It can take anything from six months to one year for a collection to be designed, developed and produced so how does the collection come about and where do designers get their inspiration from?

Designers can find inspiration anywhere, some designers look to historical costume for shape and design, some are inspired by an art exhibition for a colour or texture and some use street culture as a starting point for the mood and overall look. There are also companies who make their living producing trend research for designers which can be used to validate their initial findings, add to what they have already researched, or act as a start point for the season.

The website http://www.styleindicator.com is a great industry resource for trend information and shows you in detail the source of the inspiration and how it has been translated to the collection.

http://www.styleindicator.com/en/style-inspiration-18e-eeuw/

This shows some great examples of colour, fabric and shape from 18th Century clothing, and next to it is the interpretation on the SS15 catwalk.

http://www.styleindicator.com/en/resort-2015-communicating-reds/

Another shows an example of historical dress meeting modern styling.

Design teams across the globe have already started their design research for the Spring Summer 2016 collection. At this early stage they are collecting their ideas of colours, fabrics, shapes and overall mood that they feel are integral to the concept or design direction, for their collection. These concept attributes (colour, fabric, shape and mood) all have an impact on the collection that you see in the stores and each of them starts with one simple moment of inspiration and develops out.

In my book, Blue is The New Black, The 10 Step Guide to Developing and Producing a Fashion Collection I devote a whole chapter the concept creation as it influences not only the start of the collection, but also how it’s displayed and sold to the customer as a finished product. Taking a look at each element, will help you to understand and appreciate the thoughts and actions behind the clothes you buy.

Fabrics are very important to the feeling of the concept as they provide a tangible expression of the feeling you want to convey. If you want to evoke a 1920s romantic, nostalgic feeling in a concept, chiffon would be perfect to conjure up an image.

Sitting alongside the selection of fabrics is the colour palette. The palette is a collection of colours (or tones, tints, shades, hues, stain wash or dyes) that is used throughout the collection. The shades selected have to work not only in many of the types of garments but also in the colours of buttons, zips, prints and embroideries.

Shapes within a concept refer to the sizing aspects of the garments in the collection ( length of skirt, height of a heel), and every season the shape of garments and accessories changes for both men and women. For example, in the early 70s the style for trousers was flared at the hem and tight at the waist and hip whilst In the late 70s there was the drain pipe jean that was super tight all over.

When I talk about ‘mood’ I’m talking about an emotional connection that a concept will give. A spring collection for the Hilfiger Runway line had the theme: ‘New York’ Country Club. The concept began with the words Country Club, and from there, images of 60s and 70s women’s sporting clothes, pleated tennis whites, halter neck tops and mini dresses were added to the concept visuals. Images of Katherine Hepburn in her signature high-waist wide leg pants matched with bra tops gave the movie star reference, and the fabrics for the mood were fine chiffon, and checked linens. This ‘mood’ element to the concept can also be used for packaging,  a shop display or an advertising campaign.

Example of a concept from the Amsterdam Fashion Institute AW09 collection.

Above shows the mood, colour, fabric and shape.

So next time you are looking at a collection online or in a store, take a look at the colours and fabrics to see if you can understand the concept and mood that the brand is trying to express. Sometimes, it’s easy to see and sometimes it’s quite subtle, but every collection will have one.

When I was younger, before grey hair started to set in, I used to be able to scan a market rail and within 5 minutes, visually pull out the bargains, determine the repair job needed and negotiate a lower price with a raised eyebrow and a curled lip, but over the past 15 years my vintage cyber-skills have waned and I have been somewhat lazy in the world of secondhand scavenging…… or so I thought.

This weekend, my vintage-scanning-ability or VSA for short came up trumps with not not just one but two all in the same city.

Dries Van Noten Cami

Bleeker New and Vintage in the Pijp here in Amsterdam served me a vibrant red cami top from Mr.D Van Noten ( at 25 euro) whilst Tamogo on Spiegelstraat handed over a Black cotton Valentino blazer with pleated back for 140 euro.

Red Valentino : Pleated back panel jacket

With both fine establishments looking after the luxury end of the vintage market you can be sure that the quality is high and the curating of the stores is impeccable.

For sure, dear people, these are not places for the cheap tie dye nonsense, they are instead, for the more discerning customer who knows their labels and can spot a bargain. With the stock turned around on a speedy basis, stick your head in when you can but keep your distance from the size 38 (s), if you will.

