Contours in Couture with Sophie Hallette - Research Proposal Example

Research proposal on Contours in couture with Sophie Hallette Introduction Clothing and fashion have long since been intrinsic part of human civilization. Clothes are designed and worn in manner that gives distinct identity to individual. Fashion tends to give way to new form of dressing that defies traditional or accepted format of dress. Fashion therefore broadly describes designer clothing that is in vogue at some particular period of time. Its shape, colour, fabric, style and design keep changing to reflect new trend, often started by celebrities and fashion designers. Dress designing and fashion are creative and passionate reflection of one’s manifestation of identity that highlights deeper levels of self-awareness. Very often, fashion become the major drivers for evolving new identities for them and set trends in fashion clothing that becomes hugely popular. Couture personalise fashion dressing and make it unique for particular customer which is later copied by the masses (Waddell, 2004). The most interesting aspect of fashion couture is designer’s desire to exploit unique features of individuals and juxtapose knowledge with creativity of ideas. The experimental nature of couture clothes and increasing way fusion is used across diverse culture, material and accessories reflects designers’ aspirations and their creativity. Indeed, fashion clothing not only becomes popular for the shape, line and fabric but also for their lateral thinking in showcasing human body in ways that enhances its attraction. The research would study the contours in couture with Sophie Hallette and myriad applications of its lace in haute couture. 2. Couture and haute couture The constantly changing facet of clothing is important paradigm of social dynamics. Thus, while early 1920s was distinct in its beaded and embroidered evening dresses, the late 1930s saw figure hugging dresses that highlighted body shape. At that time, corset was very popular accessory of fashion dressing. Bone hoops were used in tiered flare of the dresses (V&A, 2012). The contemporary fashion is more influenced by the changing socio-cultural paradigms of rapid globalization and the ideas can easily be taken from myriad sources of communication like internet, international magazines, tv and most importantly from the diversity of culture that has become accessible. Indeed, transforming social dynamics are fertile source of inspiration for designers across the globe (Sawyer, 2006). At the same time, fashion designers play key role in shaping the fashion trend as they anticipate and exploit these social dynamics to innovate and produce clothing and accessories to complement people’s identity. The lace as dress material and accessories in fashion has emerged as key element that gives exclusivity to garments Couture refers to dress designed to the specification of customers that conforms to current fashion but haute couture is protected terminology that is used for clothes made by designers that meet defined standards set by Chambre Syndicale de la Couture (Jones,2002). Clothes made by haute couture are predominately seen at fashion shows in Milan, Paris, New York and London at the start of seasons. The fashion designers approved as haute couture are therefore in high demand and their exclusivity differentiates them from others and gives them unique place in the global fashion arena. Versace, Armani, Louis Vuitton, Stella McCartney, Espirit, Chanel, Bottega Vanetta, Gucci, Sophie Hallette etc. some of the famous haute couture houses that are renowned for their fashion dresses for men and women. Their contours in couture define designers’ creativity (McDowell, 1994). Haute couture reflects the social status and success of not only the designers but the consumers who act as conduit for expressing new trends and political thoughts that need to be highlighted. In recent years, environmental issues and animal rights have become favorite theme in the international fashion shows. 2.1 Contours in couture Contours are lines that define a shape or form that can transform plane within the form. They become intrinsic part of couture as contours are extensively used by designers to innovate and fuse with externalities to produce something unique. Contours in couture significantly enhance the experience of dressing and provide the customers with a great sense of wellbeing (Breward, 2003). Contour designing is very popular as it gives prominence to shape and size of individuals, highlighting their body parts that are both attractive and self-satisfying. Contours are intrinsically linked to individual elements that integrate the outer space with the environmental noises. Thus, local orientation and cultural paradigms determine the level of integrated approach and the extent to which the visual integration would enhance the outcome (Aynsley, 2002). Contours in couture succinctly express social compulsions and individual desire to be different. They are therefore, very crucial part of creating new trends and styles for evolving social dynamics. At the same time, the various attributes of fashion clothing has huge potential to set new trail of craze for fashion lovers. Contours in