Fashion Industry, Design
Issues and Practices
MIT Workshop (Text, Pages 2 to 6)

P. 2.
Summary

There are four key issues (F-1) to achieving best design practices in the fashion industry.

One: Structuring the communication (A-8) of design information and representation in the language of images, actualizes mental imagery (A-7) in designers' minds, e.g., Stylometrics as a fashion image language (Graphic #5). Imaging occurs as 2-D, 3-D and 4-D, at any point in the product lifecycle. I achieved great success as a designer-manufacturer by maintaining all requirements and constraints as imagery in my mind while designing. My training came from experience: stitching in garment factories and creative pattern making as a teenager, and from old world master tailors who could image pattern processes in their minds. My greatest aspiration is to bring old world expertise and quality to the future through image technologies.

Two: All the old world expertise and new information encompassing requirements and constraints (F-9), in all steps of a product lifecycle must be considered at the "Point of Design" (P.O.D. Graphic #1) ­ a method to reduce uncertainties (E-6). Since design information is increasingly fragmented among many minds, I encourage designers to collect information in a database based primarily on images (C-6, recording) & (C-7, computers). The P.O.D. graphic is for the computer savvy client, and graphic #2 (on the cover) is for small firms and designer start-ups, to influence what should be considered at the beginning of the design process. The second represents the four fundamental phases (B-1) of the product lifecycle, the divisions I am presenting to you today.

Three: The business strategy (D-8) of collaboration (H-1), of sectors within one business and between many businesses, among fashion designers, pattern engineers, production managers, retail fashion stores, fabric and trim suppliers, and fashion consumers, is a strategy to assure the survival of our industry in America. Henry Ford said: "Coming together is the beginning. Keeping together is progress. Working together is success." I am writing a book, "Let's Redesign the Fashion Industry", which includes how to inspire collaboration through technological support.

Four: Knowledge of consumer desires (D-1) as the basis for design purpose (E-2), leads to a future of "Mass Customization" in order for America to compete with the increasing apparel manufacturing overseas. Researching image technologies for mass customization is the basis of a series of National Science Foundation grants, and will be an important segment of my book.

The case study is a suede gown (Graphic #3), first designed for mass production to top retail designer departments. Today it continues to sell through other firms ­ because it has classic or non-trend styling. (D-3, market trends). The leather slip dress (Graphic #4), requested by one of the designers I work with, is a take-off of the suede gown.
 

MIT Workshop
Table of Contents

Summary
Creation & Research
Pattern Des. & Eng.
Production
Market.-Sales

P. 3.
1. Creation and Research

1-1. Mental Imagery in Creation
The design process begins (B-2, kick-off) by an idea in the mind: either the evolutionary result of creative playfulness, or the pressure of specific needs and constraints. The suede gown is an example of the former process. Both the 3-D "wrap" styling and the curved lines of "cuts" (A-5) were originally undefined swirling mental images (A-7) inspired by feelings of motion (4-D). When the feelings were peaked, I sketched (A-2) in order to concretize the ideas. The leather dress evolved from the second process, a version of the gown for daytime for a consumer range (D-1) of young career women - constraints (F-9) which influenced sketching rather than playing in the mind, copying lines and imaging others (Graphic #4). The "empire line"(A-5) (under the bust) was chosen to include a present market trend (D-3) of leather slip dresses.(A-5)

1-2. Sketches and Specs
Sketches as models (A-1) are needed for communication (A-8) when design processes are divided among many people, e.g., design consultant, pattern engineer, production manager, or market and consumer consultants. The group becomes informants (G-4) to evaluate the ideas to have enough value to warrant further design work, a typical design practice I see in my consultant work. Specs (F-10, specifications) are added to the sketch in order to develop the idea into a "pattern" (A-5) for cutting, while maintaining the creative designer's requirements. The specs illustrate specific shapes of details, trims and fabrics, often by computer, but is seldom a well done design practice. Designers have been taught to illustrate an idea, but not how to think in images. This gives me plenty of work as a design consultant, correcting the poor communication between creative designers and pattern and production engineers, and encouraging a correct image language.

