MARCH 2010- JULY 2010

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1. ACKNOWLEDGEMENT

I express my immense gratitude to all members of J.W.Anderson Studio, for

extending their guidance and support to me in my internship. It was indeed an

honour to be allied with a highly regarded and upcoming menswear and

womenswear fashion label.

I take the prospect to put across my sincere thankfulness to Mr. Jonathan

William Anderson (Creative Director and Head Designer), who’s precious insights

and support helped me throughout my placement.

I would also like to thank, Ms. Catherine Dearden (Placement Broker) and Ms.

Claire Swift (Course Director) for a wonderful placement prospect in addition to

their support and encouragement during my design internship.

My special thanks to Mr. Justin Mansfield (Head of Menswear) and Ms. Melissa

Stokes (Head of Womenswear) in favour of their support for helping me in every

characteristic of work, constant interactions and sustenance which kept me

motivated. I have truly learnt a lot from both departments and have enhanced my

patternmaking and production skills.

I would also like to be grateful to Mr. Jason Mui (Head of Production), Ms.

Marina Wan (Head of Accessories), Ms. Ruth Seager (Head of Embroidery) and

Mr. Matthew Mumford (Head of P.R and Sales).

I would also like to convey my gratitude to the Student Intern team. I have enjoyed

working in their presence and have learned more about team management. I am

indebted to all of them for providing a positive and constructive learning

environment.

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2. FOREWORD

Placement or internship is an essential element of any course prospectus.

As a part of the course, I Darla Sivaram Prasad pursuing my 2nd year

Womenswear Design in London College of Fashion, London have interned at

J.W.ANDERSON from 12th March 2010 – 11th June 2010.

I have been contributing towards the menswear as well as the womenswear section.

Which included various positions from Pattern grading, Pattern making, Sewing

(Toiles /Actuals) and Embroidery.

The purpose of the placement is to get a live experience of the functioning of a retail

industry or a design studio and to learn and understand the practical working

methods of the company.

This document would highlight about my learning and contribution to the company

and analyse various topics ranging from Design development, Production, SWOT

analysis and Brand marketing.

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3. ABOUT THE DESIGNER

Jonathan William Anderson

Combining sinister phenomena with a love of mystical characters in history and

literature, the intensely dramatic aesthetics of J. W. Anderson have made him one of

the most intriguing menswear and womenswear designers in current British fashion.

Born in Magherafelt, Northern Ireland in 1984, Jonathan William Anderson

originally wanted to pursue a career in acting. In 2001, he moved to Washington DC

to study drama at The Actors' Studio where he discovered a love for stage costumes.

Anderson soon moved back to London where, whilst working as a stylist - most

notably for the artist Rufus Wainwright.

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Anderson took his degree in menswear at the London College of Fashion. He

graduated in 2001, at which point he had already established his label.

J. W. Anderson made its debut at London Fashion Week in September 2007 with a

menswear collection characterised by the use of real insects in jewellery. A dark,

Rasputin-inspired autumn/winter 2008 collection soon followed, before Anderson

made his breakthrough with the highly anticipated spring/summer 2009 collection,

An Eye for An Eye.

J. W. Anderson showcased his fourth menswear collection: THE SAINT + THE

ASSASSIN under NEWGEN at London Fashion Week in February 2010.

Anderson is currently working on the production of the previous season and

simultaneously conceptualizing and creating test fittings for the upcoming menswear

and womenswear S.S 10 collection in September 2010.

He also exhibits his accessories during the London Fashion Exhibit.

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4. BRAND REPRESENTATION

J.W.Anderson firstly began as a menswear label and showcased successful collections

with a style of inventive detailing and inspiration from the British culture.

Accessories and shoes were an integral part of the label. Efforts have been taken to

create new concepts for the market.

The label showcased its first Spring/summer in 2007 at the On Off event, held at the

Royal Academy of Arts in London. This occasion was not just a launching pad for the

brand but it paved way for its first buyer’s i.e. HP France (Japan) and My Sugarland

(London). With an enormous achievement in their accessories department, the first

orders were taken. Due to this the press and media gave the brand its recognition

which was a landmark moment for the label.

In spring/summer 2008, the label teamed up with three other fashion labels Charles

Anna Stas, Amelio de Larino and P & Walsh to hold their own catwalk show during

London Fashion Week. It was during this show that J.W Anderson as a label got

great recognition from the industry and the media. The label further on worked in

partnership with Tyrone Crystals (Glass Wear Company) to create accessories and

shoes integrating the use of crystal wear.

In the subsequent season Topshop conducted the Man Competition in which

J.W.Anderson won the contest. This occasion provided the label to be monetarily

supportive and showcase their upcoming collection at London Fashion Week.

