Achieving the new graduate dream: building sustainable business success at a small scale

Abstract

Los graduados en diseño de indumentaria se inclinan cada vez más por dirigirsus ambiciones profesionales hacia los pequeños emprendimientos empresariales en lugarde dedicarse a las tradicionales opciones de práctica corporativa. Estos empresarios de lamoda deben comprometerse con el desarrollo empresarial y de gestión, habilidades quenormalmente no requiere de diseñadores dentro del modelo de negocio de las empresas.¿Cómo debería prepararse el empresario de la moda del futuro? ¿Qué conocimientos yhabilidades se requieren para convertirse en un empresario de la moda? ¿Existe una desconexión entre lo que los emprendedores graduados en moda creen que necesitan saber y lasprácticas que en realidad mejor los prepara para iniciar y mantener una empresa de diseñode moda? Los autores abordan el entrepreneurismo de la moda en Nueva York, discuten lalogística de los mercados masivos globalizados y los desafíos actuales de la pedagogía deldiseño de moda en relación a la preparación para incorporarse en el contexto mundial dela moda. Luego los autores destacan la tendencia contraria que se da en las empresas localesde pequeña escala. Finalmente se proponen estrategias generales dirigidas hacia el empresario de la moda que desea crear un negocio sostenible en pequeña escala en Nueva York.

Building best practices for fashion design pedagogy: meaning, preparation, and impact

“…This importance for designers to acquire deeper forms of research becomes more meaningful when considering the exorbitant costs needed to build and sustain a brand today; the steep financial investment leaves little room for missteps in the design process. Expenditures can include staging runway shows in New York City that cost between $150,000 and $175,000 each, placing a one-time advertisement in Vogue that can cost as much as $173,000, garment production and shipping, public relations, website development, and broader overhead costs (Fry, Faerm, & Arakji, 2013;Vogue, 2013). If brands are to sustain themselves financially in the broadening global marketplace, they can no longer continue such economic gambling by developing collections that are based merely on aesthetic preferences.…”

Post-Recession consumerism in the U.S.: the influence of cheap and chic consumer products on perceptions of income inequality

“…In 1983 designer Halston launched the first low cost/lower end 'designer collaboration' with mass retailer JC Penney to mixed reviews. The designer collaboration combines high fashion design aesthetics and branding with the high-volume, low-cost production capacity of mass-market fashion companies (Fry, Faerm, & Arakji, 2013). Consumers on a broad income spectrum suddenly had access to previously exclusive brands at mass-market prices.…”

“…For example, with such offerings as $450 handbags and $250 dollar watches, "HENRYs can show off their success without feeling like they're going overboard" (Lutz, 2012). Wearing Kors, with its multiple points of entry, can communicate an aspirational taste for luxury that allows a moderately high earner to grow into the brand as she becomes more affluent (Fry, Faerm, & Arakji, 2013) or for a judicious, taste-based, choice on the part of a very high earner in wearing luxury without regard to price; high or low.…”

Artisan as a Maker or Artisan as a not Recognized Co-designer?

“…When craftsmanship knowledge meets contemporary technologies, the saper fare absorbs the technology-within the tangible and intangible thought-in-action of the craftsman. This combination can be termed "advanced craftsmanship" [6][7][8].…”