christopher ræburn : research document
DESCRIPTION
Dissertation stage 1: A research report into the ethical and sustainable design industry, snow sports industry and a case study on the eco designer Christopher Ræburn.TRANSCRIPT
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An Expansion into the outdoor sports market in collaboration with Gore-Tex to produce an ethical, functional and innovative range of skiwear.
Research Document
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Megan Andrea Brooks
N0258854
FASH30070: Negotiated Project stage 1
Tutor: Si Beales
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Contents
Each season Christopher Raeburn creates a new up-‐cycled animal, made from fabric cut-‐offs. In keeping with his minimal waste ethos. Throughout this report, these animals will visually represent each chapter.
Introduction and Methodology 4
Eco-‐Awareness 9
Christopher Ræburn 22
Consumer Analysis 32
Competitor Analysis 41
Conclusions and
recommendations 61
List of images 64
List of in-‐text references 66
Bibliography and Appendix
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Introduction / aims & objectives
To introduce this project, the first aim is to investigate into the eco-‐aware textile industry and how it has influenced current designers and brands. By exploring the various eco-‐aware design and manufacturing methods, it will be possible to identify the most influential and innovative ethical fashion design methods within the current market, and how consumers are influenced by these ethos.
To contextualise my project I have studied several topics surrounding eco-‐fashion and the cultural issues regarding cotton trading, un-‐fair trade and immoral
clothing manufacture i.e. sweatshops and child labour. Books including ‘Where am I wearing’ and ‘No Sweat’ have provided me with insight into these topics. This research coincided relevantly with the investigation into the benefits of domestic manufacturing and the effects this has on the retail market.
By also looking at the Christopher Ræburn brand and his up-‐cycled creations, exploring into his past collections and rationale behind collaborations, it will be possible to assess the viability of collaboration with a garment technology brand such as Gore-‐Tex, eVent or
It was also necessary to investigate into the issues surrounding fabric dyeing and the use of harmful chemicals during the manufacture of garments, to
underpin the necessity for ethically aware clothing. On and offline sources made it possible to gain an understanding of the current global textile climate and the detrimental effects caused by harmful chemicals and mass-‐produced clothing made from un-‐recyclable fabrics. This secondary research aims to underpin my final proposal, addressing both global and cultural issues, and supporting the timely relevance of this design venture.
Taking this ethical research into consideration, this project will be an investigation into the viability of taking the designer Christopher Ræburn into the
outdoor sports market.
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After launching in 2008, the designer’s innovative methods of utilising re-‐appropriated military fabrics to create high quality, functional garments have gained him a prestigious reputation. The brand currently exists in the premium market; retailing in stores such as Liberty’s, Harvey Nichols and Barneys in
New York. His exclusive, up-‐cycled creations are an example of the modern, eco-‐friendly fashion design that is challenging existing perceptions of eco-‐chic.
Expanding the Raeburn brand into the outdoor sports market would be an opportunity to advance the brands current collections and further its presence within the fashion industry. The overall objectives of this report are to assess the viability of integrating up-‐cycling methods into outdoor sportswear design. This report will explore the possibilities regarding fabric sourcing, design innovation and potential collaborative ideas to advance garment technology.
It will be necessary to research existing eco-‐aware brands within the outdoor sports market, and identify weaknesses within the market to establish a
demand for this design venture. By assessing existing brand’s strengths and downfalls it will also be possible to derive opportunities for improvement and innovation.
By studying both Ecological issues and the snow sports market alongside the Christopher Ræburn brand, it was possible to assess the viability for my final project proposal, making it possible to create a driven, timely and relevant brief.
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Methodology
To assess the viability of this design venture and the expansion of the Christopher Ræburn brand a series of research activities have been carried out to assess the market into which this brand will be entering. It was important to establish the level of desire for Christopher Ræburn’s designs within the snow sports market. The aim of the research conducted has been to answer the following five questions that in turn determine the feasibility of this project.
1. What are the current options within the market for outdoor/ extreme sportswear?
2. What does the average extreme-‐sports consumer expect from their sportswear/gear? 3. How image lead are the consumers within different categories of outdoor sportswear?
The primary and secondary research methods used to answer the above questions are described below.
Primary Research
Questionnaires
Qualitative market research, in the form of an online questionnaire, was conducted within the outdoor sports market to analyse the buying habits of the
consumers who take part in extreme sports such as rock climbing, bouldering, mountaineering, hiking, skiing and snowboarding. The questionnaire was designed to identify consumer spending habits and also gain an insight into their thought processes when purchasing functional sports garments. Three online questionnaires were designed to successfully outline these questions and gain a broad overview of this particular sector of the market.
The first questionnaire was aimed at both males and females within the UK who take part in any of the outdoor sports outlined above. The primary objective
was to further understand purchasing habits of the consumers from the different areas of the outdoor sports market, as well as finding out their opinions on existing brands. This questionnaire was sent to the Nottingham Trent University (NTU) rock-‐climbing club, NTU snow sports society and Plas y Brenin National Mountain centre, in North Wales. This ensured that the feedback received from the questionnaire was from the correct consumer demographic.
Luke Brooks, a freelance mountaineering and rock-‐climbing instructor at Plas y Brenin, answered the online questionnaire along with 20 of his outdoor instructing colleagues. The online survey-‐based market research generated 80 responses, the remaining 60 coming from the NTU sports societies and other amateur consumers.
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The second questionnaire was created to answer questions raised by the initial questionnaire and determine the most suitable area in the market to target. The questionnaire targeted the skiing consumer demographic. It was built online, using surveymonkey.com, and sent out to a sample of 20 people including
professional skiers and those who ski as a hobby. The questions were designed to determine the most popular brands amongst skiers, and why those brands were favoured above others, as well as to highlight how consumers view quality and price when purchasing skiwear and how this affects their buying habits and preferences. A secondary aim was to identify consumer perceptions of garment technology, such as Gore-‐Tex and eVent.
The third online questionnaire analysed the superficial, image-‐conscious aspect to skiwear. Garment technology and functionality aside, it was necessary to
analyse how skiers perceived the aesthetics of their skiwear. The questions enquired as whether the designer, brand or style of the garment influenced consumer spending habits. It also sought to identify the links between skiwear aesthetics, budget and purchasing decisions. This defines the link between high quality skiwear and luxury branding.
Interviews
In parallel with the research into the skiwear market it was important to understand the growth model of Christopher Ræburn brand and ensure the snow-‐
sports market was a viable area of expansion. As part of this research an interview with the creator and designer of the Ræburn brand, Christopher Ræburn was conducted on a visit to his design studio in Hackney Wick, North London on the 31st January 2012. By presenting the project proposal to him it was possible to get his thoughts and opinions regarding the venture. The primary goal of the interview was to identify the planned growth for the business and
whether snow-‐sports clothing would fit well with their business model.
