The ability of fashion businesses to endure and thrive in the face of stiff competition and changing market dynamics is all about adapting to innovation, customer-centricity, and strategic planning. The correlation between high performing fashion business and product innovation is undeniable.

This panel discussion brings Design and Business Heads together to brainstorm on how fashion companies can devise strategies to drive innovation to remain competitive, meet evolving consumer expectations, and stay ahead of the race.

Moderator: Devangshu Dutta, Founder & Chief Executive, Third Eyesight

Panelists:

• Anshu Grover Bhogra, CBO, Forever New
• Diksha Bhatia, Founder, Gioia Co
• Mansi Lohia, CEO, Black Watermelon
• Rohit Aneja, Director- Grapevine Designs, CEO be-blu! Lake Como
• Sean Ashby, Founder & CEO, Aussiebum
• Swikruti Pradhan, Founder, Rustic Hue
• Yogesh Kakar, Chief Product Officer – Tommy Hilfiger & Calvin Klein, PVH Arvind Fashion

“Fashion is a zombie business. It is dead and it doesn’t know it yet,” says Devangshu Dutta, Founder of Third Eyesight, a specialist management consulting firm.

This is a must-watch excerpt from a presentation and panel discussion anchored by Devangshu Dutta on 27 March 2019 at the India Fashion Forum, in Mumbai.

The challenge he presents is simple: create a new business model for the fashion sector.

• Most people want to fit in rather than stand apart from their peers, so pushing sustainable or responsible fashion will need time – just like the typical fashion cycle, the first thrust needs to be on the innovators and early adopters (both consumers and companies), before the majority of the market picks up the trend.
• We typically talk about the “triple-bottom line” – referring to the benefit to the business (profit), benefit to the environment and benefit to the community. However, I think most sustainability initiatives don’t gain enough traction because there is no bottom-line defined for the “individual”. The questions “how am I impacted?” and “what is in it for me?” need to be answered to really push fashion in the direction of sustainability.
• “There is enough on this Earth for everyone’s need, but not for everyone’s greed”. Fashion, by its very nature, lives on obsolescence, so it is pertinent to ask whether “sustainable fashion” is an oxymoron. However, there is some merit in questioning how extreme this sense of forcing obsolescence has become in the industry over the last few decades as companies have sought ever-growing top-lines. The entire industry ecosystem will need to be overhauled for it to become “sustainable”.
• The cause of sustainability may be helped actually by the fragmentation of demand that is going on around the world. This fragmentation may be our inadvertent saviour. Since fashion is about the peaking and the decline of specific trends, with fragmentation there are lower peaks, less forced trending, less forced obsolescence and potentially less waste.
• There was a mention of the concept of “fast fashion”. There are two aspects to it: one is the more visible rapid-change, low-price retail concept and that would certainly seem to be the antithesis of sustainability. However, there is another side to the fast fashion business model: lean management, efficient product development and reduced waste. The traditional fashion business model and supply chain can’t cope effectively with the fragmented demand and short selling-windows. In the fast fashion supply chain model, with shorter lead times, more time is spent on productive activities and successful products, rather than wasting resources and money in developing designs and flying samples back and forth for products that will get sold at a discount. Such waste would be fatal in the aerospace, automotive and high-tech industries – those industries use tools and processes that have also been available to the fashion industry for the last 4 decades. If fashion companies honestly examine how expensive that waste is, we might start moving towards more sustainable fashion.

Here is a summary of the Sustainable Fashion Forum, and some more pictures from the afternoon.

And here is a previous article on sustainability and corporate responsibility.

The Third Eyesight Knowledge Series© comprises of workshops designed and developed to help functional heads, line managers and executives refresh and upgrade functional and product expertise.  

Third Eyesight’s next workshop in this series is focussed on Creating & Managing Lifestyle and Fashion Brands.

IS THIS FOR YOU?

This workshop will be useful to you, if you are 

• a brand owner wanting to look at growing your scale
• a manufacturer wanting to add value to your products and to gain additional margins
• a retailer wanting to invest in your own brands / private label
• a brand manager looking to expand the footprint of your brand over more products
• an entrepreneur wanting to launch a new brand
• an investor who wants to understand how brands create value 
• an exporter or buying office professional wanting to understand your customers and markets better
• a brand owner and believe that your business is undervalued
• a designer wanting to scale the business beyond yourself
• a marketing or sales professional looking to add value to your skill-base
• a service provider working with the lifestyle and fashion sector
• a teacher or researcher looking at understanding the process of brand development

THE WORKSHOP CONTENT

This workshop will help participants in understanding:

• the basics of lifestyle brands and their positioning in the lifestyle consumer goods industry
• the development of the brand ethos
• how to translate the brand intangibles into reality,
• how to attract and retain new customers in the competitive environment, and
• how to sustain and nurture the brand value over a period of time

REGISTRATIONS

Click Here or Call +91 (124) 4293478 or 4030162

India has a rich tradition of textiles which dates back many centuries. The history of the Indian readymade garment industry, however, is very recent and can be traced back to the Second World War.

