Bec & Bridge:
we didn’t know how to send the jeans. instead of a courier company, we used Australia Post. we found a place that sold boxes, they packaged the jeans in foam balls and i remember someone phoning us up after that delivery, “we just received your jeans in the most atrocious packaging ever!” we literally had no idea – we didn’t even know if we were meant to charge freight or if it was free into store. the standard is that the stockist pays for freight.
iIf the stores want your designs badly enough, then they will agree to your terms. in the beginning, our terms were COD (cash on delivery) but now, as a bigger company with bigger orders, our stockists are on thirty-day account. – p5
when you are a start-up label, price point is hard to get right. you have to know your market and what labels you want to sit alongside and make sure your price your product comparatively within that group of designers (and that you produce a comparable product). – p13
Senior Buyer, David Jones:
when you have the buyer on the phone, if the buyer is unaware of the brand, then you need to demonstrate where your brand sits in the market and the relevance the brand has for the buyer. research the customer and where you think your label can fit into the business. ask for the buyer’s email address and follow-up with an email thanking the buyer for their time and attach your current lookbook or ‘hero’ images of the collection. if the buyer is impressed with your lookbook, they will contact you to make an appointment for a physical showing. – p41
Therese Rawsthorne:
it took me a long time to figure it out because i didn’t know anybody that worked in fashion and didn’t have any exposure to the fashion world. being from the country, people went into quite practical pursuits – that whole other world (glamorous careers in the arts and creative fields) was seen as something that wasn’t real. – p70
Alvin Manalo, Saint Augustine Academy:
the first place to start is Ragtrader, if you are Sydney based, pay a visit to E&M Greenfield in Surry Hills. there you will meet lots of young emerging designers who are usually happy to share their contacts. – p132
Event Director, IMG Fashion:
think outside the square when identifying potential brands to target. align yourself with a brand that doesn’t have the opportunity to talk to the fashion industry, but still has a likeminded demographic and target market. for example, we had a women’s ready to wear brand (they had lots of floral dresses in their collection) partner with 'love and romance' book publisher, Mills and Boon – it was the perfect match and both brands got a huge return on the sponsorship. i think too often brands decide, ‘we need a vodka sponsor or a luxury car sponsor,’ and they focus on saturated categories that are targeted by all the big labels – so think outside the square! – p149
the seating plan is a political minefield! i would encourage brands to work closely with their PR and our seating director on their seating plans. a few rules to get you started:
1. don’t have rival magazines seated opposite each other. try to scatter them around the seating plan.
2. if you give one key title five front row seats, be prepared to give all the other fashion titles five front row seats.
3. if you want more floorspace and decide to pull out the front row seats, don’t have the seating plan start with row B. make sure you rename it row A, because when key buyers and media look on their delegate pass and see they have been given a row B seat (not know there is in fact no row A), they might not turn up! – p153
Director, MCM PR:
the editor, associate editor, fashion news editor, market editor and fashion director. the most important people are in the front row – editor, fashion director and fashion news director – and anyone else from the same publication sits immediately behind them. – p285
Fashion Editor, The Vine:
tomorrow i’m viewing the collection of a new label that i had never heard of before last week because they did two things: 1) they got a retailer who i know and respect to contact me on their behalf and ask if it was all right for the designer to contact me directly, so i was expecting the email and 2) the designer sent an email and then called at the end of the day to check that i had received the email (the email had automatically gone into my junk folder). he introduced himself on the phone; i quickly took a look at his email, was impressed with what i saw and said i would be in touch to make a formal appointment to view the collection. having someone who is respected in the industry vouch for you is the best and fastest way to get an in. – p314
- Get Your Break: Fashion Designers - Samuel J Folder (Ed.)
we didn’t know how to send the jeans. instead of a courier company, we used Australia Post. we found a place that sold boxes, they packaged the jeans in foam balls and i remember someone phoning us up after that delivery, “we just received your jeans in the most atrocious packaging ever!” we literally had no idea – we didn’t even know if we were meant to charge freight or if it was free into store. the standard is that the stockist pays for freight.
iIf the stores want your designs badly enough, then they will agree to your terms. in the beginning, our terms were COD (cash on delivery) but now, as a bigger company with bigger orders, our stockists are on thirty-day account. – p5
when you are a start-up label, price point is hard to get right. you have to know your market and what labels you want to sit alongside and make sure your price your product comparatively within that group of designers (and that you produce a comparable product). – p13
Senior Buyer, David Jones:
when you have the buyer on the phone, if the buyer is unaware of the brand, then you need to demonstrate where your brand sits in the market and the relevance the brand has for the buyer. research the customer and where you think your label can fit into the business. ask for the buyer’s email address and follow-up with an email thanking the buyer for their time and attach your current lookbook or ‘hero’ images of the collection. if the buyer is impressed with your lookbook, they will contact you to make an appointment for a physical showing. – p41
Therese Rawsthorne:
it took me a long time to figure it out because i didn’t know anybody that worked in fashion and didn’t have any exposure to the fashion world. being from the country, people went into quite practical pursuits – that whole other world (glamorous careers in the arts and creative fields) was seen as something that wasn’t real. – p70
Alvin Manalo, Saint Augustine Academy:
the first place to start is Ragtrader, if you are Sydney based, pay a visit to E&M Greenfield in Surry Hills. there you will meet lots of young emerging designers who are usually happy to share their contacts. – p132
Event Director, IMG Fashion:
think outside the square when identifying potential brands to target. align yourself with a brand that doesn’t have the opportunity to talk to the fashion industry, but still has a likeminded demographic and target market. for example, we had a women’s ready to wear brand (they had lots of floral dresses in their collection) partner with 'love and romance' book publisher, Mills and Boon – it was the perfect match and both brands got a huge return on the sponsorship. i think too often brands decide, ‘we need a vodka sponsor or a luxury car sponsor,’ and they focus on saturated categories that are targeted by all the big labels – so think outside the square! – p149
the seating plan is a political minefield! i would encourage brands to work closely with their PR and our seating director on their seating plans. a few rules to get you started:
1. don’t have rival magazines seated opposite each other. try to scatter them around the seating plan.
2. if you give one key title five front row seats, be prepared to give all the other fashion titles five front row seats.
3. if you want more floorspace and decide to pull out the front row seats, don’t have the seating plan start with row B. make sure you rename it row A, because when key buyers and media look on their delegate pass and see they have been given a row B seat (not know there is in fact no row A), they might not turn up! – p153
Director, MCM PR:
the editor, associate editor, fashion news editor, market editor and fashion director. the most important people are in the front row – editor, fashion director and fashion news director – and anyone else from the same publication sits immediately behind them. – p285
Fashion Editor, The Vine:
tomorrow i’m viewing the collection of a new label that i had never heard of before last week because they did two things: 1) they got a retailer who i know and respect to contact me on their behalf and ask if it was all right for the designer to contact me directly, so i was expecting the email and 2) the designer sent an email and then called at the end of the day to check that i had received the email (the email had automatically gone into my junk folder). he introduced himself on the phone; i quickly took a look at his email, was impressed with what i saw and said i would be in touch to make a formal appointment to view the collection. having someone who is respected in the industry vouch for you is the best and fastest way to get an in. – p314
- Get Your Break: Fashion Designers - Samuel J Folder (Ed.)
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