The ultimate aim of the interview was to validate the snow-‐sportswear proposal and ensure it fit with their brand ethos and values. An additional benefit of the interview was gaining an understanding of the brand’s current positioning within the market.
Interviews were also carried out with a sales consultant in the menswear departments of both Harvey Nichols in Knightsbridge and Liberty of London. The sales consultants were familiar with the Christopher Ræburn brand and the focus of the interviews was consumer behaviour when viewing and purchasing
the brand in-‐store, as well as further clarifying which brands and features proved most popular with consumers.
Visits
To coincide with my research into the brand I visited the Christopher Ræburn design studio in Hackney Wick, London to experience every stage of the design process. Meeting with the designer and his team it was possible to conduct first hand, primary research and gain feedback from the designer about the
proposed project.
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To research the positioning of the brand in the retail environment visits were made to Liberty of London and Harvey Nichols. By seeing the finished designs within the premium market environment, amidst other well-‐made luxury garments I was able to contrast and compare brands and designers at a similar
price point. This made it possible to assess their strengths, in comparison to that of Christopher Ræburn, and derive opportunities reflective of weaknesses within this area of the market.
Opinion Formers
To gain a well-‐rounded understanding of the skiing consumer I identified four opinion formers; each of them representing a different age and circumstance demographic of the target market. The aim of this area of research was to investigate how their lifestyle and consumer behaviour is reflected in their
skiwear related choices. The research involved interviews and photographs to better understand how they interact with different brands.
Secondary Research
In order to gain a comprehensive awareness of the respective markets secondary research was carried out via mediums including books, online databases, websites and blogs These were used to collect statistics as well as a wide range of opinions on the topics surrounding my proposal.
By looking at The Ecologist website I was able to find out what action is already being taken against cultural issues surrounding the textile industry, and this
type of research has ultimately underpinned the cultural relevance of my project. Designers, such as Lost Property of London and Katherine Hamnett, who create garments and accessories from reclaimed or fair-‐trade materials, are featured on this website. Katherine Hamnett’s organic cotton campaign particularly portrays the current efforts of today’s eco-‐aware fashion designers.
Mintel was used to access relevant reports that provided me with an understanding of market areas such as consumer spending habits, the outdoor sports
market and the current retail environment.
As well as looking at Christopher Ræburn, research into other functional, inventive designers, such as Aiter Throup, was carried out to assess their UPS’s and their motives behind design. Sportswear designers and outdoor sports websites provided a perceptive overview of the market I am looking to enter during the project, outlining the potential competitor set for Christopher Ræburn.
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Eco-‐awareness
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The initial research undertaken for this project was an investigation into eco-‐awareness within the textile industry. This included looking into the history of textile manufacture and how consumer attitudes towards clothing have changed over time. It was also interesting to explore how textile manufacturers have started to become aware of global ecological issues, and to alter their manufacturing methods to help these issues.
An investigation of the history of textiles through the use of books such as ‘Sustainable fashion; why now?’ has provided useful information about the original manufacture of garments and how methods have progressed over time. It was important to look into this to understand how both the value and physical price of materials have changed consumer attitudes. There are several factors that have affected the value of materials, including advances in machinery, cotton subsidies (see appendix 1) and the farming of cotton in developing countries. All these factors have contributed to making fabric become more accessible.
“Textiles were scarce in the beginning of the period (1600’s), requiring laborious processes to produce usable cloth; consequently people had few clothes. Both clothes and fabrics had value and were passed onto heirs. People practised sustainability without realising it”. (HETHORN & ULASEWICZ 2008: 28). The value of cloth has changed since the industrial revolution, before which practicing sustainability was directly reflective of the price value of fabric. However, in today’s retail environment the cheap labour costs for garment manufacture in developing countries now means that retailers are able to mass-‐produce clothing at lower costs. “The industrial revolution ushered in an era of abundant fabrics, followed by the merchandised production of apparel. Fashionable apparel became available to all classes of people in industrialised countries, sometimes are the expense of the environment and through unfair labour practices” (HETHORN & ULASEWICZ 2008: 28). The increased availability of garments has changed consumer attitudes, encouraging mass consumerism and leading to increased waste of old, hardly used garments.
“American Apparel, People Tree, Veja, and Patagonia: brands that promise ethical working conditions fair-‐trade or the use of organic materials are
becoming more prevalent, nibbling the market share of retail giants whose clothes are made by workers in developing markets.” (TUNGATE, M 2008: 234). Tungate highlights here that the success of ethical brands is becoming more dominant in today’s fashion industry, suggesting that there is a niche in the market for the expansion of ethical brands into other areas of garment retail.
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Environmental issues and action being taken “We hear the terms “sustainable design”, “eco-‐chic”, “Eco-‐fashion” and “ecologically friendly couture” and wonder, are these terms a trendy response to
this environmental degradation or a new movement with our industry?”
(HETHORN & ULASEWICZ 2008: 31).
The macro trend of agricultural pollution has created a necessity for ethically aware fashion, becoming more and more dominant over the years, ethical designers are introducing solutions to the issues surrounding garment manufacture such as the farming of conventional cotton, the use of harmful dyes and chemicals and the use of cheap labour in sweatshops.
The production of conventional cotton as opposed to organic is surrounded by environmental issues. Research has shown that
“more than 90% of cotton production involves the use of synthetic chemicals” (HETHORN 2008: 39) which contributes hugely to the harmful chemical consumption that is so destructive to the environment. It is these issues that underpin the necessity for ethical fashion designers today, regarding both ethical design and manufacturing methods.
On her website Katherine Hamnett describes how “conventional cotton represents 10% of world agriculture and uses 25% of the
world's pesticides” (KATHERINE HAMNETT 2012: online). With this in mind, Hamnett started an environmental campaign encouraging the use of only organic cotton produced and traded fairly. The aim was to raise awareness of the issues surrounding environmental and social problems within the cotton trading industry.
The production of conventional cotton is destructive to farmer’s cotton crops, negatively affecting their income and livelihood.
However, by farming organic cotton they reap the benefits. Katherine Hamnett speaks to a cotton farmer about the consequences of each cotton farming method: “When I was there I asked a cotton farmer what is the downside of growing cotton conventionally and he said, ‘When we have sold our crop we have nothing left’ .I asked, ‘What is the upside of growing cotton organically?’ He
said, ‘When we have sold our crop all the money is ours and we have our health.’” (KATHERINE HAMNETT 2012: online).
