Advice for Would-Be Vegan Designers, Part 6 September 29, 2009

Most of the knowledge and skill that are necessary for a successful design career come from education and hands-on training. Trust me on that.

But, reading a book never hurts. Here are my recommendations for aspiring designers:

Technical books. Reviewing a learned skill is never a bad idea, and may help you understand why your pattern maker is pushing really hard to get you to change something that seems insignificant. Hold on to your design-school textbooks. I still refer to my pattern-making textbook almost every time I whip up a new garment.

Books about the history of fashion. If you are studying fashion, you will most likely have a copy of Survey of Historic Costume by Phyllis Tortora and Keith Eubank. Save that book! Designers have long looked to the past for inspiration; sooner or later you probably will, too. Of course, there are many other books about historical attire, and they’re all worth a look, but Survey of Historic Costume is the big one.

Interested in corsetry? You’ll need Corsets and Crinolines by Norah Waugh.

Chic Savages by John Fairchild. What could a magazine publisher know about fashion? Actually, quite a lot. (Note: though Fairchild has been officially retired for years, it’s long been claimed that W columnist Countess Louise J. Esterhazy is in fact Fairchild himself, and I, for one, suspect the rumor is true.) The book is worth reading for Fairchild’s biting humor alone, though his insights are priceless.

The Beautiful People by Marylin Bender. This book is not easy to find, but well worth the trouble. Bender’s scathing 1967 volume dissects the fashionable jet-set at a time when the Youthquake was still at its peak and Betsey Johnson (only 22 at the time) was the latest super-hot designer. A fascinating glimpse into a key moment in fashion history.

Eccentric Glamour by Simon Doonan. As creative director of Barneys, Doonan knows a thing or two about fashion. Eccentric Glamour is in fact a hilarious, irreverent style guide, but Doonan thoughtfully includes a chapter especially for readers who think they might want to start their own fashion company. (By the way, do take special care to read the “Green Gypsy” profile in Chapter 1. Most of your potential clients will NOT want to wear a burlap tabard.)

Diana Vreeland: Bazaar Years by John Esten. Anyone who even thinks she might want to work in fashion needs to know who Diana Vreeland was and why she was so important. This book is a mere 79 pages long, but offers greater insight into her influence than Mrs. Vreeland’s autobiography (much of which was made-up) and has better pictures. Includes several of her best “Why Don’t You…?” lists from Harper’s Bazaar. I could do without the pictures of Diana in furs (or various recommendations involving the pelts of assorted creatures), but overall, the book is worth a glance.

Deluxe: How Luxury Lost Its Luster by Dana Thomas. Ms. Thomas, a fashion journalist, explores in detail how luxury fashion has changed – and in most cases not for the better. She recounts the birth of luxury-goods groups, the decline of couture, the widespread decline of quality…and even visits the ugly, awful worlds of counterfeiting and sweatshops. If you only read one book on the business end of fashion, make it this one. (The End of Fashion by Teri Agins and Let Them Eat Cake by Pamela N. Danziger are also worth reading, but Deluxe is by far the best of the three.)

The Rise and Fall of the House of Barneys by Joshua Levine. Cautionary tales lie within the pages of this book. If you are planning on selling your goods wholesale instead of running your own shop (online or offline), you MUST read it. Especially Chapter 8.

Cheap: The High Cost of Discount Culture by Ellen Ruppel Shell. Cheap was published very recently, and thoroughly examines the modern American consumer’s obsession with cheap goods. Not about fashion per se, but potentially helpful when designing for a clientele with varying levels of income. (Actually, everyone should read this book. I’ll review it more thoroughly in a future entry.)

My personal fashion library is much more extensive than this, but these are the “must-reads.” I wouldn’t recommend them if I didn’t consider them crucial.

So You Still Want to Be a Designer? September 11, 2009

The New York Times has issued serious words of warning (courtesy of Teen Vogue and other experts) to those aspiring to work in the fashion industry. To put it bluntly, competition is more stiff than ever before, the rag trade only LOOKS glamorous, the industry is in trouble (which means competition will get much worse), and even very talented people can fail miserably. (When I graduated in 2003, the trade was competitive all right, but it wasn’t THIS bad.)

Still want to be a designer, or at least work in fashion? Damn, you’re brave, and I wish you the best of luck. Now get out there, work hard, and make me proud!

In other news, I haven’t been feeling well lately, and it doesn’t help that The Times also reports that Lindsay Lohan has been appointed “artistic advisor” at French label Ungaro, in spite of the fact that her idea of style is throwing on some leggings and some kind of dead animal. I’m trying very, very hard not to throw up right now.

Advice to Would-Be Vegan Designers, Part 3 June 9, 2009

I’ve already explained why getting some form of education in design, be it formally (fashion school) or entirely in the form of on-the-job training (internship, apprenticeship), is necessary for aspiring designers.

Today, I’m going to give you some advice on surviving your education. This is the kind of advice I wish someone had given me, so I hope you’re taking notes.

