Although the financial recession is compelling consumers to curtail their spending, there are opportunities for emerging South African fashion designers to establish brand recognition in this tough economic climate.
In the 1920s, economist George Taylor used fashion as an economic indictor with his controversial "Hemline Index", proposing that skirts got longer as the economy slowed. This theory was countered by the logic that longer hemlines require more fabric, and in tougher times designers would be more likely to use less fabric in manufacturing sellable contemporary clothing.
The cost of importing textiles to South Africa and the limited variety available to designers has long been a hindrance in the fashion sector. But South African designers concerned about the cost of fabric have been given a lifeline: the government’s notice that import duties will be reduced on a range of textiles not made in commercial quantities enables designers to acquire affordable fabrics.
Astute emerging designers understand that consumers now want durable, versatile clothing at a reasonable price. There are indications that purchasing decisions are less likely to be based on rapidly changing fashion trends that lock them into buying “throw-away” apparel in ever-shorter life cycles. Apparel that combines quality fabric, expert finishing and classic lines that can be adapted and enhanced into novel forms will be sustainable over a longer period.
This opens up a new arena of creative evolution for emerging designers to explore. Fashion is a means of communication and need not be stunted by adverse market conditions. Brand equity can be built by utilising inexpensive marketing tools and seizing every opportunity to establish labels that reflect, express and respond to socio-economic realities.
The 2009 Vodacom Durban July Fashion Experience was one such instance; 164 young designers in KwaZulu-Natal entered the competition, with 20 being selected for the semi-final round. This group proved their abilities in a rigorous judging process, gained substantial media exposure, and learnt valuable lessons about the commercial aspects of fashion.
It is crucial that these designers capitalise on the market exposure they have gained in this very important national fashion showcase. While larger design houses and retailers are constrained by institutional operational systems, emerging designers are free to leverage their names and brand within the market in unique ways, using electronic and street level networks to infiltrate, negotiate and entrench themselves into niche and divergent markets.
There are four seams for this path to success: the first is to maximise their fledgling presence within the local fashion industry and consumer consciousness by promoting the recognition they have achieved on the platform of the Vodacom July Fashion Experience. The second is to identify and decode their target audience so as to tailor their creations to specific economic requirements and aesthetic desires. The third entails establishing operational linkages with the manufacturing and supply sectors of the fashion industry. The fourth seam is locating innovative cost-efficient points of sale.
Rather than retreating into the vortex of economic gloom, emerging South African designers can embrace this time and space to offer commercially viable, desirable clothing that fulfils the needs of the fashion-conscious public.
In the 1920s, economist George Taylor used fashion as an economic indictor with his controversial "Hemline Index", proposing that skirts got longer as the economy slowed. This theory was countered by the logic that longer hemlines require more fabric, and in tougher times designers would be more likely to use less fabric in manufacturing sellable contemporary clothing.
The cost of importing textiles to South Africa and the limited variety available to designers has long been a hindrance in the fashion sector. But South African designers concerned about the cost of fabric have been given a lifeline: the government’s notice that import duties will be reduced on a range of textiles not made in commercial quantities enables designers to acquire affordable fabrics.
Astute emerging designers understand that consumers now want durable, versatile clothing at a reasonable price. There are indications that purchasing decisions are less likely to be based on rapidly changing fashion trends that lock them into buying “throw-away” apparel in ever-shorter life cycles. Apparel that combines quality fabric, expert finishing and classic lines that can be adapted and enhanced into novel forms will be sustainable over a longer period.
This opens up a new arena of creative evolution for emerging designers to explore. Fashion is a means of communication and need not be stunted by adverse market conditions. Brand equity can be built by utilising inexpensive marketing tools and seizing every opportunity to establish labels that reflect, express and respond to socio-economic realities.
The 2009 Vodacom Durban July Fashion Experience was one such instance; 164 young designers in KwaZulu-Natal entered the competition, with 20 being selected for the semi-final round. This group proved their abilities in a rigorous judging process, gained substantial media exposure, and learnt valuable lessons about the commercial aspects of fashion.
It is crucial that these designers capitalise on the market exposure they have gained in this very important national fashion showcase. While larger design houses and retailers are constrained by institutional operational systems, emerging designers are free to leverage their names and brand within the market in unique ways, using electronic and street level networks to infiltrate, negotiate and entrench themselves into niche and divergent markets.
There are four seams for this path to success: the first is to maximise their fledgling presence within the local fashion industry and consumer consciousness by promoting the recognition they have achieved on the platform of the Vodacom July Fashion Experience. The second is to identify and decode their target audience so as to tailor their creations to specific economic requirements and aesthetic desires. The third entails establishing operational linkages with the manufacturing and supply sectors of the fashion industry. The fourth seam is locating innovative cost-efficient points of sale.
Rather than retreating into the vortex of economic gloom, emerging South African designers can embrace this time and space to offer commercially viable, desirable clothing that fulfils the needs of the fashion-conscious public.
Written by Renato Palmi
June 09
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