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For example, Katherine Hamnett’s ‘Tiny revolutionary tees’ are designed to promote ethically aware production methods, “using 100% sweatshop free, organic cotton to spread the word about environmental and social justice as well as world-‐changing ideas” (DOAN 2008: online). Hundreds of designers are incorporating several different methods of eco-‐inspired changes into their brand ethos; this may be through the use of ethical manufacturing methods, fair trade materials or environmentally aware sourcing or distributing methods.
It is this attitude that I intend to explore within this report. It is interesting to see how the consumer attitude varies so dramatically regarding the ethics and human rights behind garment manufacture. The current fashion climate is changing, introducing more and more ethically aware designers who incorporate different aspects of ethical practices into their design and manufacture methods.
Figure 1 Katherine Hamnett, 2008: (online).
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As well as altering their manufacturing methods to adhere to their social and economic responsibility, brands are also compensating for their carbon footprint financially. Puma, the German sport-‐lifestyle brand “made corporate reporting history by issuing the first-‐of-‐its-‐kind Environmental Profit and Loss
Account (E P&L) detailing its financial impact on ecosystems to the tune of 145 million Euros ($196 million) in 2010.” (KADLECK 2012: online).
This stems from their impact on the environment mainly through the manufacture of their leather goods: “More than half (57 % or 83 million Euros) of all environmental impacts are associated with the production of raw materials (including leather, cotton and rubber) in Tier 4 of Puma’s supply chain. The use of leather is the greatest single factor contributing to its impact on land use. (KADLECK 2012: online). This is just one example of how brands today are
accepting responsibility for their detrimental effect on the environment.
Figure 2 Puma & Alexander McQueen collaboration. (PUMA 2012: online),
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The outdoor and skiwear brand, Patagonia, is another brand that contributes financially to the eco-‐system to compensate for their carbon footprint. ”Patagonia is a founding member of “1% For The Planet”—an alliance of companies which contribute 1% of their net annual sales to environmental groups. The alliance was founded in 2001 and now has 235 members.” (THORP, V 2006: market research reports). Patagonia’s corporate responsibility concerning their environmental impact on the eco-‐system determines them as a leading ethical brand. Already established within the outdoor sports market, research into Patagonia’s ethical action against environmental issues has shown that the brand is the leader within the outdoor and skiwear market. “There is a reason that 'recycling' comes last in the mantra: Reduce, Repair, Reuse, Recycle.” (Patagonia 2012: online)
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Sweatshops vs. Domestic Manufacturing
The brand People Tree has also incorporated sustainable production methods into their brand ethos by only using organic cotton in the manufacture of their garments. They also employ a unique aspect to their manufacturing policies by creating more jobs for their workers in Bangladesh. This is achieved by
manufacturing their garments manually, (see fig’s. 3 & 4) thus reducing the use of machinery, creating more jobs and cutting down their use of energy.
They explain on their website, “where possible, we use manual labour over machinery. Many of our men's shirts are woven by hand (rather than on a powered loom) by our Fair Trade partner Folk's weavers in Pryoti, Bangladesh. The fabric made on one hand loom in a year will release 1 tonne less CO2, than the equivalent produced on power loom. “ (PEOPLE TREE 2011: online). This kind of change within garment manufacture is hugely beneficial to the
environment and also provides more jobs for the poor workers overseas, for example, “hand weaving uses nine times more labour than material produced on a power loom. That's nine times more people provided with an income they can use to feed their families and send their kids to school.” (PEOPLE TREE 2011: online). People Tree’s ethical brand values are an example of the action that designers are taking to reduce their effect on the eco-‐system. It is this
type of ethical action I want to incorporate into the skiwear market.
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Figure 3 Manual dyeing of cloth (PEOPLE TREE 2012: online). Figure 4 Hand weaving. (PEOPLE TREE 2012: online).
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Figure 5 Knock on the Door designers (online)
Timmerman describes the scenes he witnessed upon entering a sweatshop in Bangladesh, “We walked through the door and saw two teenage boys working
on a small machine. The best I could tell, their job was to prep the rolls of thread for the bigger machines by unrolling them and rolling them back up again”. (TIMMERMAN 2009: 55). Although, in principle, sweatshops in
developing countries provide thousands of jobs to people who desperately need an income, it is the working conditions of garment workers and the pay they receive that is surrounded by controversy.
To counteract this ethical issue, designers are incorporating domestic
manufacturing into their production methods. This eliminates the costly shipping processes that are so damaging to the environment, also eradicating the possibility of un-‐fair sweatshop manufacture. Retailers and brands such as
Knock on the Door, New Balance (see appendices 4) and Patagonia all practice domestic manufacture which, in turn, reassures their customers that they adhere to social ethics and human rights. Knock on the Door, for example,
explain how, “all garments are manufactured in the UK, so this helps to keep the carbon footprint low -‐ there is no flying boxes of clothes half way round the world! It also allows us to monitor the working conditions in the factories
ensuring that the employees are being treated fairly.” (KNOCK ON THE DOOR: 2012 online). Domestic manufacture is one way that brands and designers can control their carbon footprint and ethical working conditions.
This is similar to the ethical values of Christopher Raeburn, and the ethical
advantages behind his “Re-‐made in England” ethos. As his garments are re-‐made in England, he has completely eradicated the expensive, and
environmentally destructive methods of overseas shipping and unfair trading standards, which results in a largely reduced carbon footprint. Raeburn’s ethical methods are also demonstrated through his sourcing of his re-‐
appropriated fabrics.
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Consumer conscience
“The practices employed to get our clothes to us aren’t always pretty. But, fortunately, the clothes themselves are pretty enough to make us look the other way”(LEE, M 2003: 168).
“Do I need it? Is the cotton organic? Is it fair trade? Has it been made in a sweatshop, possibly using child labour? How much do you think the people making it were paid? How many air miles, and how many carbon emissions have this single garment produced?” (TIMMERMAN 2009: 39). Questions like these
evoke emotional connection and understanding within consumers, raising awareness and encouraging them to consider how these garments came to be hung upon the rail within their favourite store. When considering these aspects within fashion manufacture it is possible to raise awareness of the aforementioned cultural issues and provide a realistic solution.
“The problem is, once you start to consider all of these issues there is no turning back. Which is why ethical fashion is so much more than just a passing fad.”
(TIMMERMAN 2009: 39). Timmerman is suggesting here that ethical fashion isn’t just a passing trend and the increase in ethically aware designers supports this, however, this raises the question: do consumers buy into sustainable clothing on the basis of current trends or due to their own personal principles?
Research indicates that the average consumer may not be prepared to invest more money into ethically aware brands because their priorities lay predominantly in functionality and quality rather than ethical values. (See Appendices 5: questionnaire, Q.10). However, if the quality of the product were
competitive amongst other functional brands, they would be more inclined to invest in ethically aware goods.