150 series

strap details

Established in 2009 by British product designers Patrick Bek and Oliver Fowles, this stylish duo produce classic yet simplistic watches from their London base. With the interiors based on Japanese and Swiss methods, the exterior and packaging has a true Brit twist with simplicity and subtlety.

With designs for men and women and a choice of leather or rubber straps, the styling is workable for day, evening, dog walking or even cake eating.

Prices start at 110GBP to +400GBP, International shipping available.

I’m not a designer, never have been, and truth be told, have no ambition to be, but what I love about my job is the challenge of getting some developed and produced – the A to Z of the process, which has led to me write a book about the very same.

So, yesterday I was in the position of finishing one project and starting another – with a simple crossover of 3 hours to be exact. For this new project I do have a vague appreciation on the what, when and how but as the brand is technically a start-up ( albeit one with a ton of investment behind it) there are many aspects still to be confirmed, which should trouble me, but actually doesn’t (I think age is slowly removing the control freak in me) and I have to say that last night when I received the draft merchandise plan I actually felt quite calm about the task ahead.

I saw the range size, I saw the product groups and I saw the quantities, all that was missing were the sketches to match against the reference numbers on the sheet.

So – with a glass of wine to my left and a bowl of potato chips to my right, I clicked on the download button to open the sketch files. And then it happened…

My palms became moist, a knot formed in my stomach, my fingers twitched on the keypad and my heart raced, for there in front of me were the illustrated sketches from one of the worlds most famous designers. The enormity of the project hit me and in an instant I remembered why I love my job and why I love this industry. I work with insanely creative people and I help to realise their vision. I had an instant flashback to being 13 years old, tearing magazine pages of fashion shoots, longing to work in fashion in whatever guise that took.. And now, nearly 30 years later, I am privileged to work on a project which essentially takes ink on paper and turns it into a garment.

Holy shit I’m lucky!

…to be continued…..

Through posting a discussion on LinkedIn.com to gain insider perspectives on a fashion industry conundrum, I discovered not 1 but 2 design initiatives.

Origami necklace

Peonyrice is an accessory brand sourced and produced responsibly in Asia through local communities. The project, an initiative of Pauline Cheung founder of Industria Collective (boutique design agency based in Hong Kong and Shanghai), is a brand of delicate head and neckwear aiming to benefit local artisans and in turn their communities.

Headwear - Peonyrice

With large-scale manufacturing units playing the lead in fashion production, its somewhat refreshing to hear that local si thriving amongst the giants of the East. Embracing traditional techniques and dying methods, this collection of headpieces, origami silk neck wear , and soft folded belts is updated weekly and shipped internationally.

So, I was debating whether to make a comment about the below article because it will label me as old, bitter and twisted (most of which is true) but at the same time, there was something in Colin McDowell’s piece for the B.O.F that really resonated with me – so I will share it, and then you can make the judgment on my bitterness.

The jist of his article is based in the premise that the hiking up of tuition fees (in the areas of Art and Fashion) will alienate the creative hub of England and will produce graduates from the privileged classes who are lacking in the ‘design hunger’ and who want to take the easy road to success..

Now to be fair, I don’t think that is a new situation. I don’t think the increase of fees will help the situation, and I agree with Colin about alienating the raw talent that cities like London nurture, but I think (and this is from experience) that over the last 10 years, there are already too many fashion graduates entering the industry expecting a cushy journey or exotic trips and instant fame.

Is there someone to blame? Or is it how society is now with an instant gratification generation expecting something for nothing?

The number of grads I have met who seem to think their first job should be senior designer or sourcing manager is quite scary, the knowledge they gather at college is basic and theoretical and is a great starting point, but it’s just that, a starting point.

It takes years to learn the industry and to understand the nuances of the process, It simply doesn’t happen in 6 months, yet trying to explain this to a first jobber is like telling them their dog died! It leaves them distraught and crest fallen.

Are colleges really to blame for this? Do they teach students that anything is possible and in 6 months they will get to be head of Dior? I don’t think so.

Or is it the preconceived notion from the likes of E! that the fashion industry is a ride to easy town in a pretty frock? After all Lindsay Lohan became creative had of Ungaro (albeit for 1 miserable season) – so therefore anyone can do it – and fail?

Whatever the case, the industry is changing and graduates expectations of it need to be kept in check.

Maybe the increase in college fees will prompt the colleges to really analyse what they are teaching and nudge them to make the courses more vocational and industry realistic, maybe it’s the job of the industry to re train the graduates once they start at the bottom rung, or maybe we have lost the likes of raw talent that once graced the streets of our cities and are let with a team of ‘i-want-it-now’ graduates.