J.W.Anderson has been taking part consistently in the Menswear category in London

Fashion Week and also exhibiting his collection in Paris.

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The label has started with a womenswear line as J.W.Anderson quotes in London

fashion week website about his design signature “Things that can be borrowed from a

man to a woman and from a woman to a man”.

(Quote taken on 11th June 2010 from

http://www.londonfashionweek.co.uk/jwanderson)

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5. MARKETING AND STOCKISTS

The brand comprises of a commercialized high-end collection. J.W.Anderson has

tied up his new collections at famous UK stockists such as Liberty, Harrods,

Selfridges, Asos and Oki-Ni. The current A/W ‘ 10 collection is under production and

will be stocked up by July end.

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The label also has some noted International stockists notably for accessories namely

Scanlan and Theodore from Australia and Hunting and Collecting from Belgium.

The current collection A/W ’10 was very much commercial at the London Fashion

Week and has given much media recognition in magazines such as Dazed and

Confused, Dansk, Ten Magazine and V-Men magazine.

In coming months J.W.Anderson would feature in the Vogue UK magazine with his

interview and his new womenswear collection.

The label also makes movies for all their collections depicting their style and theme.

ANOTHER

MAN

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ID Magazine

ID Magazine

FALL ‘09

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6. BRAND USP

J.W.Anderson has this distinctive characteristic to make the most of British Craft

and textiles into his collection. The collection keeps in mind to create a fusion of

Traditional craftsmanship and Modern fashion. All the production such as

embroidery, printing, knitting and designing is done in Britain. Hence balancing the

style and proudly presenting a “Made in Britain” garment.

7. CLIENT PROFILE

The label targets chiefly the Youth demographic group. The label caters to the

customer who is Experimentive, accepts a fusion of tradition and modern styles,

deconstruction, and tailoring. The garments are created in such a way that a balance

is struck between the menswear line and the womenswear line. Most of the clientele

have various demands and the label sells to a wide range of European, Asian and

Australian market.

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8. ORGANIZATION STRUCTURE

The organisational structure above illustrates the levels in the company and how all

the departments are linked. Each department has certain goals to achieve within the

stipulated time. All departments keep a check on each other for a smooth function of

the collection and is linked well.

It’s the Creative director who sets up the theme and visualizes the upcoming season’s

collection. He creates a colour and fabric story. Hence this process is broken down to

a stylist to suggest styles and bring a commercial aspect in the label. From there on

each department gets its tasks to accomplish from the Design Team. The Sales,

Accounts and P.R department work on the finance and marketing part.

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9. DESIGN DEPARTMENT

The Design team consists of a Menswear and Womenswear department. Both

departments work together to create uniformity in the collection.

The designs and styles are briefed over to the design team. This is the core team

which has to address major design issues, attend meetings and submit reports to the

Creative director.

This team works closely with the embroidery and production teams.

10. PATTERN MAKING & SEWING DEPARTMENT

The head menswear and womenswear designers in J.W.Anderson lead the

Patternmaking and Sewing department. They are responsible to source fabrics and

trims for the collection. They have a wide base of contacts with suppliers and

production houses. Fabric for sampling and production are ordered by this team.

Initial patterns and toiles are made according to the given designs. The patterns are

meticulously checked in addition to calico fittings. The patterns are only graded to

Small, Medium and Large sizes only if any garment is selected for production.

11. EMBROIDERY DEPARTMENT

The embroidery department works closely with the Design team. The head

embroider explores various kinds of embroidery. Yarns and trims are sourced locally

as well as from other countries. The final designs are approved by the creative

director and then the application of embroidery to the garments is carried out.

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12. ACCESSORIES DEPARTMENT

Accessories are a major part of the label. Neck pieces, rings, belts and shoes are developed in

the studio. Various materials are explored keeping in mind the fashion forecast which is then

later taken forward for sampling. The samples are then presented to the creative director and

the head stylist and the decisions are made where the commercial value is accessed. Some of

the samples are chosen which helps in creating fresh designs which are suitable to the

collection. It is made sure that costing of each article is monitored for economic purposes.

13. ACCOUNTS AND SALES DEPARTMENT

The pricing of the products are done in collaboration with the accounts and sales

department hence filling in the expenditure and costs of the company. Any editorial

that is sent out of the company must go through the accounts department where

invoices are documented. The invoice also includes a date on which the articles are

supposed to come back to the head office. Any funding that the company avails is

processed to establish the closing budget for the collection. All costs, expenses and

outstanding debts of the company are paid throughout the accounts department.