If it was competitive in price and quality I would choose an ethical brand over a brand that employs little children and then transports the product down
roads cut through the jungle to transport across the ocean on a coal driven steam boat.”(See appendices 6: Questionnaire, Q10).
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UP-‐CYCLING & Reclaimed Fabrics
Several micro trends have subconsciously encouraged the use of sustainable fabrics amongst consumers, such as donating clothes; swap shopping instead of purchasing new, and the trend for vintage and second-‐hand fashion. “If you're upgrading an appliance or gadget, see if you can donate the old one to someone who can use it. If a product has served its purpose, look for alternative uses.” (WIEMAN 2012: online). By encouraging consumers to donate or re-‐use unwanted commodities it re-‐establishes values from years past such as ‘make do and mend’. Encouraged to fix clothes or find other uses, consumers then lend to sustainable goods and reduce the production of inorganic textiles.
Figure 6 L.A Up-‐Cycling Artist Kiel Johnson. (SEALES 2012: online)
Up cycling is an example of the sustainable micro trends that are influenced by Ecological issues around the world. Practiced throughout many industries, artists and sculptors are exercising their eco-‐awareness by incorporating sustainability into their work. The underlying principle of sustainability is to re-‐use
what could be thrown away. It is this sustainability that will ultimately begin to reduce the carbon footprint of consumerism.
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It is this method of sustainability and up cycling that I have found interesting, and plan to incorporate into my ethical design proposal.
Whilst re-‐cycling and up-‐cycling sustainable production methods are believed to reduce carbon footprints because they replace the production of new goods, it is important to consider the energy that is used when re-‐cycling materials. It takes a lot of machine energy to return an existing garment or material to its “virgin” state.
Up cycling, however, is another way in which to create designs from old materials. Without the re-‐cycling processes, up cycling is the deconstruction of an existing garment and, though the use of pattern cutting and design, the creation of a new one. “By using reclaimed fabrics in every possible part of the design process, we create desirable, assertive and feminine pieces that work day to evening. We aim not to stand apart from the mainstream fashion industry, but rather to achieve positive change from within.” (CASTLE 2012: online).
GoodOne is an ethical brand that creates new, trend driven designs from old castaway fabrics. The
garments are made from old t-‐shirts and any other scrap material to create innovative quirky designs. Part creator of GoodOne, Nin Castle, talks about their aspirations to evoke positive change from within the fashion industry.
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Figure 7. GoodOne S/S 12 collection (GOODONE: online).
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Christopher Ræburn
When considering the future of fashion and in particular the future of skiwear Christopher Raeburn’s functional and ethically aware designs were an ideal candidate to enter the outdoor sports market. “His designs are not only intelligently designed with meticulous attention to detail but also the perfect hybrid of classic elegance and futuristic edginess”. (LAUNDRETTE BLOG, 2010: online blog). This functional design and attention to detail is vital within the
production of outdoor sportswear. When considering an expansion into this particular area of the market, it is important to assess the consumer demand for an ethical designer like Christopher Raeburn.
Regarding Christopher Raeburn’s target market, Tungate identifies the main consumer of ethical goods as:“Older consumers were thought to be a more
realistic target group for ethical brands…as well being interested in ‘fair-‐trade’ and organic products, this group had also become determined to support local local goods and producers: hence their careful scanning of the ‘Made in…’ label.” (TUNGATE, M 2008: 235). This suggests that the older consumer demographic with a higher income will be more inclined to purchase ethical goods at a higher premium price. This articularly applies to the relevant appeal
of christopher Raeburn’s USP: Re-‐made in England.
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“Since Luxury goods cost as much as 600 % more than the same goods in other categories, luxury consumers will not dispose of luxury goods but will rather exchange or resell them.” (WELTERS 2011: 612). Here it is established that luxury goods are more sustainable than the same item mass-‐produced. Luxury
items are valued much more highly and consumers are more likely to replace a high quality item. This supports the idea of progressing a sustainable luxury designer into the skiwear market.
Mark Tungate addresses the importance of sustainability within luxury apparel in his chapter on sustainable luxury, “many luxury companies transformed themselves into fashion brands in order to create more product lines and fuel demand for their goods. Now they must decouple from the fashion industry and insist they offer products of rare and lasting quality”(TUNGATE, M 2009: 215).
When discussing the conversations had with environmentalist, Jem Bendell, at the sustainable luxury conference in New Delhi in 2009, Mark Tungate explains how luxury fashion is the “most environmentally responsible products”(TUNGATE, M 2009: 214). This is due to the fact that consumers are more inclined to look after luxury garments, repair them and instead of discarding them at the end of use, they become ‘vintage not garbage’. This supports the idea that Luxury apparel is more sustainable than fast fashion, due to the lasting quality and inherently resulting in reduced consumerism.
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Figure 8 "what defines a luxury brand" (MINTEL 2011: market research reports).
The Mintel luxury goods report shows how consumers perceive luxury garments and how they define an item as ‘luxury’. From the results it can be seen that luxury is defined as ‘higher quality materials and craftsmanship’ (MINTEL 2011: market research reports). Both of which are traits of the Christopher Raeburn brand.
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Figure 9 Christopher Raeburn collaboration with Victorinox "Remade in Switzerland"
Christopher Raeburn’s 2011 collaboration saw the creation of a collection of
hybrid menswear designs. Combining Raeburn’s ethically aware manufacturing methods with Victorinox’ infamous innovation in functionality and detailing.
To find out whether it was a viable proposal to enter the skiwear market, I interviewed the designer Christopher Raeburn (see Appendices 9), to gain a
better understanding of his brand model and to assess the feasibility of my project.
The interview was designed to find out the designer’s opinions regarding his main current competitors, and also whom he would consider potential competitors were he to enter the skiwear market. Questions were asked to outline what area of the outdoor sports market he would wish you enter, results showed that given his past collaboration with Victorinox (see fig. 8), for which he created a capsule collection of functional garments re-‐appropriated from
Swiss army material, he would aspire to collaborate with a brand that advances the technology of his own designs.
“It would be an advancement of my own brand. See, we obviously have limitations, in terms of the fabrics we can access, and erm particularly with the re-‐made thing, you’re tied in to that original fabric aren’t you, so. if there’s an opportunity to create hybrid garments, which is something that I’m super interested in, maybe that makes good sense, you know, and then the idea is, why not take your original snowsuits and combine them with new technology ,
and you know, with Gore-‐Tex, seam seal and breathable fabrics” (RAEBURN 2012: interview see appendices 9).
Acknowledging that this ethical method of up-‐cycling manufacture has limitations, Christopher Raeburn stated his interest in hybrid garments and the combination of ethical fabrics with innovative garment technology.