I stumbled across Heschung 18 months ago and was forced, yes forced, to buy a pair of white leather, punch hole, side buckle loafers. The leather was soft and buttery, the toe slightly pointed and the fit a sublime perfection. Embracing my heel perfectly, they remain to this day, the most comfortable shoes I have ever had.

Of course, with me living in Amsterdam, I can only where them on Spring days when there is no chance of rain…. not so easy here, but they are and will always be my pimp shoes.

So –  18 months down the line and in only a matter of weeks, I will be back in Heschung, pocket-money in hand to purchase a new pair of shoes. Style is yet to be confirmed, maybe brogues, maybe loafers but rest assured they will be pimpin’ hot and smokin’.

Am giddy with excitement and will of course report back with purchase details.

It’s not that I’m particular (of course I am), it’s not that money’s no object (of course it is) and it’s not that I don’t know what style of bag I want (of course I don’t – I am constantly flip-flopping between leather and canvas, shoulder of cross body) – I’ve just found it especially difficult to get a good quality bag that is fine for business and travel, that’s not too casual, not too smart and yet fits to my price point. I’d love to justify an uber bag but honestly, my budget is more blueberry than Mulberry, so it was towards the small indie brands I directed my attack.

Having found Royal Republiq in the Monocle Magazine, I raved obsessively (yes, I think raved is the word) about the brand, the simplicity of design and their value price point, but what I didn’t take into consideration was the quality which, and I hate to say this online, disappointed me to the extent that I exchanged the first purchase and have just asked for a refund on the second.

It broke my heart – seriously. I truly wanted to love the bags but when workmanship is not up to scratch on the straps or the cotton twill lining dies my hands and my pink leather purse, I have to make a stand as a consumer.

So it was with this experience fresh in my mind that I went, dyed purse in hand, to Property Of in Amsterdam hoping they could help with my plight. 40 minutes of bag browsing and one Stumptown espresso later ( free and on the house – now that’s service) I emerged with a coated cotton/linen tote. A sale item with adjustable straps and more to the point EXACTLY what I wanted.

With a Japanese edge to the styling and the genre of the bags sitting between male and female, this is not a place for a chi chi leather tote with a signature tassel or girls name. The bags are functional, simple, and carefully designed serving their purpose as a vessel for life items whilst turning the heads of those stylish folk who are clearly in the know.

So my weekend was hereby classed a success and my bag dilemma is over (for now). I am under no illusion that my questionable bag obsession will take me down another route in the near future, but for now, I have what I need, what I want and I didn’t pay silly money in the process.

All under the heading of The Weirdness that is Paris Fashion Week.

Suppose it takes the focus away from Dior? Non?

Now I won’t lie to you, I generally scour the fashion press for tit bits and highlights, allowing a wonderful ‘fash’ person to do the legwork for me, and in this case its Imogen Fox at the Guardian who made a rather marvelous summary of what we should be focusing our beady eye on over the next few months. Below are just some of the trends to watch for;

Spots – these are big… not literally you understand but metaphorically… Polka dots, large, small, black, white all are clear and present. Is this a traditional trend for Fall? Not sure to be honest but as we’ve had nautical stripes for the past 3 seasons, its nice to go spotty if only for a change of shape.

Big Earrings – think Pat Butcher ( for non Brits see EastEnders). Shoulder skimming, bling or non bling, these ear droplets should neither be subtle nor slight. Be loud and proud my sweet, sweet friend taking care to watch the weight. Ears like a tribesman is by no means chic.

Bag Holding – strange trend I hear you say but not so… Gone are the bent-arm-handle-in -the-crook-of-elbow pose, instead we have large A4 clutch situation, grip it and hold it close to the chest like a sixth former holder her chemistry file.

Long boots – Not convinced this is a new trend as such. I guess the whole ankle freezer styles are out and long knee skimming are in… For those who live in Holland, you will be very aware that long boots have been in for, oh, say, forever. I guess this trend only applies to the Non Dutch population.

Colour red – Watch out for reds, that’s what the big names are pitching. Of course, no one in their right fashion mind calls it ‘red’ Instead think, vermilion, Merlot, burgundy and lipstick.

Coincidentally, just to throw in a plug….I have a whole section in my new book about colour names. In general, the colour shade remains the same each season, it’s the name that changes and just so you know; naming colours is big business. It’s neither to be sniggered at, nor held up in a bar and ridiculed.

Colour naming is a job and a serious profession. Something to aspire to me thinks..