fashion garments greatly facilitate new individual look that is designed to reflect the mood, status and success of the customers. The accessories in fashion garments and the quality and design of fabric used in designing fashion garments is distinct in its usage and shows the creative input of the designer. In contour designing, the fabric underpins the creativity of the designer and his or her perception to the new look of future trend. This is interesting aspect that brings forth the importance of the material used and the way it is designed to drape the human body. Fashion, especially contour fashion focuses on specific parts of the body like midriff, neckline, back etc. till it exploits whole range of possible looks (Veksler, 1998; Earnshaw, 1985). Thus, contours have wide scope and can considerably stretch the longevity of fashion based look. The structured embellishments bring alive the designers’ vision of the product to new heights. Some fabric material like laces have perennial value for the designers who use them both as accessories and as fabric for fashion dresses. Laces have ageless attraction and are used extensively by designers of all age and time across the globe. Their lure lies not only their intrinsically woven design and colour but also in the fact that they are able to complement designers’ complex ideas and turn them into visual delight. Consequently, laces are ageless in their use. The proposal would research contours in couture in Sophie Hellette, the global leaders in lace making. They are lace suppliers not designers and therefore, the research would look at various dimensions of lacemaking and drivers of creativity in lace designing and distribution network for marketing the same to couture houses and individual designers. 3. Company profile Eugene Hallette had founded the La maison Hallette 1887 in Caudry, France and rapidly grew to become third largest lace maker. After he died in 1898, his wife ran the firm which was later taken over by Etienne at the tender age of 23 years. He was the dynamic entrepreneur as well as trained in tulle manufacturing who expanded it by opening an office in Paris. The family run lace designer firm has evolved rapidly to meet the challenges of time. Bruno, the third generation proponent of the firm, had joined in 2000 and expanded it across the globe. With more than 400 strong workforce, spread that creatively employ hand weaving with technology to carry forward their rich tradition and expertise (Sophie Hallette, 2013). They use leavers loom to handcraft exquisite work of art in lace. The fusion of traditional with contemporary highlights their timelessness of ideas into solid production of matchless lace. At Sophie Hallette, the designer and drafter both are critical ingredients that together help translate creative design into work of art lace through their expertise and technical knowledge. The fine lines of design outline are diligently transformed into dream lace that reflects evolving ideas of the designer. The craftmen, using leavers and bobbin looms, weave ethereal tulle of delicate lace from several thousand miles of thread. The loom uses more than 5000 shuttles and 12 tons of cast iron to produce dream tulle of superb lace. The lace and tulle are then mended for minor defects which are then sent for dye where they are treated for colour and shade to give perfection to the final product as per designers’ expectation and creativity. The various stages of lace production from designing to the finish when they are ready to be packed for transportation to various customers, are key issues in Sophie Hallette lace that defines their quality, their intense desire for perfection and their willingness to meet new challenges. 4. Research Methods 4.1 Research objectives The major objective is to study the evolving pattern of Sophie Hallette lace and the drivers of its growth within the fashion industry. In the highly competitive environment of global fashion, the role and importance of lace has transformed into fabric of whole dresses and suits. The challenges of harnessing the creativity, inherent in the changing times, serve as inspiration for designers to develop unique fashion product that is successful in meeting the demands of the customers. Lace as fabric for dresses has evolved from accessories to full-fledged dress material that offers new opportunities for designers. They create dresses that give mystique appeal to women and at the same time, are able to reveal their attractive features. The research would therefore help to understand the appeal for Sophie Hallette lace and would make efforts to identify and evaluate the contours in couture in them that facilitate their niche market place in global fashion industry. The research would also explore different channels of distribution and its linkages with haute couture houses and designers which enable it to sustain its market credibility. 4.2 Research question How Sophie Hallette has evolved over time to compete in the highly competitive environment of contemporary business dynamics? What is the role of cultural dynamics and landscaping in the development and creation of Sophie Hallette laces and how fashion designers integrate various elements to highlight contours in Sophie Hallette laces? How marketing channels and haute couture aid in providing Sophie Hallette with competitive advantage within the industry? 