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Figure 10 Christopher Raeburn designs 2012 (online).
As well as establishing the brand’s ethos concerning ethical manufacturing methods, it was equally important to look into the retail environment and assess how Christopher Raeburn sells and who his target market is. The above image (Fig. 9) is a visual representation of Christopher Raeburn’s online presence. Christopher Raeburn retails within the UK in stores such as Browns Focus, Harvey Nichols, Joseph and Liberty.
To experience Christopher Raeburn within a retail environment, interviews were carried out in London, by visiting the premium stores, in which Raeburn designs are sold, it was possible to find out what area of the consumer demographic display the most interest in the brand, and what aspects of the brands attract them. By interviewing a sales consultant within Harvey Nichols menswear department, it was possible to gain results to these questions. Results from the interview (see appendices 14) indicated that the most popular garment was the lightweight jacket, due to them being more versatile for everyday use.
“Well, I’d say probably the lightweight jackets, are probably the most popular, that’s probably because they’re easier to wear, better for everyday use…and obviously when you’re spending that much on a jacket you want to wear it as much as possible” (JAY 2012: interview –see appendices 14).
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Figure 11 North Face jacket, Oxford Street London (own image) Figure 12 North Face Jacket: worn in London (own image)
When interviewing Christopher Raeburn, he explained his interest in outdoor sportswear, “well I think what is interesting with brands such as Arc’teryx and north face and white mountain, Patagonia, these guys, what’s super interesting now is that they produce functional, garments that actually, yeah you can use them on the slope for skiing or whatever it is, but then there sort of viable to be worn every day” (RAEBURN 2012: interview) (See appendices 9). This perspective, gained from Christopher Raeburn, provides a viable design aspect viable to incorporate into this design proposal.
Whilst Christopher Raeburn is an ideal ethical brand to take into the skiwear market, he is also a practical designer of everyday garments. To back up this theory with research, a street style survey was conducted, whilst in London, to observe what outdoor sportswear brands were being worn as everyday jackets. (See fig.11 &12).
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Results from this interview also highlighted the interest that customers express when interacted with the brand in-‐store. When asked about the customers reaction to the brand and its premium price point, the sales consultant described how customers were intrigued by the designs and were attracted to the brand once they learnt about the brands ethos and how the garments are ‘Re-‐Made in Britain’ (see fig.10). Describing it as an appealing selling point to the brand, he said: “There’s something about, obviously, having a brand from Britain, made in Britain, especially with male customers, they know its like authentic and harder to find”. (JAY 2012: interview).
Figure 13 Christopher Raeburn at Harvey Nichols, Knightsbridge (own image).
Figure 14 Christopher Raeburn at Harvey Nichols, Knightsbridge (own image)
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After conducting the interviews in London, it was proved that Christopher Raeburn’s consumer was attracted by the meticulous detailing, re-‐made in England authenticity and the colours used within the designs.
“The colourful ones, in London are quite popular, people like them… but a plain, like green, grey blue ones are popular as well.” (JAY 2012: interview)(See appendices 14). This highlights the popularity of Raeburn’s brightly coloured designs amongst his consumers, from which it can be suggested that this aspect of design will a successful trait to carry through to an ethical skiwear range.
Figure 15 Christopher Raeburn at Liberty of London (own image)
Figure 16 Christopher Raeburn at Liberty of London (own image)
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Another important area that required a high level of research was the fabric used by the designer. When corresponding with one of the designers within the Raeburn team (SHAW, D 2012: emails), I was able to find out the re-‐appropriated fabrics used within the manufacture of Christopher Raeburn collections.
Swiss Bed Sheets Swiss Blankets Swiss wool jackets Swiss Parachutes Transit Blanket Swiss sleeping bags Swiss Pac-‐A-‐mac 1937 Pattern Cape Police vests Sailor jackets
(SHAW, D 2012: personal communication, email)
Figure 17 Christopher Raeburn's 'Re-‐made in Switzerland' collaboration with Victorinox (online)
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By researching into the fabrics used by Christopher Raeburn within his sustainable designs, this formulates suggestions for the possible re-‐appropriated fabrics to be used within a sustainable skiwear range.
Raeburn’s designs are also limited edition due to the minimal volume of military stock, this works favourably toward the brand, promoting luxurious exclusivity.
When discussing his S/S12 collections in an interview with London Fashion Week website (2012), Christopher Raeburn describes the inspiration behind his menswear collection as “on menswear it's all about fire-‐proofed Nomex providing functionality and beautiful detailing”, once again re-‐establishing the focus upon detailing and functionality. (LFW 2012: online).
Figure 18 Christopher Raeburn 'Inuit Parka' (own image)
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Snow sports consumer analysis
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Figure 19 Consumer mood board (own image)
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Ryan’s 3-‐day diary during a skiing trip in Splugen, Switzerland describes what skiwear kit he used and what garment features he relied upon. (See appendix 3)
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‘I wore a long-‐sleeve merino base layer under a short-‐sleeve merino base layer, both made by Endura, and mountain trousers made by Mountain Equipment. On my outer layer I had a pair of Mountain Equipment salopettes and a Rab eVent jacket. As it was a sunny day I wasn't too concerned about the cold, and just wanted clothes that gave me good movement on the slopes and didn't feel constricted’
Ryan identifies his skiwear jacket, during his trip, as a Rab eVent jacket, and how he relied on its breathable fabric properties, functional design and fit of the garment.
‘The pistes were perfect for high-‐speed descents, which meant that I needed breathable, wicking layers to keep me dry while I was pushing myself to go faster’ Ryan describes how he needed his skiwear to be made from lightweight, breathable fabrics.
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By indentifying 4 opinion formers it was possible to achieve a variation within the skiing consumer demographic. My research identified 3 different consumer areas. The first of which is Ryan. As a working professional he has a high disposable income, he is conscious of brands and always aims to be ahead of the curve when it comes to innovation and technology. He skis four to five times a year, mainly in Switzerland and Scotland, meaning he has high expectations of his ski kit. He has faith in brands such as North Face, eVent and Mountain Equipment; having used them for several years he describes the comfort and functionality of their garments within his 3-‐day diary of a ski trip to Splugen in Switzerland (see appendices 3).
The second opinion former, Luke, portrayed a contrasting consumer representation. Working as a freelance mountain guide, he had a lower level of disposable income meaning that he invested in functionality over aesthetic design. Due to his career, he gets a lot of wear out of his outdoor equipment, so favours brands that offer durability at a reasonable price, “Rab is probably the best for functionality and price”. (See appendices 13, Questionnaire results). In reflection of this questionnaire response, Rab is a popular brand amongst regular outdoor consumers, due to its wear ability and value.