Sales are produced by inviting buyers such as individual clients and retail outlets to

the showroom or the fashion show. New clientele are always welcomed, which the

sales team would have to examine where to sell in terms of attending trade shows.

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14. PROCESS FLOW CHART

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15. PRODUCTION PLAN

The label outsources their manufacturers in London. Their chief manufacturer is

situated in Seven sisters, London while the other is based in Stephney green, London.

Fabrics are sourced from U.K. Their suppliers comprise W. Bill, Joshua Mills and

more.

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16. MY CONTRIBUTION AND RESPONSIBILITIES

On joining the studio an induction was taken place for all new internees. All the

departments have been introduced and every team’s responsibilities were explained.

I joined the studio a month after the label has showcased its successful A/W ‘10

collection at London Fashion Week. During my stay I have gained immense

experience in production of the A/W ’10 season’s garments and the start of the next

S/S ‘1o collection.

I have been initially assigned to work with both Menswear and Womenswear

departments. It was in this department I got a chance to learn about menswear

fashion also. I have been assigned to Grade the selected garments in Small, Medium

and Large sizes for production by Harrods, Asos and Liberty. Grading has been a

novel learning for me. The basics and technicalities in grading various ensembles was

explained and taught. I have been flexibly grading many patterns for both the

menswear and womenswear teams.

I had been given goals and deadlines to stick with while working in the studio. I was

free to ask my team head to clarify any doubts or issues regarding patternmaking or

sewing. The creative director and design heads had frequent interactions with the

internees so as to discuss the progress and analyze the current scenario.

The department I was placed after grading was in the patternmaking team for

menswear and womenswear which entitled me to develop patterns and fit required

for the new collection made to create patterns for:

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• Vests : M.Wear

• T – shirts / Raglan : M.Wear & W.Wear

• Jacket / Denim Jacket/ Wool Jacket : M.Wear & W.Wear

• Trousers / Jeans / Shorts : M.Wear & W.Wear

• Sweatshirts / Jumpers : M.Wear & W.Wear

• Shirts / Casual / Safari (multi fitting): W.Wear

• Skirts : W.Wear

• Dress : W.Wear

I had to develop patterns for the garments and toile them in calico or jersey. The

garments were checked on a model and alterations were made by the head designer.

After alterations the patterns were re-worked upon and fresh toiles were made. This

process concludes once the perfect fit and look is attained. This process was very

important as I had a major role in pattern cutting and sewing the prototypes with

proper finishing.

After toiling of each garment, it was re done again and again for all different fits of

the same style to check which of them looks the best in the collection. The patterns

were then corrected, finalized and kept aside for final production. The same method

was carried out for most of the garments.

For the new season lot of vintage inspiration has been involved in the collection. The

design heads would ask us to make a replica copy of any particular vintage garment

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ex: jacket, trouser and safari shirts and toile it in calico. This was a new perspective

for me as I had to measure all details in the garment and make a replica of the

original garment. All details had to be handled carefully. After sewing the replica

piece various changes are brought in by the creative director. Detailing such as

pockets, plackets, collars, cuffs, yokes, etc had to be altered thereafter.

I was also asked to join the embroidery team for a while to speed up the production

process. I had to cut motifs and hand sew them on jersey fabric. I was taught basic

hand embroidery techniques and also learned how to hand hem garments. This

department made me more confident in my hand work where earlier I was reluctant

to add embroidery or hand sewing in my own work.

At few occasions I was asked to deliver samples and garments of the previous A/W

’10 season to the P.R agency. This experience broadened up my knowledge on public

relations, media and marketing. I had frequent interactions with the P.R agency who

were friendly and answered my queries.

At many instances, I also had to do sourcing, finding out new materials, trims and

fabrics along with finishes and fastenings that can be used in the collection.

Some of the production garments were stitched in the studio itself. I was asked to

handle the womenswear department of sewing. Where I had to cut the actual fabric

and lining of the garment and sew them. Initially this was quite time taking as I was

focusing a lot on finishing and fitting. But soon I gained confidence and completed a

complete range of 30 dresses in Small, Medium and Large sizes for Harrods, Liberty

and Asos in 5 working days time.

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Production A.W ’10 - Blanket Jacket Womenswear and Menswear.

J.W.A Jumper

(LEFT)

Tassle Jacket

(RIGHT)

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Waist Coat toile for upcoming S.S ‘10

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Jeans toile for S.S ’10

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Blanket Dress ,Womenswear A/W ‘1o

Production for Small, Medium, Large

Harrods, Liberty and Asos.