4.3 Research methodology and design Research in creative art demands new mechanism to identify trends and changes that impact creativity and evaluate the same against the inherent tendencies of designers to look at new possibilities of generating innovative format of design for fashion garments. The conceptual and contextual landscape of outer space, therefore become important factor for artists which they exploit and explore within their work. The research would therefore use mixed methodology for studying Sophie Hallette laces and their evolving design within the broader context of the role of contours in couture. The research would use questionnaires, interview schedules and conferences and symposiums to glean the reasons for its popularity amongst the haute couture. The qualitative research methodology is crucial part of creative research as it helps to explore different genres of communication to give wider understanding of artistic trends (Knowles, 2008). They explore ethnographic development and challenge the socio-cultural dynamics which impact creative outcome. Geertz (1973) says that it helps to interpret the environmental issue and elements to understand the why and how of the phenomenon of its success. The various approaches like case studies, interviews and observations methods etc. attempt to explain the working of creative minds and connect it with external environment for identifying the elements that impact it. Case study would be used for Sophie Hallette to look at its historical evolution through its 120 years of existence. The interviews with lace fashion designers as well as with haute couture like designers at Versace, Valentino, Givenchy, Galliano and Mugler would be undertaken to evaluate environment impact on their work for using lace from Sophie Hellette. At the same time, the quantitative method would facilitate in evaluating and analysing channels of communication and marketing that create a cohesive network of haute couture designers and design houses. Moreover, quantitative data greatly facilitates in studying the market compulsions and drivers for the success of the product. They are especially helpful in understanding the broader marketplace where it competes it intends to compete. It facilitates market research to analyse crucial information that affect business dynamics. Most importantly, the primary and secondary data can be scientifically analysed for the evolving effective strategies for penetrating new areas and using new avenues of growth. The mixed study would therefore give credence to the research objectives. 4.3.1 Primary sources The primary sources are retrieved from the investigation of resources that are directly linked to the product development and its usage. The haute couture houses and designers that utilize lace from Sophie Hallette would mainly provide necessary information. The lace designers, drafters and workmen at Sophie Hallette would be contacted for their experience in creative development and handling of delicate lace. Their couture customers like House of Valentino, Givenchy, McQueen, etc. would be the respondents to evaluate fashion compulsions and attraction for lace from Sophie Hallette. 4.3.2 Secondary sources The secondary research would comprise of market research conducted by government agencies, commerce houses and other credible sources. Data and market analysis by Keynote, Mintel and Verdict would be used for analysing market resources for UK market. The library and literature review would further help in investigating various facets of Sophie Hallette lace and their ageless interest for haute couture. 5. Market compulsions Fashion is significantly impacted by the economic environment and tends to redefine structural changes in the fashion business (Hines & Bruce, 2007). Technology has further blurred the differences amongst the various stakeholders of the fashion industry, including the designers, consumers, suppliers of raw material etc. Since fashion is constantly in flux, people look for innovative measures to follow fashion while meeting the challenges of changing economic conditions. The tactical business coalition and collaboration are key market compulsions that help meet the environmental paradigms of stiff competition and help survive in tough economic conditions. Swarovski and Sophie Hallette have come together in a project called Transformation for Royal College of Art in London that promotes new perception of lace and crystal in fashion design (sh, 2009). Hamel and Prahalad (1989) claim market competition has emerged as major challenge along with the foreseeable pattern of industry evolution that necessitates incorporation of environment changes within the business strategy. Sophie Hallette’s main competitors in the market are Chantilly and Solstiss. They both supply to important couture designers like Valentino, Christian Dior, Chanel, Jean paul Gaultier etc. and compete directly with Sophie Hallette. In 2008, Prada brought back into vogue the fashion in lace. With dresses, skirts and accessories, the lace became hugely popular. Sophie Hallette