My third opinion former, Kit, is a 21 years first year student at Nottingham Trent University. She skis for fun, and has only been skiing with organised trips through her school, college or university. She bases her skiwear upon aesthetics more than functionality, opting for more layers during colder conditions. She doesn’t tend to ski during harsh weather conditions and this means that her skiwear doesn’t necessarily need to be of the highest garment tech, premium price and functionality. When asked what feature of the garment was most important to her she said the Aesthetic look. The most she’s ever spent on a jacket was £200 (See appendix 8).
The final opinion former identified was Pete. An Architecture graduate with a high level disposable income, Pete’s favourite everyday brands included Abercrombie & Fitch, Jack Wills and Armani accessories. He owns a BMW and Mulberry leather goods. It was easily established that Pete fits within the luxury consumer demographic, favouring premium brands over mass-‐produced goods. He finds appeal in high quality, exclusive labels and products and invests more money into purchasing items that reflect this.
Upon reflection of this consumer analysis, Ryan and Pete are the ideal consumers, at which to target this proposal. This collaboration between Christopher Raeburn and Gore-‐Tex provides a combination of premium brand quality, exclusivity and high-‐technology garment features.
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Competitor analysis
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Snow Sports Market Analysis
Snow sports -‐ Markets and Destinations -‐ Europe -‐ December 2002 -‐ Factors Affecting Demand Figure 2: Penetration of winter holidaymakers* by type of holiday, 2001 Germany UK France Spain % % % % Base: adults aged 15+ 1,358 5,075 1,818 10,215 Penetration of winter holidaymakers 14 22 18 12
“The snow sports market is currently worth an estimated £856 million, a 4.4% increase since 2005 despite the impact of recession. “ (MINTEL Snow sports-‐ UK June: 2010). The economic environment directly affects the retail industry, with the snow sports market growing despite recession; this supports the
idea that this is a good area of the market to enter.
An investigation into the outdoor sports market, including questionnaires and research of existing brands, highlighted that equipment for outdoor sports such as rock-‐climbing and mountaineering is more reliant on functionality and fit, whereas the Snow sports consumer is more aware of aesthetic and look of a garment and is more image conscious. (See appendices 8-‐ opinion former questionnaire).
Figure 20 Factors affecting demand, Snow sports UK MINTEL (online)
Research carried out via the Mintel database, shows that the highest volume of winter holiday-‐makers are from the U.K. this
proves that this is a viable market to enter, ski-‐wear being a high demand area of the retail market.
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Figure 21 (appendices 8 -‐ Outdoor sports questionnaire). Primary research, in the form of an online questionnaire, indicated the most popular outdoor sportswear brands (as listed above) amongst rock-‐climbers and mountaineers were dependant on the practicality and technical performance of the garments. “Rab is probably the best for functionality and price. Where Arc’teryx is the best for functionality and look.”(See appendices 13, Questionnaire results). This specifies the most aesthetically focused brand as Arc’teryx and the best value brand as Rab, outlining Arc’teryx as a potential competitor within the ski wear market. Research showed that this was a popular opinion amongst climber and mountaineers.
However, when analysing the research results from Snow sports consumers I found that whilst still an emphasis on technical performance, there was also a niche’ awareness of trends and the overall aesthetic of the designs. When conducting a similar questionnaire with my opinion formers (see appendices 8), I found that aesthetic appeal was a higher priority amongst skiwear.
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As there is a vital emphasis put on garment technology within his area of the market. It was important to research into the following garment technology brands within the skiwear market, such as SMARTY technology, Plexus and Gore-‐Tex.
Figure 22 686 jacket functions
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By conducting primary research to find out how the UK snow sport consumer purchasing their skiwear, it was possible to identify the leading brands within this particular market. Research has highlighted the leading brands for functionality, design, innovation and performance. The following brand positioning
map identifies where the potential main competitors would sit in correlation to Christopher Raeburn within the skiwear market, considering their ethical stance and price point.
By entering the snow sports market with an ethical skiwear range, collaborative with Gore-‐Tex, research has indicated that the Christopher Raeburn’s main competitor set will include Patagonia, Arc’teryx and Moncler. Resulting from secondary research, I have analysed these 3 skiwear brands and identified how
they pose competition to my proposal.
The Moncler collection on the Harvey Nichols website is at a similar price point as Christopher Raeburn’s designs as is one of the brands main competitors. When asked about who he considers his main competitors for menswear to be Christopher Raeburn answered: “in menswear we’ll sit alongside brands such as Moncler, Barbour and Woolwich”(CHRISTOPHER RAEBURN 2012: interview). This defines the kinds of menswear brands that have similar consumer
target markets and that are at similar price points.
The following section of this reports investigates into several skiwear brands within the skiwear market that are in Christopher Raeburn’s potential competitior set.
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Figure 23 Moncler premium skiwear collection (MONCLER 2012: online)
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Figure 24 Moncler premium skiwear collection (MONCLER 2012: online)
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The premium skiwear brand, Moncler, is known for its high quality materials and is one of the leaders of premium skiwear. Figures 28-‐ 30 display several designs from their current skiwear range (2012).
Specifying the quality of their jackets as “Techno Fabric”, their high quality features are reflective of the price of the collection. Ranging between £850 for down jackets, to £1,180 for a fur collar trimmed jacket, Moncler is placed within the higher price premium of this market area.
Features of the MONCLER GRENOBLE Hillehorn jacket (see fig. 13) are as listed below: Hooded neckline / Strapped cuffs / Four pockets / Two internal jacket pockets / Snap-‐button, zip fly
closure / Feather down lined / Logo details / Stitched trimmed (MONCLER 2012: online).
Whilst these features display thorough attention to detail, Moncler is an existing competitor of Christopher Raeburn, as it produces premium jackets as well as
skiwear. This suggests that by taking Christopher Raeburn into the skiwear market, Moncler will inevitably be one of its main competitors. However, Moncler doesn’t incorporate ethical manufacturing
methods when producing their skiwear, therefore when comparing the two brands this presents an opportunity for Christopher Raeburn to introduce his USP of ethically manufactured skiwear.
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Figure 25 Moncler premium skiwear collection (online).
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The Bergen Jacket is the award winning eVent® waterproof and breathable jacket. (RAB 2012: online).
This is the jacket worn by opinion former, Ryan (see appendix 3), within the consumer section of this report. He praises this garment on
its breathability and comfortable fit.
FABRICS
ActiLOFT™ insulation 100gr/m² ClimaPRO™ 2L (SALOMON 2012: online).
Figure 26 Rab Softshell jacket (RAB 2012: online)
Figure 27 Alpine ski jacket (SALOMON 2012: online)
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“Innovative new GORE-‐TEX® Active Shell textile for super lightweight, breathable wet-‐weather protection” (ARC’TERYX 2012: online)
Figure 28 Gore-‐Tex Active shell (ARC'TERYX 2012:
online) (All 3 images).