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Safari Shirt toile calico for

S.S ’10 Womenswear

Varisity Jumper

Embroidery

A/W ’10

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Summer dress

Calico Toile

S.S ’10 Womenswear

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17. SWOT ANALYSIS

Strengths

• Fashion House based in London.

• Application and usage of British Arts and Crafts.

• Made in U.K.

• Strong Design Uniqueness.

• Small Brand – More Control.

• Good associates with magazines & media. (Promotion and Press).

• Promising Design team.

Weakness

• Expensive Production Cost.

• Small Brand – Less Finances.

• Major resources bought from British Suppliers which is expensive.

• Salary not provided to people working in studio.

• Few interns.

• Small Studio - Less workspace.

• Loaded with initial debts.

• Old machinery in Studio.

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Opportunities

• Sponsorship Deals.

• Collaborations.

• Editorial Opportunities – Magazine Proposals And Story Articles.

• Buy own Studio and office – Expansion.

• Procure high quality machines.

Threats

• Competitors – Other Young Brands aiming At Same Market Level, and

existing Brands That Have history.

• Economic Conditions in Present Time.

• Loss of major stockists - High risk if orders not delivered on time.

• Company Expenses – London Based Fashion Design House ( High Costs)

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18. ISSUES: WEAKNESS + THREATS

J.W.Anderson as a label surely has some drawbacks and flaws. One of the concerning

issue is that the company is a small label. By looking at the weaknesses of the

company, finances are a chief concern. The lack of finances in business creates

problems in terms of production and sourcing of products and materials hence which

slows down the whole process.

As the studio is small in size and number of people working in the studio is high

which occasionally creates misunderstanding within the studio.

All the productions being done in England increases and further adds to the cost of

the garment.

Due to lack of supervision the studio doesn’t purchase the essential amount of raw

materials, which causes postponement at regular intervals.

They are scarce in all kinds of specialized machinery, which restricts the garment

construction and experimentation within the studio.

Since this is a high end fashion label all raw materials and garment sewing must have

high quality finishing. So it is extremely important to have a good factory and a

production unit that would be able to do this job at a reasonable price. At J-W

Anderson this was a very prolonged procedure, in each season different factories and

suppliers were used in order to find the best quality within the cost quoted.

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19. PROPOSALS: STRENGTHS + OPPORTUNITIES

Few proposals to overcome issues within the label are to obtain sponsorships from

other larger companies and associations. The label can quote for business advice or

financial guidance with the sponsor.

The design team must attend trade shows such as Moda Menswear, Premiere Vision

- Paris, Bread and Butter Show - Berlin, Capsule and Moda UK, will help in creating

much awaited brand awareness. This would help them in meeting with new buyers

and retail outlets from around the world. As the number of buyers will increase, the

order sizes will increase and in turn it will lower the production cost.

The brand must add more organisational skills. This can be implemented by making

each department have a certain fix amount of staff in order to get the work done in

every season. All these departments should be monitored on a daily basis.

For a balanced production costs the label must stick to only one or two production

houses rather than searching for new ones for every season.

Time management is another important technique that helps in making the brand a

success. I recommend that there should be a checklist with fixed deadlines that

would give all departments ample time to reach deadlines. From my three month

work experience I recommend that there should be customary reviews and research

carried out to discover out what their competitors are doing and what's available in

the market. Consumer research needs to be carried out and a good marketing

strategy should be incorporated for the upliftment of the brand.

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20. CONCLUSIONS

J.W.Anderson was the right label for me start my first internship in London.

The style and qualities suit the way I desire to work. The label had confidence in me

to work on their final garments. Such opportunity to avail is rare and a

knowledgeable one.

The label gave me a great experience and the familiarity setting up a new motivated

business. This placement has allowed me to work freely with the design team where

I could integrate my technical, creative and practical knowledge and furthermore

polish them.

I learned a in a vast way about the operations in the fashion industry. I am thankful

to avail this incredible prospect of being a part of this interesting and motivating

design process. It was an amazing experience to learn and be aware of the process

and the capabilities and hard efforts that undergoes to build a label.

I have polished my technical skills in fields such as pattern making, pattern grading,

sewing, fabric knowledge and production.

Working with J.W.Anderson has not benefited me technically but helped me improve

my organisational skills and team management skills.

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21. BIBLIOGRAPHY

• http://www.j-w-anderson.com/j.w.anderson.html

• http://www.londonfashionweek.co.uk/jwanderson

• http://www.londonfashionweek.co.uk/designers_catwalk.aspx?designerid=13

55&SeasonID=16&bs=1#pic1

• http://www.j-w-anderson.com/index.php?id=10

• http://www.oki-ni.com/Brands/J-W-Anderson/icat/jwanderson