m P a l l y s p r t k e s p c r s rittttt; t r ; t t i c l r o l s i t t t a t i o t t s . sessionlr''ith a rangine fl'tittt it ()lit'-t{)-()llc t o a l c l e r i s i o r ti n t e n ' i e w r e a c h i n g custotner m i l l i < l n st t l r i t ' r tt ' t ' r . F i r r a l l r . : t i . r : l r i o t l c l i r e t : t o rw o r k i n g f b r a
l r r u r r r t t l : r l, l l ( l l l r t l \ l l t , t r e / / i r t t t l t t t c t l jl o i r t . s l t t r rI'i.r t ' t r L r i r l r t l e l a t i o n s a t t i t u d e i s o n e -fwo other , ' r l r t ' r ' tt l t i s i s i n r p t l r t a n t . ' 1rlr,,.' irpplrr;rrrorr.lrltpltetr internally. First, the l r r r . r r r r r i :lrt r l c l ' s f n s i r i o n d i r e c t o r m u s t r o r t i n t L r t r i t , r t cf a s h i t l n t r e n d i n f o r r n a t i o n i n a nr.uurcr tltrrt rr'ill provide design inspiraticln w t,, tht lrnr-br.rilclers ho desisn each \ ( ' ( 1 \ . n \ r r t e t - t ' h a n c l i s e] .' h e n w h e n t h e l i n e i s th(' ([ r l'r( .( rrl( lo the sltl('sel)resenlalives. t.r.lrrorrrlirector mttst be t:apable of t ' r r , q t ' r t i l c r i t r ga b r i e f ' t h a t t h e m a n u f h c t u r e r

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has strons, saleableofferings {br the upcoming season.Inspirational selling is a big part of the {ashion director's.job.

director previewed the.jacket's f abric at a textile house as early as the previous Novernirer',that is, nine months earlier. 'l'he leather industry works twelve to eishtt-'ennronths in advance of the retail

The manufacturer's fashion director works in advance of the market to provide the company's clesignerswith the trencl inlbrmation that is necessaryfnr the desisn of timely, and therefore saleable, merchandise. One source <l{'infirrmation about fbrward fashion directions is international market coverage.'I'he manufacturer's fashicln director shoulcl 'I'his u'ill cover the international milrkets. probably include the fhmous Prt-h-Porter 'fhis in Paris held in March and September. is the largest ready-to-wear sh<xvingfbuncl in the rvorlcl. European couture showings and the important Italian knitwear rnarkef should also be covered. Another international aid is the rep()rts fiom the international reporting services.'fhese provide a continual flow of fashion infbrmation from abroad. Many of them include sketcheswith desien specifications for adaptation to the American market (Figurel5-l).

textile industry must set its f :rshion tone far in advance of the retail market. This will dictate, to a certain degree, the type of'clothing that the manufacturer will make. The fashion director can learn much from the textile companies' fabric libraries. The fashion director can also see a fhshion textile presentation fbur to six months before the manufacturer must have the line ready for presentation to the buyers. Tcl illustrate how this process u'orks, let's think 'fhe from the point-of-sale backu'ards. customer buys a fall jacket in late Ausust. 'I'hat samejacket was shown to the store's 'I-he buyers in April. manufacturer's {ashion

'Ihe

Figure 15-l
I ' o r c i g t t I t ' 1 t , / 1 1-i, , , 1 E i u i t t g . s f t ' ti l t , , ! , ' i . , t by d.rntttlir ntrtri il,,, I O u t r t r : t, l I r t ,l , , , ' , ,i, ,t ; ttluabLe sen,ice b) i, iitrtl rurt hc adapted

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