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Features of the BETA FL jacket: Gore-‐Text technology
Figure 29 GORE-‐TEX technology within Arc'teryx designs (ARC'TERYX 2012: online)
Gore-‐Tex technology for
breathability and functionality is a vital feature of this jacket by Arc’teryx, raising the quality
premium and ensuring that the wearer will benefit from all its functions.
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“Arc'teryx strives to continually become more aware of and sensitive to the environmental impact of our business practices. We evaluate our processes and continually implement new strategies to improve efficiencies and minimize our ecological footprint.” (ARC’TERYX 2012: online).
Arc’teryx founds a ‘Green committee’, an employee-‐based committee to reduce the brand’s environmental footprint.
STREGNTHS:
• Aesthetic Leader of the market (higher price point & quality).
• Features (sports specific). • Leaders in development and
manufacturing techniques. • Best quality materials sourced
globally. • Domestic manufacture promotion
ethical awareness.
WEAKNESSES:
• Patagonia has increased ethical
values in practice, making them the leader in ethical outdoor wear.
THREATS:
• Patagonia’s innovative Softshell
jacket designs incorporate Gore-‐Tex technology.
OPPURTUNITY:
• Ethical manufacture expansion
Arc’teryx
• High performance snow sports wear
• Durability
• Dangerous alpine conditions: technology
• Warmth
(ARC’TERYX 2012: online)
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Arc’teryx
Material and construction requirements for the manufacture of Arc’teryx outdoor sports equipment-‐
Design-‐
• e3D patterning for enhanced range-‐of-‐motion
• Snow sports specific outerwear features
• Hoods with quick, one-‐hand adjustment
• Tri-‐Dex glove patterning
• Packs with articulated & breathable components
Material technology-‐
• GORE-‐TEX® Pro Shell
• WINDSTOPPER®
• Coreloft™ & Thermatek™ Insulation
• Fortius™ & Polartec® Softshell
• Phasic™ base layer fabrics
• MAPP Merino Wool
• 420ACT™ AC² pack materials
• Watertight™ zippers
Construction-‐
• Extreme attention to detail
• Laminated construction
• GORE™ Tiny Tape / micro seams
• Die Cut components & pocket openings
• Vapor Thermoformed & Thermoshaped components
• Warp Strength® Technology
• Thermoforming, Lamination, Micro Seams, TinyTape.
(ARC’TERYX 2012: online)
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Patagonia
Within the intelligent textile marketing report by Virginia Thorp, a freelance editor who works for the Economist Intelligence Unit, the outdoor brand, Patagonia, is described as an environmental leader. Reflective of its several associations with ecological campaigns
such as it’s ‘common threads initiative’, encouraging consumers to repair and re-‐use their garments before discarding and re-‐cycling them, Patagonia demonstrate their corporate ecological responsibility both finically and actively. Within the common
threads campaign the brand evokes awareness regarding mindless consumerism by describing purchasing unnecessary commodities as “ to blindly purchase what's good neither for the planet nor ourselves to keep the game going is the very definition of
unsustainability.” Patagonia is an established premium brand of ethically aware ethos, pinpointing it as a leader of ethical design. This research has lead to the conclusion that Patagonia is the main potential competitor within the skiwear market.
Figure 30 Patagonia skiwear shell jackets (PATAGONIA 2012: online)
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Patagonia’s ski shell jacket designs are innovative in garment technology, allowing
comfort, warmth and breathability through their fabric. The garment technology specifics are detailed
on their website as: “Waterproof/breathable 2-‐layer GORE-‐TEX®
Performance Shell technology is bonded to an ultra-‐durable 100% polyester shell fabric. Treated with a DWR (durable water repellent)
finish to slough snow, it has a separate lining inside for durability and moisture control.” (PATAGONIA 2012: online).
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“The 2-‐layer construction used for the GORE-‐TEX® Performance Shell is designed for a wide range of outdoor activities. A specific GORE-‐TEX membrane is
bonded to the outer material and protected on the inside by a separate lining. The separate lining ensures better wearing comfort and versatility. GORE-‐TEX Performance Shells provide breathable comfort and durably waterproof and windproof protection.” (PATAGONIA 2012: online).
When considering types of garment technology within this project proposal, Gore-‐Tex has been identified as the leader within this area of the market. This particular garment technology is used within the outerwear designs of Patagonia, the leading ethical designer within the skiwear market.
Haglofs skiwear is another brand that integrates Gore-‐Tex technology into their designs, and have worn awards for performance skiwear (see fig.36).
Figure 31 Haglöfs, Gore-‐Tex technology (online).
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Figure 32 "Haglöfs Vassi Jacket is a winner of the ISPO Award 2012 in the Action Apparel class" (Haglöfs 2012: online).
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ORE-‐TEX® are best known for their high quality fabrics, distinguished within the skiwear market. Collaborations with other skiwear brands include Patagonia,
Arc’teryx and North Face. Their ‘fluoropolymer expertise’ technologies are unsurpassed by any other garment technology brands. (GORE-‐TEX 2007: online). Established as the leader of garment technology within this area of the industry, the supporting research has determined this brand as the ideal innovative, technology-‐driven brand to collaborate with Christopher Raeburn’s ethical designs.
Reflective of Raeburn’s ethical ethos, concerning the sourcing of materials and the minimisation of waste, the Gore-‐Tex environmental standard represents similar values. “Gore Fabrics is committed to minimizing our environmental impact through an active and responsible approach that extends from the selection of raw materials to the disposal of our finished products” (GORE-‐TEX 2007: online).
“Our LCA – life Cycle Assessment -‐results show that the most effective means of minimizing the environmental life cycle footprint is to maximize product durability. Quality, durability and performance are the cornerstones of our GORE-‐TEX® and WINDSTOPPER® products” (GORE-‐TEX 2007: online). This
supports the theory discussed earlier regarding sustainable luxury, and how investing in a higher quality, durable and longer lasting product ultimately eliminates the need to purchase more. This environmental ideal is also unanimous with the Patagonia, Common Threads Initiative campaign to reduce, repair and re-‐use. (PATAGONIA 2012: online).
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Conclusions and recommendations After considering the current eco-‐fashion climate, and investigating existing designers and how they implement ethical design and manufacture into their brand, the most suitable method of ethical design for my project proposal is up cycling and the use of reclaimed fabrics.