• Many designers are brutally honest, and this applies to fashion instructors (who are often rag-trade professionals) as well. If they think your work is crap, they are going to tell you so in as many words. Start developing a thick skin now.
• You CANNOT slack off in fashion school (or on the job). It’s possible to make educated guesses on a multiple-choice exam or B.S. your way through an essay (back when I was just taking general ed. classes, I did both and still kept my A-minus average). It is NOT possible to fudge your way through an evening gown, tailored jacket, or draping final and still have it look like you actually tried. Stay on top of your work, no matter what.
• If you must pay for fashion school by yourself, consider taking a couple of years to work and save as much money as you possibly can before starting school. Tuition is expensive, and supplies can be almost as costly. It is very important to keep this in mind, especially if you aren’t a trust-fund kid or can’t find anyone to co-sign a student loan.
• Still in high school? Save your money from part-time jobs, and consider getting your general-ed credits out of the way at a community college, but only if the schools you want to attend will accept transfer credits. Not all of them do, so check first, or you’ll have wasted a couple of years and a few grand.
• Carry a small sketch pad and pen or pencil everywhere you go. You never know when inspiration is going to strike.
• Keep an eye on exhibit schedules for area museums, galleries, etc., and go to exhibits that include clothing and/or accessories. Trust me, they are invaluable experiences, even if you think you don’t need to know anything about African beadwork or 1950s Lucite handbags.
• Some of the most brilliant creative people in human history have been mentally ill, so you may have a mentally ill instructor, employer, co-worker, or mentor at least once. I had one professor who’d allegedly had a breakdown and spent time in a psychiatric hospital the year before (she was intelligent and highly skilled, but unfortunately, she was also very prone to erratic behavior and inappropriate remarks – I’m not sure if she really was mentally ill or just a little odd). I have nothing against the mentally ill (case in point: personality disorders, addiction, and suicidal tendencies have all run in my extended family), I’m just saying don’t let it shock you.
• Buy the best sewing machine you can afford, and keep it in good condition. There will be days when the sewing labs will be full, or when you’d rather work in the privacy of your own room. (Big tip: it’s not that hard to find used ones in good condition. Check Freecycle, classified ads, or Craigslist for used sewing machines, but bring some scrap fabric and thread, and ask to test the machine before you pay.)
• Listen to everything your instructors, employers, supervisors, and co-workers say, and don’t be afraid to ask questions.
• Have your name engraved on your patternmaking scissors, fabric shears, and metal rulers to avoid ownership disputes. (I bought my design tools at Vecchiarelli Brothers in LA, which also engraved them for me.) For plastic tools, I use self-adhesive return-address labels, which I’ve found stay on much better than marker ink. (They also make clear-plastic tools much easier to spot.)
• If you drink, go easy on the booze – and if you’re taking illegal drugs, stop. It’s true that some well-known designers have struggled with substance abuse problems, but booze can slow you down, and drugs can be even worse. One night of heavy drinking can impair your ability to think abstractly for up to 30 days afterward, and since good design is about creating solutions, you will need to be as sharp as possible to do your very best work. (Yes, I was an R.A. How did you guess?)
• Get in the habit of being on time as often as possible. If you miss the first ten minutes of a lecture or training session, you might miss the first few crucial steps and not do the assignment correctly.
• If you decide to study in another city (say, more than 20 miles away) and commute, keep in mind that traffic can be hell, gas and car repair will add up quickly, and it is not pleasant to spend a couple of hours a day in your car on top of classes, coursework, household chores, family obligations, and any jobs you may have. I personally would rather move than commute, but consider your situation and use your own best judgment.
• If you are working for another designer while planning to start your own line, they might be supportive, but they might also think you’re going to steal their ideas. Again, use your own best judgment – and design for a different target market just in case.

Advice to Would-Be Vegan Designers, Part 1 March 28, 2009

November, 2002.

Roughly two dozen of my classmates and I – all fashion-design majors – perch on tall industrial stools at long, waist-high pattern-drafting tables in the senior design lab. In the adjoining room, industrial sewing machines are whirring away.

The course is Line Development. We are learning how to apply our design skills toward creating a variety of apparel lines. Each week we’re assigned a different segment of the apparel market – evening wear, lingerie, swimwear, children’s wear, plus size women’s wear, apparel for teenagers, office attire, menswear – and create a line for that market, which we present at the next class session.

We create a concept, sketch a number of pieces for the line, and create a concept board with flat sketches of all the garments, with a few full-color fashion figures. All the pieces must be appropriate for the market (i.e. no halter tops for the office wear category). All the pieces must be made of appropriate materials (i.e. easy-care fabrics for the children’s wear). All the pieces must be designed so that they can be produced in a manner that will ultimately make them affordable to their target market (i.e. no tailored jackets for teenage boys – while boys of all ages look divine in a good jacket, proper tailoring is very costly and is not an ideal investment for someone who is likely still growing).