During the Second World War, as a contribution to the wartime needs of British rulers, clothing units for mass production were set up to manufacture military uniforms. With India’s independence in 1947, the industry stagnated as the policies of the Government were now diverted towards building a new nation. However, the industry began to expand after 1959 with the revision of the textile policy to allow the import of machinery for manufacturing.

The 1960s witnessed social shifts as a whole generation of young people questioned the very basis of their existence, and the hippie movement was born. Tired of their materialistic ‘man-made’ lifestyle, these young people began to seek answers in communing with all things natural, love and peace being the anthem. They began traveling, to explore, to seek the ancient philosophies of the East.

This voyage of discovery not only led to a change of lifestyle, but also the way they dressed. Natural fibres were rediscovered, and principally amongst them “Cotton”. India, with its natural abundance of this fibre, was an automatic choice of a supply source. Simultaneously, the growing settlement of Indian abroad led to a ready outlet for a variety of India merchandise and clothing textiles as an article of trade because of its growing demand.

This sudden demand for cotton garments resulted in the Indian industry growing by leaps and bounds in a very short period. Export of “High Fashion” garments from India started off with the cheap cotton kurtas and hand-block vegetable dye printed wrap-around skirts in cotton sheeting to meet the demands of the western youth.

Cashing in on the boom any and everybody got into the manufacture of clothing. The Government, realizing the potential of earning foreign exchange for the country, announced incentives and tax exemption for exporters. The fallout was an industry that grew in an unorganized manner and developed a reputation for producing low cost, low quality, volume merchandise.

The 1980s established that the industry was here to stay but, in terms of product profile, India still had not been able to move out of the lower end of the world market and continued to have an average unit value of under US$ 5.

The 1990s saw the industry make a conscious effort to shake off the image of being producers of cheap, low-quality merchandise with unreliable delivery schedules. The second generation had begun coming into the business, and contributed to reorganizing their firms for clearer structure and professionalism. Funds were ploughed back into the business with the emergence of large and modern production facilities. Even though most of the export houses were family-owned, trained professionals were inducted into the business for clear-cut departments and areas of functions. Consolidation and retention of business was the focus of the late nineties as the abolition of quotas planned for the new millennium became a reality.

The industry was euphoric but at the same time apprehensive of what the post quota era would bring. Many of the producers looking for a synergy in the business and also to sustain the large production facilities began tentative forays into domestic retail. The face of the Indian consumer was changing. Exposure to the western society via the electronic media helped in creating a ‘borderless’ world for lifestyle products, and contemporary fashion merchandise found a ready market in domestic retail.

The new global consumer over the years has evolved as a demanding and yet discerning individual. The novelty factor along with price and quality has become the watchword of the new millennium consumer. As consumers around the world change, so does the product strategy to keep consumer interests alive and ensure loyalty.

The new millennium has seen the emergence of the ‘Quick Response’ or ‘Real Time’ merchandising in fashion as a strategic solution to nurture, retain and grow the business. ‘Fast Fashion’ was born. Retailers could no longer work on the concept of two major retailing seasons with a couple of promotions thrown in. Product planning and the merchandise on the racks had to be constantly current and trendy.

Fast Fashion is not simply a solution to increase consumption by introducing greater product variety but a strategy to retain, consolidate and sustain the market through proactive product development and efficient product delivery to consumers, and thereby grow the market by increasing market share or developing new markets.

However, fast fashion has been tried and tested in different avatars through the years. In the 1960s and 1970s it was present in the quick reaction time of the unorganized sector to service the demand for block-printed ethnic clothing merchandise. In the 1980s and 1990s it was represented in the proactively researched product development at the source market level by wholesale importer/designer buyers (like Rene Dehry, Giorgio Kauten, Diff and Steilmann). Today it is technology-aided product research and development techniques (practiced by Anthropologie, Rampage, Zara and H&M), coupled with responsive buying processes.

In product design terms, India has moved on from producing and selling ‘fashion basics’ to ‘basic’ merchandise, and now back to ‘fashion basics’ once again. History says that this is where India’s inherent talents and strengths as a source market lie. Rather than reinventing the wheel or try to catch up with other competitors strengths, India should cash in on its strengths to practice and master fast fashion.