My initial project proposal was to take Christopher Raeburn into the skiwear market with a range of sustainable skiwear manufactured from re-‐appropriated snow sports materials. However, primary research carried out highlighted the demand for garment technology within this area of the market, as all respondents of questionnaire, conducted within the skiwear market, specified garment technology as the most important factor within their buying decision. Therefore it is necessary to implement garment technology into my proposal. Secondary research confirmed the need for breathable fabric in outer garments, and identified Gore-‐Tex as the current market leader.
Consumers are more likely to purchase skiwear manufactured with garment technology, such as Gore-‐Tex, as it is perceived as reliable and high performance. (See appendices 11). The implementation of Gore-‐Tex technology within Christopher Raeburn’s designs will create hybrid garments of both functional and aesthetic design, ensuring success within the skiwear market.
Christopher Raeburn’s past collaboration, with Victorinox, and future plans to collaborate with Moncler (see appendix 9) have directly influenced my project proposal. The designer’s keen interest in producing hybrid garments that advance the functionality and technology of his brand provides a clear justification for collaboration with Gore-‐Tex.
In an interview with Christopher Raeburn (see appendix 9) he supported the idea of brand collaboration with Gore-‐Tex, justifying it as -‐ “an advancement of my own brand”(RAEBURN 2012: interview). His reasoning was justified as “ See, we obviously have limitations, in terms of the fabrics we can access, and particularly with the re-‐made thing, you’re tied in to that original fabric aren’t you, so. if there’s an opportunity to create hybrid garments, which is something that I’m super interested in”.
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Consequently, the proposal has been updated to introduce sustainable design into the skiwear market, focusing on a combination of functionality and aesthetic design. This will be achieved through a collaboration between the sustainable up-‐cycling designer, Christopher Raeburn and the garment technology of Gore-‐Tex.
This approach caters to the demand for aesthetic design through Raeburn’s innovative trends whilst also ensuring the prerequisites for entry into the premium area of the market.
Research carried out demonstrates the viability of implementing the use of reclaimed fabrics within the manufacture of outdoor sportswear. Outdoor sports equipment demands the highest quality material and the use of garment technology. Function and fit are the highest priority due to the specific requirements of the clothing and the weather conditions in which they will be worn.
The use of re-‐cycled materials can sometimes sacrifice the functionality and quality of a material. “Recycled synthetic materials wear out quicker and must be replaced more often” (ARC’TERYX 2012: online). This counteracts the sustainability aim of re-‐cycling as it means the garment will have to be replaced sooner than if it were to be made from non-‐re-‐cycled materials. However, by implementing the technique of up-‐cycling, high quality fabrics can be re-‐appropriated into new designs, rather than using re-‐cycled fabrics that may have lower quality properties due to the material being deconstructed to it’s ‘virgin’ state during the re-‐cycling process.
Arc’teryx believe in re-‐cycling as a manufacturing method, however they are aware that it is not a suitable manufacturing method for their designs. This is due to their design responsibility of providing garments of the highest quality and performance standard. “We feel that recycled synthetic
materials are better suited to non-‐critical products such as plastic bottles and containers rather than advanced outerwear designed for use in severe alpine environments.” (ARC’TERYX 2012: online) This is an important consideration when it comes to outerwear and sportswear designs. The highest priorities of such designs are the functionality and technical performance of the material and the garment.
The aspects of sustainable design I am implementing are the use of re-‐appropriated high quality fabric, alongside garment technology which re-‐
affirms functionality and technical performance, critical to outdoor sportswear.
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Written by Megan Brooks N0258854
Printed onto re-‐cycled ‘ECOPAPER’
Word Count: 5,459
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List of Images
Figure 1 Katherine Hamnett, 2008: (online)..................................................................................................................................................................................12
Figure 2 Puma & Alexander McQueen collaboration. (PUMA 2012: online), ...............................................................................................................................13
Figure 3 Manual dyeing of cloth (PEOPLE TREE 2012: online). Figure 4 Hand weaving. (PEOPLE TREE 2012: online). ....................................................16
Figure 5 Knock on the Door designers (online) .............................................................................................................................................................................17
Figure 6 L.A Up-‐Cycling Artist Kiel Johnson. (SEALES 2012: online) ..............................................................................................................................................19
Figure 7. GoodOne S/S 12 collection (GOODONE: online). ...........................................................................................................................................................21
Figure 8 "what defines a luxury brand" (MINTEL 2011: market research reports). ......................................................................................................................24
Figure 9 Christopher Raeburn collaboration with Victorinox "Remade in Switzerland"...............................................................................................................25
Figure 10 Christopher Raeburn designs 2012 (online). ................................................................................................................................................................26
Figure 11 North Face jacket, Oxford Street London (own image) Figure 12 North Face Jacket: worn in London (own image) ............................................27
Figure 13 Christopher Raeburn at Harvey Nichols, Knightsbridge (own image). ..........................................................................................................................28
Figure 14 Christopher Raeburn at Harvey Nichols, Knightsbridge (own image) ...........................................................................................................................28
Figure 15 Christopher Raeburn at Liberty of London (own image) ...............................................................................................................................................29
Figure 16 Christopher Raeburn at Liberty of London (own image) ...............................................................................................................................................29
Figure 17 Christopher Raeburn's 'Re-‐made in Switzerland' collaboration with Victorinox (online) .............................................................................................30
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Figure 18 Christopher Raeburn 'Inuit Parka' (own image) ............................................................................................................................................................31
Figure 19 Factors affecting demand, Snowsports UK MINTEL (online) .........................................................................................................................................32
Figure 20 (appendices 8 -‐ Outdoor sports questionnaire). ...........................................................................................................................................................43
Figure 21 686 jacket functions.....................................................................................................................................................................................................44
Figure 24 Consumer moodboard (own image) .............................................................................................................................................................................38
Figure 25 Moncler premium skiwear collection (MONCLER 2012: online) ...................................................................................................................................47
Figure 26 Moncler premium skiwear collection (MONCLER 2012: online) ...................................................................................................................................48
Figure 27 Moncler premium skiwear collection (online)...............................................................................................................................................................50
Figure 28 Rab Softshell jacket (RAB 2012: online).........................................................................................................................................................................54
Figure 29 Alpine ski jacket (SALOMON 2012: online)....................................................................................................................................................................54
Figure 32 Gore-‐Tex Active shell (ARC'TERYX 2012: online) (All 3 images).....................................................................................................................................56
Figure 33 GORE-‐TEX technology within Arc'teryx designs (ARC'TERYX 2012: online)...................................................................................................................56
Figure 34 Patagonia skiwear shell jackets (PATAGONIA 2012: online) .........................................................................................................................................59
Figure 35 Haglöfs , Gore-‐Tex technology (online). .......................................................................................................................................................................58
Figure 36 "Haglöfs Vassi Jacket is a winner of the ISPO Award 2012 in the Action Apparel class" (Haglöfs 2012: online)...........................................................59
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