1-3. Style Books and Research
The history of the styles designed by a firm are kept in a record (C-6) called a "Style Book" (A-5) with style numbers, sketches, specs, and detailed selling information, and they are universally understood in the industry. At the beginning of a season designers and consultants research (C-3) the style history of the firm (F-7 Influences) to see what might be rehashed exactly, or to search for past details that might be adapted to present styles, keeping a mood of what the firm is known for. The Style Book should be an integral part of a P.O.D. database. As fashion designers we also research store inventories, trade papers and fashion magazines for market trends (D-3) and general information. A good product line is one that incorporates rehashes, copies, and originals as a market strategy (D-8) that supports sustainability and profitability.
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A-5. Terminology: (1-1.) wrap, cuts, slip-dress, empire line. (1-2) pattern (1-3) Style Book

P. 4.
2. Pattern Design, Engineering and Grading

2-1. Mental Imagery in Pattern Design
The pattern designer retains a mental image of shape and fit requirements of the specific consumer type (D-1) who will wear the firm's clothing. Sometimes this information is standardized sufficiently to put into specs, but more often it is learned from years of experience, creating mental images (A-7) in our minds as expertise while working. My early years as a custom designer induced me to maintain an image of the consumer in my mind while making patterns, and it is what inspired the innovations for the grant awards from the National Science Foundation ­ especially those involving "Mass Customization". As a design consultant (D-5) I question the designer or buyer to get a good mental image of their consumer in my mind, then help them create that image in their minds. Evaluation, using the criteria (G-2) of the image of the consumer, should be done at every step of the product lifecycle(G-3, Procedures).

2-2. Pattern Engineering Begins with "Slopers" (A-5) (or Stylometrics Primitives)
Pattern design is the term for the first pattern, and pattern engineering the term used for patterns in mass production. There are two methodologies in developing a pattern: One is three dimensional, a "draping" (A-5) technique of "muslin" (A-5) fabric pinned, cut and manipulated on a dress form; and the other is two dimensional, a flat pattern technique of cutting, manipulating and measuring paper pattern pieces. Most pattern designers, whether working 3-D, 2-D, or both, begin with a sloper pattern, a precedent (C-1) or existing design (A-4). A sloper, the term used by most apparel firms and their designers, is chosen from good selling past styles because it has a similar shape of the new style, maintaining the quality, fit and shape for which the apparel firm is known, and it's efficient because much of the pattern engineering is already done.
Computer programs (C-7) exist for illustrating styles in marketing, for specs, and for grading sizes and marking layouts, but not yet for the design and engineering of patterns. The rationale for winning the series of NSF grants was the innovation of a set of ten primitives, the basic part of my Stylometrics language (Graphic #5), that functions as a standardized set of slopers for developing all women's styles for every apparel firm, each with their unique fit and shape ideology (Graphic #6). Both the suede gown and the leather dress started with Primitive #1 Bodice and Primitive #8 skirt. For the gown, the Primitives were cut in muslin, adding fabric to enable draping and pinning the style on the dress form. The draped muslin pattern was then taken flat, "trued"(made accurate) (A-5), cut into a paper pattern, then recut and sewn together into a muslin sample as a prototype (A-1) to evaluate shape, fit and style on the dress form, and on a human model. The Primitives for the leather dress were first manipulated flat on the table with the pattern for the gown, making a new 2-D pattern ­ which was cut and sewn together as a muslin prototype (A-1) for the same evaluation on a dress form and on a human model.
Patterns are universally understood, in their visual shapes, symbols and textual notes, as a record (C-6) of style information for cutters and stitchers in production, recognized by every sector within one business and internationally by every apparel firm. The most common symbol is the "notch" (A-5), a tiny slash into seam allowances for mathematically precise (A-3) matching of one seam to its opposite. If not the same measurement, the stitcher expects an explanation, such as "ease" or "gather" (A-5), etc. Notches are used as a strategy to help the stitcher put together intricately shaped seams. Some of the tools (A-6) that the pattern engineer uses to assure excellence are the familiar measuring tape, "Tailor's Square and Tailor's Curve" (A-5).
The great attribute of the image language is the ability to realize a computerized pattern engineering system in 3-D / 2-D transformations that combines draping techniques with flat pattern work (Graphic #7). The Stylometrics language includes "generic styles" and "style pieces" (Graphic #5) in its capacity to function as a computerized image language for communication (A-8) between design sectors, manufacturing, marketing and consumers. Interestingly, the Stylometrics "shape language of design" was created through my capability for mental imaging (A-7). Until a computer program is completely developed, I use the Stylometrics Primitives manually in pattern design work. The manual version will be a part of my book and web site, to encourage its use by designers without being overwhelmed by computer technology, and for benefits in all aspects of their fashion businesses.