has recovered from the financial downturn of 2008 to gain its market position rapidly. Champ (2012) informs that lace has come to the forefront of fashion garment. She quotes Maud Lescroart as saying that become like ‘high quality craftmenship’ that lasts longer and gives value to the customers. The recession has turned people to quality from quantity. This is interesting conclusion that reaffirms that quality has its own committed clientele. Today, Sophie Hallette lace is synonymous with haute couture and Princess Kate’s wedding dress is testament of its innate character, quality and exquisite creation. Its laces are part of leading couture houses and have significantly contributed to their expanding clientele with the increased popularity of lace in fashion. Moreover, in the current era of rapid globalization and technology, the changing socio-economic paradigms influence business dynamics. 6. Consumers Keynote market analysis (2012) has shown that clothing and footwear remain important areas of expenditure for high end society and spend 5.4% of their weekly budget on them! Verdict’s market research reveals that all major couture houses have been impacted by recessive market and have evolved new ways to tackle them. While collaboration is important mechanism to sustain their niche market, the decline in revenue has made them adopt more innovative strategies. According to Mintel (2012) there is new crop of young consumers who are brand conscious. They have become more tech savvy and global in their outlook which has compelled fashion industry to redefine their communication with strong online presence. It is corroborated by Jarnow and Dickerson (1997) who claim that dynamics of fashion are complex and need to be understood from the wider perspective of creative ideas taken from the external environment and urban spaces that stimulate creative outcome. The profile of luxury fashion brand is being redefined to suit the preferences of new consumers who want to flaunt their wealth but are also not afraid to mix one brand with another. This new trend considerably increased competition and forces luxury brands to introduce products that would attract consumers and help retain them. Doyle and Moore (2004) say that brands are increasingly opening their own outlets and using viral marketing to promote their new products. This defies traditional mode of marketing and seeks innovative measures for expanding their market. The brands are forced to dilute their brand equity and compete in ways that could divide market into smaller segmentations and therefore make them for accessible to consumers. Perspective on Lace as fashion garment would help to identify the changing demands of the consumers and its role within the broader market of luxury brand. 7. Limitation The study would be focusing on the lace design of Sophie Hallette and market paradigms that impact its niche position in the fashion industry. It would be limited in its area of scope that vis-à-vis couture houses that showcase works many designers who may or may not be using laces from Sophia Hallette. As such, the haute couture may not provide accurate data regarding Sophie Hallette lace. It has also not explored piracy in fashion which could have given insight into its impact on the market of Sophie Hallette laces and the couture garments that are using it. 8. Conclusion Sophie Hallette, as a leading lace designer has redefined fashion with their iconic character and gossamer fabric with timeless appeal. The contours in couture in Sophie Hallette’s laces are unique in their lines and forms, colour and landscaping which delight craftsmen, users and haute couture. Seasons in haute couture are important indicators of new style and trends that ultimately cascade down to the masses. The study highlights the myriad factors and inputs that transcend Sophie Hallette’s laces from the ordinary to the magical works of art that are hugely sought after by major designers and haute couture. With celebrities promoting it, Sophie Hallette has come back into the fashion arena with new perception and designers’ creative use. Lace has eternal appeal that can be exploited at all times. The firm is adopting new ways to collaborate with partners that add value to it. Moreover, Kate Middleton’s wedding dress has given the impetus that would extend its market and expand its scope for the fashion industry. The research would therefore go a long way in ensuring the niche market of the Sophie Hallette. (words: 3114) Reference Aynsley, J. (1993) Nationalism and internationalism, London: Victoria and Albert Museum. Breward, C. (2003) Fashion, Oxford: Oxford University Press. Champ, Gemma. (3 May, 2012) Fashion’s enduring love of lace, Available: http://www.thenational.ae/lifestyle/fashion/fashions-enduring-love-of-lace [12 Fab. 2013]. Doyle, S. A and Moore, C. M. (2004). Methods of International Market Development: The Guerilla Stores of Comme des Garcons. British Academyof Management Conference Proceedings, St Andrews, September. Earnshaw, P. (1985) Lace in Fashion. London: B. T. Batsford. Geertz, Clifford (1973) The Interpretation of Cultures, New York: Basic Books. Hines, T. and Bruce, M. (eds.) (2002). 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