This week’s assignment was casual women’s wear. Next up for presentation is Noelle*.

Noelle, sporting bright-blond highlights in her curly golden-brown hair, huge gold hoop earrings with several matching bangle bracelets, gold stiletto sandals, tight jeans, and a clingy top, sets up her boards. I don’t know what I’m seeing on the boards, but I wouldn’t call it casual women’s apparel. It looks like formal beach attire for a stripper. One of the tops is nothing more than a blue satin triangle bikini, for God’s sake!

After she briefly explains her collection and inspiration, our instructor Mrs. Mueller,* a semi-retired assistant designer with many years of experience in the field, starts asking The Questions. They are the same questions she asks everyone during every presentation. In spite of the fact that they don’t change very much, some of my classmates are never fully prepared to answer them. Noelle is one of them.

“Who’s going to wear this?” Mrs. Muller inquires.

Noelle launches into a tortured, circuitous answer that boils down to single young women with runway-perfect bodies (i.e. herself). Not a smart idea, given how few people look like that, and given that most can only get away with dressing like that until age 25 or so (thus cutting the potential buyer base even smaller).

“And where is she going to wear it?” Mrs. Mueller asks, pointedly.

Noelle tilts her head like a confused puppy dog. “To…school?”

Everyone else in the room, myself included, is at this point snickering as quietly as possible, trying VERY hard not to burst into peals of laughter. How many schools would actually allow a student to dress like that?! (I’m not even going to tell you what Noelle’s children’s wear line looked like. For the record, I’m still not sure how she managed to graduate with the rest of us.)

My point? When would-be designers don’t know EXACTLY what they are doing (and have no idea what real people want to buy), it shows. And in some cases, it’s really quite painful to watch a well-intentioned beginner make costly and embarrassing blunders that could easily be avoided with a little education and a little training.

In other words, if you want to design apparel for a market other than yourself, you need to learn how.

There are a few ways to do this. I strongly recommend fashion school, mostly for educational and training purposes, but also as an endurance test. Fashion school is, contrary to popular myth, NOT for trust-fund bimbettes who’ve never lifted a finger in their lives. It’s HARD WORK, and students are often pressed for time. (My Advanced Illustration instructor couldn’t resist telling us that fashion majors at one rival school had to come up with 120 different variations on a basic garment in ONE day. Don’t ask me how they manage that!) It can also be expensive, due to a) most of the better schools being privately owned and b) the sheer number of materials students must purchase to complete assignments. The good news: if you can make it through fashion school (and about 60% of the students who started the course when I did had dropped out or flunked out by graduation), you can handle anything the industry may throw at you later. Bonus: if you can handle paying for classes and materials on a tight budget and account for everything down to the last penny, there’s a good chance you can handle the finances of your own company later on (in the past couple of years, several companies have quietly replaced designers who could have lowered costs in various ways, but chose not to – don’t make their mistakes).

The other route is on-the-job training, which I recommend for anyone interested in a serious fashion career. Fashion majors, at least at most fashion schools, are generally required to have at least one internship in the fashion world. Some fashion companies will accept interns who don’t have experience or education in the field; some will not. Alternately, some companies still do apprenticeships, though it’s no longer common practice in the USA. (Alexander McQueen apprenticed to a tailor, worked for several designers, then applied to tutor at Central Saint Martins, where the department head urged him to take the fashion course. Not that I would actually wear McQueen – all that fur, eew! – but it’s worth noting that he has far better technical skills than most designers who didn’t go straight into design school.)

One thing that was drilled into our heads at school from Day One was to spend a few years working for someone else before attempting to start our own labels. Yeah, no one wants to actually do that (especially when one’s head is overflowing with all kinds of great ideas), but it’s one of the best bits of advice an aspiring designer can receive. All beginners make mistakes. It’s best to minimize their impact by making them at someone else’s company, on someone else’s dime. An established company can probably sustain a few goofs (just be careful not to get fired), but a self-employed designer with limited distribution and few resources can easily be bankrupted by one mistake.

Working for someone else also enables one to learn from their failures and successes, and to gain a greater understanding of how the industry really works. Some things can’t be learned in the classroom or via word of mouth, and they do need to be learned well before a brand-new, no-name designer strikes out on her own. Otherwise, it’s all too easily to find oneself the victim of the many, many unethical people in the industry.

A word about shoes:  Shoe design is far more complicated than clothing design – it’s more like engineering! I suggest taking at least one shoe design class. Some trade schools still teach shoemaking as well, though students may or may not be required to use leather for the class. Personally, if I were going to create a shoe line, I’d take shoe design classes and find a business partner with several years of experience in shoemaking. (Robin Webb at Vegetarian Shoes learned how to make shoes before starting the company and describes shoe manufacturing as “bloody hard work.” I’m willing to take his word on it.)

Bottom line: Start learning NOW, be it in classes or on the job, and learn as much as you can. Please, please, PLEASE don’t be like ditzy, clueless Noelle.

*Names have been changed.