2-3. "Grading" (A-5) or Sizing of Patterns
Mental Imagery (A-7) plays a part in the process of grading a set of different sizes for a style and in establishing "grade rules" (A-5) (C-5, rules) (A-3 Analysis) for the proportions of expansion in width and height, because no standards have been accepted in our industry. The expert grader mentally images the firm's consumer in order to decide on specific divisions. I did the pattern grading manually when manufacturing high fashion in order to guarantee a high quality in the proportioning of very creative styles. A typical grade rule in the women'swear industry is 1 1/2" circumference around the body, broken into 3/8" per quarter. A specific division might break the 3/8" into 1/8" across the front and 1/4" on the sides under the arms, varying with different firms. Many retailers send mandates on grade rules, especially catalog companies. Many firms in commodity clothing grade by computer (C-7), persuaded by its speed and mathematical accuracy. Unfortunately, computer grading has had a devastating effect on 3-D design creativity, because the uncertainty (E-6) of creative styling requires too much guesswork which computers cannot handle ­ so creativity is avoided. For example, no existing computer grading system could handle the creativity of the suede gown.
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A-5. Terminology: (2-2) slopers, draping, muslin, trued, generic styles, style pieces, notch, ease, gather, Tailor's Square & Curve (2-3) grading, grade rules.

P. 5.
3. Four Basic Production Processes: Cutting, Stitching, Pressing, Finishing

3-1. Design Practices Involved in Production Planning.
The first step in production is designing a plan for organizing timing, costs and scheduling (H-6), because of tight due dates by retailers. There's a phrase: "If we don't ship on time, we eat it". As a manufacturer I was also the production manager, so that every style was designed for (E-2) production ­ or sometimes production was designed for the style. The latter case was required by the high fashion principle of designing "collections" A-5 (D-7, product range) e.g., coats, suits, dresses, gowns, separates, etc. ­ with each style-type requiring different planning. I compare it to the differences between American and Japanese auto plants: Americans making one model and color per production line, while the Japanese need to make several models in varying colors on a single production line. A long-term design strategy (D-8) was cutting all styles in suede or leather, a fundamental sameness in production processes that allowed great creative variances in styling. A solution to many problems was imaging (A-7) possible production techniques while designing, and assuring that the same techniques would be involved in many different styles, such as top-stitching in silk thread, and innovative overlapping of seams, and I trained the stitchers in the skills required. In other words, efficient quality production systems, when there are low quantities or customized one-of-a-kind, requires searching for samenesses in different ways than depending on the same styles and shapes.
When consulting, I argue with designers to get production considered in design by showing how many production problems can be solved by design changes with information and collaboration (H-1), with pattern engineers and production managers at the Point of Design ­ and eliminate the need for expensive integration (E-4) of parts that don't work together, or costs that overrun a projection (A-3. Analysis). An example is describing a costing technique, achieved through mental imagery (A-7) of motion and timing (4-D) in stitching processes while designing the sample (Graphic #8). There is increased production problems now with so much being outsourced (H-3) to other factories overseas, especially China. The first slip-dress was a fabric, easily produced in the designer's factory, but the leather slip-dress is sold as "specials" (A-5), made by a stitcher and cutter who produce them as independent contractors ­ an initial step toward the concept of "Mass Customization" in the fashion industry.

3-2. "Markers" (A-5), Layouts for Cutting
The cutting process, when dealing with textile fabrics and linings in leather garments, begins with markers. The set of graded patterns are laid out on "dotted marking paper" (A-5), the width of the fabric in which a specific style will be cut. Good layouts are designed, with a goal of marking out the best possible arrangement to take the least amount of material, requiring mental imagery (A-7) of spatial relations between pattern shapes. Even when computerized (C-7) mental imaging is still needed. The fabric is "spread" (A-5) in layers, according to a plan indicated by the marker, and cut by an electric cutting machine. The suede gown and leather dress, in our case study, are cut from animal skins. The constraints (F-9) of every skin a different size and shape forces the cutter to mentally image (A-7) the layout for each skin. Note in the case study the "points" in the style pieces, a decision when creating and designing the style, because points enable getting more out of a skin. Constraints need to be considered a part of the design process and not a blockage to the designer's creativity.

3-3. Stitching, Pressing and Finishing Processes
Stitching is the term for sewing garments in mass production on industrial machines; and, in most factories, styles are partitioned (E-1) by section work: different parts of the style stitched by operators that are trained in the necessary skills. The creativity of the suede gown required designing an innovative partitioning(E-1) , because it could not follow the traditional method (Graphic #3). The shell of the gown was divided into five sections of "pairs"( A-5). The leather cutters were instructed, by the data on the patterns, to write a novel system of letters and numbers on the back side of the suede after each piece was cut. The stitchers were given sketches at their machines to follow in putting each section together, and then the sections together for the whole gown. They jokingly called it "stitch by numbers", and could put the shell together in 15 minutes - and I made a 60% profit on every gown sold, because gowns must sell at expensive prices, regardless of costs. It is these kinds of innovative production techniques that can make "Mass Customization" possible.

3-4. Quality Must Be Designed in a Product (Improving Engineering Design, National Research Council)
As a manufacturer I achieved quality assurance by: first, involving all workers: cutters, stitchers, pressers and finishers in the initial design work (P.O.D.); and second, giving each worker the responsibility of checking the quality of the prior person's work. Although not perfect, it worked well compared to most manufacturers, who need elaborate (E4, Integration) systems to get similar quality. An innovative (D-8) business strategy was designed for my leather cutters by setting them up in an intraprenurial system with responsibility ­ prompted by constraints (F-9) of the heavy costs of leather skins. When the shipments of skins came in I signed them on memo over to the group of cutters, on the condition they achieve a certain quantity and quality of cut styles for the amount of skins. If they used less, the extra was their profit. To assure quality, every stitcher watched for pieces that were not cut right or had damages ­ forcing the cutters to recut them and take more of the costly suede. They made a lot of money, more than any other leather cutters in the industry ­ and I made money on a guaranteed cost and quality that never wavered. Again, these innovations in giving more responsibility to workers as "independent contractors", and making more money, are steps in "Mass Customization".
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A-5. Terminology: (3-1) specials, (3-2) markers, dotted marking paper, spread, (3-3) stitching, pairs,

P. 6.
4. Marketing and Sales

4-1. Selling procedures
"Samples" (A-5), made as evaluation prototypes (A-1) are used as an exact representation for selling the styles to retailers. We know when a design is good (B-3, Completion), not when it sells initially to retailers, but when the style is "reordered" (A-5), a test that consumers loved it. Quality creative design is not a unique capability a in few minds, but a collaborative (H-1) effort of many. I recognized that some buyers did have ideas, and often were frustrated designers, so I created a unique strategy (D-8) that substantially increased my sales. I would ask the buyers ahead of the season what design ideas they would like for their stores, even though I often knew more about what consumers desire. In designing the season's line I would incorporate some aspect of their ideas, and then advise my salesmen to convince the buyers that the designs were actually their design ideas.
In selling procedures, a sales "contract" (A-5) is written up with the terms of shipping, payments and any specific design objectives (F-3, Clarification) and signed by the buyer. There are always price constraints (F-9) in retailing, which puts a tight boundary on costs of design, materials, pattern engineering and production processes. Cost constraints have put pressure on manufacturers to outsource (H-3) production processes, first going south in the 1960s and 70s, and overseas in the1980s on. Today, with China, and other Asian countries building computer capabilities, much of the computer design processes are being outsourced as well ­ but the quality is poor, except in commodity clothing products. The solution for the American fashion industry is to design fashion clothing, and innovative methodologies, such as Mass Customization, through computer image technology ­ and leave commodity manufacturing to Third World countries.

4-2. Customers
Knowing your customer (D-1), for a fashion clothing designer, means being able to mentally image (A-7) her desires in generalizations, and designing for (E-2) her by satisfying those desires. As a custom designer throughout the 1960s, I had such satisfied customers they followed me and continued to buy as I mass-produced for the stores ­ which sustained the generic knowledge in my mind of the style and fit preferences of a significant segment of the fashion market. Knowing consumer desires, and the ability to implement them in my creativity, assured success (G-1) of sales (G-6) in manufacturing and selling to retail stores. There was never a concern about sales, rather I worried how to increase production as sales continually kept increasing. The pressure of workers, became too much, so I sold the assets of the corporation to another manufacturer, kept my name, and continued to function as a design consultant (D-5) for them and other designers and manufacturers.
The design strategy (D-8) to cut all styles in suede or leather, not only made for efficient production, but also was an excellent market strategy. By styling leather like textile fabrics, I became aware of an unfulfilled market need that most designer/manufacturers stayed away from for fear of being too different; that is, most leathers and suedes are styled with a tough look for the young motorcycle crowd. The strategy became a market niche with little competition, yet I never produced all I could sell. For instance, I was the first designer in the world to create an evening gown in suede ­ originally for the purpose of promotion only, not for selling. But the buyers and consumers loved it, so many versions of suede gowns continue to sell.
An innovative technology researched through the National Science Foundation is an online software game called "Self-A-Wear" for consumers to enjoy becoming aware of their fashion desires. There are a few sections: Color-A-Wear, Fabric-A-Wear, Fit-A-Wear, and Style-A-Wear, of which there is a demo (Graphic #9) based on the Stylometrics image language. It's linked to a database to collect their desires in images and match them to fashions from retailers, designers or custom dressmakers, as an innovative marketing tool for promoting Mass Customization. The consumer becomes the designer by choosing the shapes, waistlines, pants, skirt lengths, sleeves, necklines and collars ­ designing it for one of six occasions. She sees her choice evolve in front of her and can change her mind until she is satisfied. She gets a "portrait" explaining why she chose what she wants to wear at these occasions. These profiles are based on the way our eyes follow shapes and lines, correlating the movements with specific feelings, and validated by a comprehensive and entertaining connection to history ­ the social mood when those shapes or lines were first introduced. For example: "The sheath dress (shape) was first worn by the Egyptian woman, who was very proud of her body ...." Another example is the scoop neckline, first introduced in the early middle ages, and reflects the way our eyes "scoop" to embrace the wearer's face. Just as custom designing prior to manufacturing taught me about consumers (D-1), I believe any software programs that collect consumer desires ­ in any design discipline, from fashion clothing to automobiles to housing - can make "Mass Customization", a success.
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A-5. Terminology: (4-1) samples, reordered, contract,